Pulled Apart By Horses at the HMV Institute 20/02/2012

Monday night down on Digbeth High Street, and you’d be excused for thinking nothing was going on. However behind the doors of the institute a mass is gathering to witness two of the hardest working bands currently treading the boards. DJ trio Mildred Fierce get the crowd in the mood for what’s to come with their mix of distorted classics, before tonight's first act hit the stage.

I've seen The Computers a few times now, and they have always been a phenomenal live act, however these shows have always been within the confines of The Flapper, so seeing them on a big stage was an interesting prospect, and they certainly didn't disappoint.  Imagine the Eighties Matchbox B-Line Disaster covering The Hives with a pinch of Elvis Costello pomp, and you're somewhere to imagining what these guys sound like. And whilst my description may sound somewhat horrific, they have a great live sound, and a stage presence that most bands would kill for, especially their front-man Alex who literally has the crowd eating from the palm of his hand in moments. Taking the spirit of classic rock n roll and putting it through a punk-rock blender, The Computers deliver up some heavy, surf-rockabilly blues. Some may find the whole ‘preaching to save rock n roll’ vibe a little tiresome, but there’s enough evidence this is tongue-in-cheek to allow me to let them off the hook for being a tad cliché. Alex brings the set to a close from within the crowd, whipping the pit into a maelstrom of arms and legs, lost shoes and nosebleeds. Just like it should be! Not a band I’d listen to on record, but live they hit the mark just right. An excellent start to the evenings proceedings.

Pulled Apart By Horses

Tonight's head-liners, Pulled Apart by Horses, are clearly happy to be in town. Loud, abrasive and good humoured from the get-go, this is their first time back in the second city for a good while and are in good spirits. Having had the previous day off from their touring schedule, front-man Tom Hudson had taken the opportunity to grab some home comforts, including a roast dinner with his parents back in Halesowen. With batteries fully recharged, the band tear their way through a healthy mix of tracks from their self-titled début as well as latest disc Tough Love. ‘I Punched a Lion in the Throat’ kicks thing off nicely, guitarist James Brown throwing himself violently to the floor throughout - even know just thinking about the way he jumps in the air and lands on his knees makes my mind boggle how he hasn't busted his kneecaps out! 'High Five, Swan Dive, Nose Dive' sounds as vital tonight as it has always done, whilst current single 'V.E.N.O.M' gets the already sweaty crowd into even more of a sticky mess. The real curve-ball of the set comes in the form of Tough Love album track 'Everything Dipped in Gold', which shows a side of Pulled Apart we had until now really seen - a more considered, slow-builder of a track that will be a key fixture of their set for a long time to come. After a brief break, the band return for an encore during which they dive headlong into a cover of Nirvana’s ‘Tourette’s’, as well as head-first into the crowd - as Tom and James both clamber into the crowd, climb onto the bar, and accept a drink from a member of the audience, all whilst ploughing through the final chunky chords of 'Den Horn.'  

As I leave tonight, with ears ringing and a grin as wide as my face, I'm pleased in the knowledge that there are bands out there who practice what they preach, and don't treat a show any different if they are sweating it out on a tiny stage or up on a platform with a steel fence between. As long as their are acts like this who can entertain and engage then we're all in safe hands.

DDT001 - God Damn - 'God Damn' - Pre-order now!

The sleeve will look something like this.

Distorted Tapes is pleased to announce its first release, on vinyl no less! DT faves God Damn will release their debut single, 'God Damn', on March 17th and will celebrate this event with a release show at the Jagged Rock Lounge, Wolverhampton.

Head over to the upcoming shows page to check out details of the release show, or to pre-order your copy click on the 'online store' link at the top of the page.

Details of the single are as follows:

GOD DAMN
A. God Damn
B. How to Behave
250 copies on 7" vinyl

First 50 copies shipped come with an exclusive Distorted Tapes badge too!

Tubelord at The Flapper 26/01/2012

Ah, The Flapper. I've missed you old buddy. Even though it's only been a few weeks since my last visit to its dark underbelly, it feels like a much longer break from my favourite venue in the world. It was last year after all, yeah...? 

As January has been a bit drab gig-wise, you can imagine my excitement to see that Tubelord were back in town, and the day after my birthday too. Fantastic. First up, Pandas and People take the stage. I've been following this Redditch four-piece for awhile now, and tonight is easily the best I've seen them play. A faultless set, which as I joked about with Alex and Tom afterwards saw no problems with their laptop or keyboards falling over! Their set is full of indie-pop nuggets: 'Grab Everything' and 'I Am The Floor' are two particular stand outs for me. Musically they are a hard band to pigeon-hole - at times they are reminiscent of indie-rock greats The Dismemberment Plan (whom they are fans of), but the synth and electronica flourishes point to more diverse inspirations - and it's this attribute that I find particularly attractive about P&P. A new song also gets an airing this evening, and whilst it sounds great it doesn't top the outstanding 'In the Dark.' If you don't listen to anything else off of their streaming album, listen to that one! They may just be the most technically-able band on the scene, but maybe I'm just a gushing fan boy. I really hope they make that push to get their material out there, as 2012 could be their year, and Distorted Tapes is behind them 100%. 

Pandas and People

As the countdown to the 2012 games gets closer and closer, I can imagine Norwich's Olympians are going to gain a lot of accidental hits on their website this year. Totally out of character for me (who usually remembers every band I come across...) I thought I hadn't heard these guys before, but as I started writing this review I realised I had, and that's why some of their songs seemed familiar! A great choice of tour support for Tubelord, Olympians blend of massive pop-hooks and delicate soundscapes is best exemplified in previous single 'Foreign Language'; a soaring pop-rock gem that is reminiscent of Weezer or Clarity-era Jimmy Eat World. Their latest single, 'The Great Gatsby,' is available via the imaginatively titled Olympians Book Club - a set of four singles released throughout 2012 and come stored in a hollowed out book. This kind of geekery gets a massive thumbs up from me, as do Olympians. Good guys, good music.

Olympians

Tubelord

Tubelord are a band who know how to put on a good show, and tonight are on top form as ever. Playing a mix of material from across both their albums to date, and despite latest LP Romance having come out last October, tonight's show still manages to have the sound and feel of a greatest hits set. Opening with the schizophrenic '...Abergavenny', before moving on to the excellent 'Never Washboard', it isn't until 'Stacey's Left Arm' that the crowd truly get into the groove of things. Whilst some fans have been down on their latest record, the band are clearly happy with it. And so they should be: '4T3' is a stunning synth-pop love song, whilst my favourite Romance cut 'My First Castle' is even better live than on the record, with Joseph's ranting "don’t pay rent, swear in the street!" making even the most hard-nosed listener crack a smile. Also worth a shout is tonight's rendition of fan-favourite 'Night of the Pencils' whose live reprise has been altered from "three's the magic number" to a refrain from Tears for Fear's 'Shout.' I'm sure there would have been a few people leaving The Flapper wondering why the lyrics "shout, shout, let it all out, these are the things I can do without, come on" seemed so familiar! Here's to pushing boundaries, and writing pop songs for rock kids. Here's to Tubelord. 

Lady Fortune at the Jagged Rock Lounge 14/01/2012

January is always a funny time of year for shows; everyone is still skint following Christmas excess, it's cold - it's easy to see why most will want to just curl up in front of the TV and forget the world outside. Tonight clearly that was the case, with only the dedicated few turning up to see what is a great line-up, and for me my first show of 2012.

It's been a long time since I've been to a show in this venue, just under 3 years by my calculations. Formally known as the Little Civic, it's now reopened under the somewhat questionable name of the Jagged Rock Lounge - but honestly it's great to see a venue I saw many of my favourites at back in the early 2000s reborn. Sadly the posters that lined the walls are gone (removed by previous owners Loose Lucies), but the room looks much bigger for it. My only concerns with the venue were it's stage lights, which seem to act only to blind concert-goers and make it difficult to make out who's on stage. That aside, on with the show.

First up this evening are Bad Apes who I am very fond of, having put them on at the first Distorted Tapes show back in November- and tonight I feel they played a much stronger set than that show. They aren't the easiest band to describe - there are moments when their experimental noise is reminiscent of the great Sonic Youth, whilst at other times elements of krautrock seem to creep in. The Wolverhampton three-piece manage to tick nearly all the boxes for what I think makes a great band: volume, tunes, originality. It's this last attribute that makes them stand out for me, and tonight the band show a different side to themselves with a new track midway through their set. Although currently a post-rockish instrumental, this song is effective in that it gives the listener an opportunity to hear each instrument, each players part, and building it up to a very solid and satisfying chorus. It's this ability that has made Mogwai such an exciting proposition over the last 15 years, and I hope to see this track develop next time I catch the band. Unfortunately, I felt the momentum the band had made during the first half of their set is lost after this point, however they do bring their set to a close with a cover of At the Drive-In's 'Arcarsenal,' which goes down nicely. Bad Apes are certainly ones to watch, and with time could become a formidable live band. 

Next on the bill are Cajole Cajole, now just a two-piece with brothers Ryan and Noel Malcolm complimented by a laptop. It's been a couple of years since I last saw Cajole - think last time it was when my old band played with them at The Enterprise in Camden. Anyway, Cajole Cajole Mk. II are a very different band, and whilst I really liked their previous incarnation, their new sound has a lot more depth to it - perhaps due to the additional flourishes that the laptop provides. Stylistically, their sound is reminiscent of early material by The Strokes, but overall vibe is a lot more glacial and sparse - think Movement-era New Order, or The Cure at their most atmospheric. Despite this it would be harsh to say they are 80s revivalists - if anything they have more in common with lo-fi US groups like Cold Cave (circa-Love Comes Close, not their latest full-length) or cult-favourites Blank Dogs, who have taken those post-punk influences and developed them into songs not only relevant, but very now. I spoke with the band afterwards, and Noel gives Ryan a great deal of credit for their current direction, but as far a I'm concerned it's just good to have them back on the scene, especially as what they're doing is so different to other indie bands currently on the local circuit. 

Lastly this evening are Lady Fortune, and as any regular readers of Distorted Tapes will be well aware I have a lot of love for these boys. As always, the band are on top form - every time I see them play they seem to be tighter, more powerful in their delivery. Musically, Lady Fortune can deliver the frenetic just as easily as they can the thoughtful, especially in their newer material. New track 'Nylon' (a video of which I  posted here) shows Fortune's impressive song writing ability, switching between a pensive first section into the heavier, more aggressive second half. Nick also demonstrates his strength as a lyricist, such as the exemplar "pass me the TV guide/'cus I've found a show that fails to hold the attention of you/and I know you've got remote control of the situation." It's great stuff, and begs to be sung-along. Why these guys have never made the big time is beyond me! Closing their set with 'Car Crash,' this track could easily be my favourite of theirs to-date, with a Pixies-esque, driving riff, and dark lyrics (by Fortune standards). Here's hoping a recorded version of this well emerge soon, because I really want to play it on repeat. Until then I'll keep spinning their current discs, which coincidently are now all available to stream on their bandcamp here.

All in all, a fantastic night, and three examples of local talent in a venue that has launched a thousand bands. Wolverhampton, you've been spoilt.

Distorted Tapes meets... Neils Children

Neils Children circa 2005: L-R Brandon, James and John. Photo by Andy Wilsher

I still remember the first time. I had gone on a trip to London with my college art class, and had picked up a compilation album somewhere or another. It must have been around 2003 or 2004. Anyway, amongst the throwaway indie on that CD (none of which I can remember), was one gem; a track that was at that time unlike anything I had heard before - full of angst and a rawness that made it stand apart from its contemporaries.  That track was 'I Hate Models', and it's been love ever since.

However, what made Neils Children such a fantastic proposition to me, is also what made them difficult for some to comprehend. Perpetually changing, never staying the same, their mix of proto-punk, garage rock, post-punk and psychedelia left many listeners perplexed, indifferent to sounds that challenged, especially considering the cookie-cutter indie that littered the musical landscape of the last decade. Fortunatley for those in the know, Neils Children were never one to pander to the public. The description on their website says it all: 'Peerless, fearless & out-of-synch with the real world for over 13 years.'

Sadly, after releasing 2 compilations, one full length, and numerous highly recommended singles, Neils Children called it a day in late summer 2010, playing one last show at Offset Festival in the lush setting of Hainault Country Park. It was the end of an era, and very few would expect to hear from Neils Children again.

However, never a group to do what we expect, just over a year later Neils Children are back, reuniting the classic line-up from the period 2000-2005 that penned such classics as the aforementioned 'I Hate Models,' début single 'Come Down', and 'Getting Evil in the Playground.' Featuring John Linger on guitars/vocals, James Hair on bass and Brandon Jacobs on drums, Distorted Tapes was given the honour of chatting with the band in their first interview since 2009, and getting the low-down on the reformation, their exhaustive campaign to catalogue their history, and what the future has in store for NC3.

Following your set at Offset 2010, I think most of us thought it would be the last time we ever saw Neils Children, especially as you unveiled new group The Drop Five. Luckily you've proved us wrong, and by the looks of your rehearsal video posted on YouTube, you're a band revitalised! What made you decide to reunite the band? 

JL: I think in all honesty the parting of Keith Seymour, our bassist from 2005-2009, knocked me for six. It’s something I didn’t see coming and made me want to put a distance between myself, the band, the songs and what we represented. I started getting heavily into soul music and NC just didn’t feature in that at all. The Drop Five was the antithesis of NC and I wanted to show that I could do something different. 

BJ: I think Offset 2010 represented the end of an era, not just for us, but for a lot of people. A majority of our audience that day had been around us, been our friends and fans from the early days when we were still a mod band, so it was our way of saying thanks for sticking with us. 

JL: Having worked with Brandon continuously since the split of NC (in the Drop Five and Goodnight and I Wish) we've always talked about how to keep the legacy of Neils Children alive, which started out as idea for an archive project. 

BJ: Our initial idea was just to do a release, but then things just started snowballing from there. Playing a show again was never in the original plans, but then we thought that we should play at least one show to promote it, otherwise, it's a bit of an ask expecting your fans to go and buy a product if you are not going to promote it. We never really thought that James would want to play again so we'd never entertained the idea, so i think me and John just assumed that we would have to get a stand in. 

JL: In the meantime we got back in touch with James, for the first time properly in 6 or 7 years, and he was keen to be involved in the gig in some way... 

JH: Well, I succumbed to peer pressure recently and joined Facebook, having recently discovered technology. I'd fallen out of touch with John & Brandon for several years since leaving London, as you do. John then got in touch with me and suggested maybe doing a show for old times’ sake, which I thought would be rather lovely. 

JL: This led to us planning the show as a representation of our time with James, so 2000-2005, and it seemed natural and not forced in any way. That was the catalyst, the genuine excitement that I personally felt about getting in a room with James and Brandon again and making a bit of a racket. Also, musically, there isn’t much around which excites any of us, and that was the initial reason for forming!! 

You've been uploading a wealth of material from the vaults on Facebook as part of your 'Visit-Revisited' project - whose idea was it, and why did you decide to chronicle the history of NC in such a way? 

JL: It was mine and Brandon’s and as I said, it was something we had in mind for ages, a project that I guess started with ‘Something Perpetual’ which in essence was a rarities and singles compilation we put together for our first Japanese tour. I guess the reason we have always had this plan is because the band was so prolific in writing and recording and it seemed a crime to leave so much good material in the vaults. 

BJ: Once you become a recognised band, you have to start releasing records, which means that you have to spend a lot of time promoting just a handful of songs, so a lot of your material (if you have it), ends up getting shelved for future projects, B-Sides, or just never used at all. Singles are picked carefully to do a job, and often, in our case, we would always have about 4 or 5 contenders floating around...and then, by the time you've picked the A-Side and B-Sides, played them up and down the country for 3 months, you are already working on new songs. That's just the way we were, but we never forgot about those songs. 

JH: We've all been ransacking our vaults since we've been back in touch, although John's is like the Vatican’s censored materials vault (size wise, obviously...), mine is more Halifax, Rottingdean High Street branch... 

As part of this project you'll also be releasing a collection of unreleased songs - will we see any of the scrapped recordings from the 'Pop: Aural' LP surfacing?

JL: I’m not sure... I don’t think any of us were happy with the way ‘Pop: Aural’ came out... It didn’t really sound like us. It was more pop savvy, and whilst the songs were strong, our live performance of them always nailed it more than the recordings. I think we have always been a band who have thrived on spontaneity and the finished recordings lacked a lot of that, which is probably the reason people enjoy stuff like ‘I Hate Models’, ‘Come Down’ etc. That’s how we sounded on stage, and that was where we were at our best. 

BJ: ‘Pop: Aural’ in its skeletal form had some great songs and ideas, I prefer the original demos that we did for a lot of those songs, and I'm sure they will surface at some point. 

JL: We may put out some alternative recordings of the ‘P:A’ material, and I guess eventually it would be nice to have it out in its entirety but at the moment I still feel too close to the disappointment I felt when I heard it back for the first time. 

Is there a particular reason for focusing on the period circa 2004, and can you reveal any details regarding live shows - the date 16/03/2012 features on your webpage, is this a hint? 

BJ: Having James back and having the chance to play those songs again is a pretty good reason for me. It would never have worked playing the more recent stuff with James, or playing the older stuff with Keith 

JH: Plus it'd be a bit weird for me to start learning Keith's bass lines, surely? 

JL: I think it’s natural for us to revisit that period now that James is back in the band. Once again we distanced ourselves from that period after James left, but I think that material is even more relevant now than it was at the time. There was a similar mood in the music industry back then as there is now; shitty pop music, irrelevant noisy music and the occasional (and often overlooked) original and exciting underground band. We sat, and sit, outside of it all and the music from that period clicked with so many other young people who felt exactly how we did. Personally I have come to respect those songs more and since the first rehearsal it was clear we could do them justice. That date is indeed the date of our first show, which will be at an intimate London venue for a friends’ club night. I think we’ll play more shows... it’s going so well at the moment. 

BJ: After that show, I think we are happy to let things flow quite naturally, without putting any pressure on ourselves. I'd say it will be a unique opportunity for people to come and see us live, performing the 2004 era material and more. Not to be missed! 

At the start of December you released the 'Warehouse Stories E.P' (available here), which shows a different side to Neils Children than we saw on your last LP. Are these records an indication of the direction NC was going prior to splitting in 2010? 

JL: Definitely. Before Keith left we were getting into some really interesting areas on stage. Although it didn’t quite hit home with the general public, I thought ‘X.Enc’ was a good album and parts of it worked so well on stage, especially stuff like ‘An Exchange’ and ‘Indifference Is Vital’ which really concentrated on rhythmic patterns and repetition. That gave direction to ‘Front On Backwards’, which was written on our 2009 Japanese tour, just before Keith left. I was so excited about that song, and to combat inertia after Keith left, me, my brother Paul (of Electricity In Our Homes) and Brandon recorded it a month or so afterwards. ‘Are Friends Elected?’ and ‘Sun #2’ were recorded about 3-4 months later and they were quite different, more song based I guess. I’m really pleased of those 3 tracks; if anyone is looking for an example of the bands diversity, it’s all there in those three songs. 

What's in store for NC beyond this project? Will we see any new material in 2012, or would that just be wishful thinking on my behalf?! 

JL: We’re sort of taking it as it comes really... I’d like the band to play more shows, on the proviso that people want to see us. I don’t want to slog up and down the country trying to convert people any more. I think we've always performed best in smaller venues, where we can interact with the audience more, so I’d like to do a run of small shows throughout the country, and I’d love to go back to Europe and Japan again. As for new material, I guess it’s not impossible, but it would be hard to make new music that sat alongside the earlier period. I think if the rehearsals inspire us enough then there could be, other than that I'm quite happy to get to grips with playing the old stuff again! 

BJ: I'm more than happy to see what happens, as John says, if people want to see us, then I don't have a problem with that. If someone wants to release a record, then it would be worth thinking about. I just think that we're not going to start forcing ourselves back into the industry, supporting terrible bands and taking on managers etc. 

JH: At the moment, I'm just happy to be doing a few shows. It's so great being back with the chaps again after all these years, something I don't think any of us thought would happen. It still sounds as fresh and exciting as it did way back, although I'm biased obviously! As for new material, who knows? We're just seeing what happens really. No master plan, no timetable, just getting on with it... 

And finally, for those readers out there who may have missed you first time round, what would be your top 5 ultimate Neils Children tracks? 

John: 

Always The Same 

For me this is our peak with James in the band. It’s a truly original sound and at the time completely stood apart from every other bands new single 

Getting Evil In The Playground 

It shows how we perfected the art of having aurally sparse and undistorted sounds yet creating really intense songs. I guess ‘I Hate Models’ represents that too. 

I’m Ill

Really it should have been a hit, but we just didn’t have the status. This song is the outcome of 10 or so years of me and Brandon playing together and it’s perfect. It’s a strong bond that created it and I know that I’ll play music with him for the rest of my life, and that’s rare. 

Something You Said 

This was one of the last songs recorded with James and it shows both our previous style and where we headed to afterwards. It’s psychedelic, noisy and dancey, which is the band’s sound summed up in three words really. 

Come Down

This was the single that put us on the map, and without sounding arrogant, it really did sound different to anything else going on at the time. There was a lot of emphasis on this song by the bands management and label at the time and it was proved right as the best choice to introduce us to public. 

James: 

I Hate Models

Just classic really. Pure snarling hatred, something that too many people lack.

Always The Same

For me this is the best single we released. It really encapsulated the NC sound. Thudding heavy bass, chorusy guitar, bit of snarl, bit of groove...

How Does It Feel Now You're On Your Own?

My personal favourite. Musical violence!

Never Has Living Without Someone Been So Hard

I always liked this one because it showed it wasn't all about distortion and shouting. Plus it showed a bit more of our Sixties influences. 

You Didn't Care

I think this is one of the last songs we did before I left. Although didn't they release it with Keith after? We did this one live a few times. I remember years later seeing a video for it and thinking "fuck I'd forgotten about that song, it's amazing! I don't remember being that skinny? Oh it's not me..."

Brandon: 

Always The Same 

I Hate Models 

Getting Evil In The Playground 

Come Down 

Reflective/Surface

For more information on Neils Children like them on Facebook, or visit neilschildren.co.uk. 

2011: Albums of the Year

Every year I will speak to at least a handful of people who will say "this year's been pretty poor for music," and each year I have to disagree. Whilst this year has been full of upheaval and uncertainty in politics and world affairs, both at home and abroad, and mainstream music has been dire to say the least, 2011 has smiled kindly on the world of alternative music. Below are thirty albums that I've enjoyed this year, arranged in some form of order. It's not exhaustive (sadly, I can't have heard every record that came out this year) and I'm still debating the order of importance... but what I will say is that these records have helped define and guide me through 2011 in some way. Please drop me a line if you have any comments, or would like to recommend any records you think I would have liked and have missed! - it's always nice to know there's someone out there. Anyway, on with the show...

#1 - Johnny Foreigner – Johnny Foreigner vs Everything (Alcopop)

Although a late contender, I feel that Johnny Foreigner deserve the accolade whole-heartedly. Easily their most comprehensive record to date, their third full-length holds a lot more depth than previous offerings, and as such appears even more personal than normal. Whilst the majority of material doesn't stray too far from the JoFo formula, tracks like ‘200X’ and ‘Supermorning’ show an inventiveness that I don’t think we’ve previously seen. Whilst shunned by the NME, for the fans and the UK underground this record is a triumph, and demonstrates the hard work and dedication of independent thinking. If you haven’t heard this album already, get on it, or at least check out ‘With Who, Who and What I've Got’ and ‘You vs Everything.’ 

#2 - British Sea Power – Valhalla Dancehall (Rough Trade) 

British Sea Power never fail to impress me, and this, their fourth studio album to date, is a prime example of why I love them. Never afraid to be themselves, BSP mix rock, post-punk and post-rock to create a sound which is both distinctive and original. ‘Who’s In Control?” became my soundtrack for the summer riots, but also give ‘Mongk II’ and ‘Observe the Skies’ a spin if you haven’t already. I think they may win the award for best album title of the year too. 

#3 - Mogwai - Hardcore Will Never Die, But You Will (Rock Action)

What sets Mogwai apart from other bands that have jumped on the post-rock bandwagon is that they are always one step ahead of the curve, and this record is testament to that. You would think after more than 10 years on the game, Mogwai's pool of ideas would be running dry, or at least thin, but you only need to hear the crunch of 'Rano Pano,' the driving, bassy riff of 'San Pedro' or the squelching electro of ''George Square Thatcher Death Party' to know that the Scots are far from finished. 

#4 - Los Campesinos! - Hello Sadness (Wichita)

On first listen to Los Campesinos! latest offering I was a little underwhelmed. Then, I was going into it expecting it to be Romance is Boring Pt.II. Instead, what I was treated to was a sublime grower of a record. Past the instant gratification (ahem) of 'By Your Hand', LC! have produced their most diverse record to date, and one that will split fans opinions. However, with tracks like the superb 'The Black Bird, The Dark Slope', and the stomping 'Baby I Got The Death Rattle,' Los Campesinos! show there is more to them than the tweexcore tag that they used to be lumped in with. Lyrically, it's a dark album, but when the light shines through it's uplifting, life-affirming, and amazing.

#5 - Rival Schools - Pedals (Photo Finish)
I remember hearing 'Used for Glue' for the first time, back when I was in school. United by Fate became a soundtrack for my last year in school and the transition into college. They were good times, and I waited patiently for Rival Schools to make that second album. 10 years in the making, and a reformed Rival Schools finally release their second full-length. Was it worth the wait? You bet it was. Whilst nowhere near as grand as their début, Pedals sparkles with anthemic rock and riffs that the Foo Fighters would give their left hand to have wrote. I could recommend you pretty much anything off of this album, it's such a solid effort, but I'd say 'Big Waves' and 'Eyes Wide Open' may just take the prize for top cuts. If it takes another 10 years for Rival Schools to make another album that's just half as good as this, well, I'll happily wait it out.

#6 - Metronomy - The English Riviera (Because)

And there was me thinking that 2008's Nights Out would be Joseph Mount's high watermark, and then out of nowhere came The English Riviera. Mount and gang produced a record that balances the line between sounding retro and contemporary. Don't ask me how. From the unsettling pop of 'She Wants,' to the retro-tinged seaside-themed keyboard hook of 'The Look'; from start to finish it's an album that washes over you in wave after wave of analogue synths, syncopated guitars and funk-flavoured bass lines, begging you to get lost in the landscapes it conjures up. Just like a fine wine, I think this is a record that will continue to improve with age. A modern classic in waiting. 

#7 - Death Cab for Cutie - Codes and Keys (Atlantic)
With their last record Death Cab through everyone a curve ball. Instead of delivering another Plans, they went more experimental. Whilst the results may have made for an interesting listen, ultimately it didn't quite hit the spot for me. Codes and Keys on the other hand fills that empty spot in my heart I reserve for Gibbard. 'You Are A Tourist' is a mighty example of DCfC's song writing capabilities, with a soaring lead reminiscent of Big Country's 'In A Big Country', or the title track 'Codes and Keys' with its plodding piano refrain and beautiful string accompaniment. 'Doors Unlocked and Open' reminds me of R.E.M.'s 'I Remember Nothing' which leads me to conclude that perhaps Death Cab are in fact the last great American rock band? Big claim, but I think given time they will transcend their cult status and deserve the mainstream success they deserve.

#8 - &U&I - Light Bearer (On Dry Land)
&U&I: the true champions of the UK underground. After the untimely demise of Blakfish, few of us would have expected the remaining three Brummies to bounce back so successfully. But here we are, less that 2 years later and &U&I have delivered up their début and silenced all that doubted they had it in them. A whole lot more palatable than Blakfish's LP, Light Bearer is both heavy and instantly accessible. Guitars intertwine around rattling bass, before slapping you into place with some meaty, mathy riffage. 'Talk With Steam' screams sing-a-long with its "push your foot into the floor" refrain, or how about the bass-driven previous single 'Stalk this City'? Favourite cut, and fan favourite 'Belly Full of Fire & A Heart Full Of Blood' also sounds incredible, like Reuben at their angriest circa In Nothing We Trust. Essential listening. 

#9 - And So I Watch You From Afar - Gangs (Richter Collective)
For anyone who's been following And So I Watch... over the last few years, you too will probably agree that Gangs is with ease there best material to date. Their self-titled début, while a good album, just didn't quite hit the mark. But Gangs not only hits said mark, it totally obliterates it. It's the album we all knew ASIWYFA had in them. In years to come, we shall look back at Gangs and recognise it as a turning point in post-rock, just as Mogwai's Young Team was back in the late 90s. From the massive opener 'BEAUTIFULUNIVERSEMASTERCHAMPION', to the shred-tastic 'Search:Party:Animal,' the Belfast trio show that it is possible to make immense math rock tunes without the need of a singer to carry the melody. This is exemplified superbly on the beautiful '7 Billion People All Alive At Once,' whose waltz-like quality, builds you up and up before breaking into the most heart-achingly amazing chant-along at 2:16. And if this wasn't enough, you get what can only be described by the aural equivalent of fireworks at 4:10. If you aren't moved after hearing that, well, you probably don't have a heart.

#10 - Limp Bizkit - Gold Cobra (Flip/Interscope)
A controversial choice? Probably. But then, as anyone who knows me will confirm, I've never been one to pretend I don't still have a soft spot for Fred & Co. Finally LB have gone back to basics and realised no-one buys into a quasi-seriousness (see: Results May Vary) or simply aping political funk-rock that's been done before to better result (see: The Unquestionable Truth Pt. 1). What you get with Gold Cobra is what Limp Bizkit do best: big, dumb rap-metal slabs that make you want to jump around like it's 1999. Wes still writes fantastic guitar riffs, and even throws down some solos which is interesting. Fred's lyrics are laughable ("...often called by my alias, polar bear" comes to mind), but what do you expect? Whilst they don't quite match the dizzying heights of Chocolate Starfish..., there's enough on this disc (maybe a little too much... especially if you picked up the extended edition like me) to make an old school soldier happy.

#11 - Funeral for a Friend - Welcome Home Armageddon (Distiller)
I lost faith in Funeral for a Friend. I loved the first record, but everything after that just seemed to get progressively predictable. I thought I knew what I was in for when I pressed play on my CD player to listen to Welcome Home Armageddon... What I didn't know was that FFaF had taken it back to basics, and possibly have made the best record of their career to date, and one of my most enjoyed records of the year. If you'd told me this time last year I'd be typing that, I'd have told you where to go - but honestly, they sound like a band revitalised. Lead single 'Front Row Seats to the End of the World' is as heavy as anything they've done before, some lovely contrasting melodic/screamed vocals, whilst 'Sixteen' beats many of my previous faves from Casually Dressed hands down - just listen to that lead riff! 'Aftertaste' is equally as tasty, not hard to imagine singing along to this at a show. Whilst there are a couple of ballads that slow down the pace of the album, overall it's hard not to be taken-aback by Funeral's transformation. Welcome home boys, welcome home. 

#12 - Thursday - No Devolución (Epitaph)
By now I'm sure you've heard the sad news that Thursday have called it a day. After over 10 years producing some of my favourite records, they decided enough was enough. That's not before leaving us with one final reminder of why Thursday were one of most original and imaginative of the early 2000 emo groups. Whilst many fans seemed to turn up their noses at the direction they took with No Devolución, I see it as the final stage of the band's progressive sound which they have been developing since Full Collapse. Far more ephemeral-sounding, an obvious influence on this record would be The Cure, best exemplified on 'No Answers.' Where Common Existence has seemed an album concerned with the direction of society, this release reads as a much more personal affair, with Rickley's most audible vocals to date. 'Sparks Against the Sun' has a chorus that glimmers with hope, contrasting with the bass-y rumble of the verse. 'Magnets Caught in a Metal Heart' harks back to War All The Time era material, whilst 'A Gun in the First Act' has become one of my favourite Thursday tracks, distinctly Disintegration. 'Stay True' forms a worthy closure to their career: they've come a long way since the naivety of Waiting, and will be sorely missed.

#13 - Young Legionnaire - Crisis Works (Wichita)
This was always going to do well in my list. There are two major facts to consider: the band features Paul Mullen of yourcodenameis:milo, the band features Gordon Moakes of Bloc Party. Whilst heavier than anything Bloc Party, Young Legionnaire are way more accessible than ycni:milo ever were. The result? A formidable debut, crammed full of massive riffs and angsty vocals. Opener 'Twin Victory' is a statement of intent as good as any, whilst 'Numbers' is a huge pop song trying to disguise itself as a angular post-hardcore (or visa-versa, who knows?). I could go through the album track by track and reason why it is such a great record, but that would be redundant. Just listen to lead single 'Chapter, Verse' and you will see why Young Legionnaire are such an exciting prospect for UK rock. They've a new EP out in the new year, and by the sounds of things 2012 will be a big year for Young Legionnaire.

#14 - Dananananaykroyd - There Is A Way (Pizza College)

Another band that called it quits this year, Danan were always a band best enjoyed live, and will be much missed on the UK live circuit. There Is A Way is choc-full of classic Dananananaykroyd. The first side of the LP really demonstrates the bands solid pop appeal, with songs like 'E Numbers,' 'Muscle Memory' and 'Think and Feel.' If anything, it's a much more focused and successful effort that their début, and whilst I'm sad to think that I'll never see them live again, I'm happy in the fact they've left us with two solid albums, a couple of EPs and a smattering of singles.

#15 - Joan of Arc - Life Like (Polyvinyl)
Having only encountered Tim Kinsella in his previous incarnation as Cap'n Jazz, I didn't really know what to expect from Life Like. What I got was reminiscent of his previous project, but far more polished and accomplished. The schizophrenic guitar style still present, however Kinsella's ability to craft a song has come a long way from the somewhat scrappy and childish sounds produced by Cap'n Jazz. Throughout the album, Kinsella's distinctive guitar sound gleams, however highlights for me would be 'Love Life,' whose last 35 seconds are possibly my favourite of the whole record, or the dreamy repetition of 'Night Life Style.' The militaristic drums and call/response vocal of 'After Life' concludes a satisfying album, and one I am sure I will return to again and again in 2012.

#16 - Crash of Rhinos - Distal (Audacious Art Experiment)

#17 - Everyone to the Anderson - The Man Born From Inside Of A Horse (Unlabel) 

#18 - Tubelord - Romance (Pink Mist)

#19 - Battles - Gloss Drop (Warp)

#20 - Tellison - The Wages of Fear (Naim Edge)

#21 - Gang of Four - Content (Gronland)
After seeming like forever for this record to land, Gang of Four's latest offering isn't actually that bad. Of course it was never going to match their output from the late 70s, but there are enough interesting moments on here to justify its existence. The sad irony of Content is that despite being one of the pionneering bands of the post-punk era, many of the tracks on this record, only the seventh of their career, end up sounding like  Franz Ferdinand or Bloc Party - the very bands they inspired. That said, the dubby downbeat 'A Fruit Fly in the Beehive' and angular pop of 'Who Am I?' show there's still life in Go4. So much for growing old gracefully, long live Gang of Four. 

#22 - Taking Back Sunday - Taking Back Sunday (Warner Bros.) 

With the news that TBS had reunited with the original line-up that wrote the now classic 'Tell All Your Friends,' I was very interested to see what they would come up with on this, the bands fifth studio album. After being severely disappointed with 2009s New Again, I was nicely surprised that their self-titled is a strong return to form, albeit strolling into Thirty Seconds to Mars territory. Lead single 'El Paso' is easily the bands heaviest track to date, and probably my favourite cut. 'Money (Let It Go)' could have easily appeared on Louder Now, whilst 'It Doesn't Feel A Thing Like Falling' sounds like a live fan favourite from the first listen. Whilst the band will never quite meet the heights they achieved in the early 2000s, TBS have proved that the are still an important and vital link in American mainstream emo-rock.

#23 - Cold Cave - Cherish the Light Years (Matador)
Far more polished than 2009s much loved Love Comes Close EP, and it's for that reason this record didn't reach higher climes in my list. Described by my girlfriend as sounding like a Killers album, there is a lot to be said for Wesley Eisolds' song writing - he sure knows how to write massive, dark synth-pop - as witnessed in tracks like 'Catacombs' and 'Underworld USA.' Where Love Comes Close had shades of early New Order, ...Light Years is the shiny pop of latter-day New Order a la 'Crystal', albeit loaded with gothic, quasi-religious imagery. Bookended by the machine-like precision of 'The Great Pan is Dead' and closer, the beautiful and fragile 'Villains of the Moon,' it makes for an interesting listen, but not as essential as previous material.

#24 - Three Trapped Tigers - Route One Or Die (Blood and Biscuits)
Three Trapped Tigers' Route One... really is something special. Somehow they manage to blend the key elements of Justice and Battles, with a lashing of Liars for good measure, and in the process successfully create a unique sound of their own. Rhythm plays a major part in the band's sound - as they are essentially a rock outfit, they give many electronic outfits a run for their money in the drumming stakes, and in terms of heaviness. Opener 'Cramm' gives a good indication of the albums overall sound, so start there and I'm sure you'll get hooked. 

#25 - Funeral Party - The Golden Age of Knowhere (RCA)
Funeral Party's major label début doesn't quite cut it for me. It's a good album, but as with Cold Cave above, it's the production that leaves me with a slight distaste in my mouth. Where their earlier 'Bootleg EP' was raw and a little rough around the edges, the recordings revisited on the full-length are just a little too clean. Early similarities drawn to the likes of At the Drive-In are embraced fully, with production being down to Mar Volta producer Lars Stalfors. Omar Rodriguez-Lopez even guests on 'Car Wars,' playing a pretty mental solo. I like this album, I really want to love it, and maybe with time I will, as their blend of post-hardcore and dance funk fills the void left since The Rapture went boring.

#26 - Brigade - Will Be Will Be (Home Spun)

Sadly, since releasing this record Brigade have thrown in the towel and called it a day, which is a shame as it’s only with this album, the bands third, they’ve come to my attention. Strangely they’ve been overlooked whilst many other bands of their ilk were pushed into the limelight. However, that injustice aside, this album is a great Brit-rock album in the vein of Hundred Reasons, Funeral for a Friend et al. Massive hooks, catchy choruses, had not to fall into this record. I recommend 'Eden' and 'Laughter Lines' as worthy places to start. 

#27 - Cut Copy - Zonoscope (Modular)

Standard Cut Copy fare on this, their third full-length. This record sees the Australian group push their sound into far more poppier territory than heard on their last LP, and at more than one point sounding like the 80s distilled. This is probably most explicit on ‘Take Me Over’ which in inarguably influenced by Men at Work’s ‘Land Down Under.’ Just listen, you’ll hear it. These 80s synths and new wave styling aren’t necessarily a bad thing though, if anything Cut Copy have benefited. 

#28 - The Joy Formidable - The Big Roar (Canvasback/Atlantic)

After a series of self-released singles and EPs, TJF got around to releasing their debut proper, and it’s not too shabby. Their album conjures up the likes of Sonic Youth, And You Will Know Us By The Trail Of Dead, and a plethora of post-grunge bands. Full of epic guitars and huge choruses – the fact they could hold their own when they toured with And So I Watch You From Afar earlier this year is testament to their talent. 

#29 - Art Brut - Brilliant! Tragic! (Cooking Vinyl)

You could ask why Art Brut are still plying their trade long after the NME have moved onto pastures new. Well, I’ll tell you the reason – it’s because Argos and Co. still know how to write a great tune – ‘Axl Rose’ and ‘Is Dog Eared’ being my picks of the litter. 

#30 - Algernon Cadwallader - Parrot Flies (Big Scary Monsters)

After how excited I was after hearing last years’ Fun EP, this album had a lot to live up to. Sadly the Philadelphian 3-piece don’t quite match the devil-may-care attitude that the EP had in buckets, and whilst there is no denying some interesting ideas on this here LP, Parrot Flies doesn’t quite do it for me.

&U&I at The Flapper 16/12/2011

With the biting cold outside turning the canal towpath to an icy death-trap, where better to be than deep in the bowels of The Flapper for Off the Cuff’s Xmas Party? Boasting four of the best local acts on one bill for a very festive £4, it was hard not to miss this one. Interestingly, I’ve seen more bands in The Flapper this year than any other venue. I dread to think how many hours I’ve spent stood in that gig room, but I’m trying not to think about it too much for fear I will go and work it out using some form of elaborate spreadsheet...

First up is Birmingham 4-piece Conquistadors, whose blend of angular guitars and chaotic alt rock song structures (which I like to call “The Birmingham Sound”) is the perfect opener to this evening’s show. Having seen Conks a number of times over the past couple of years, I’m impressed at how they keep their sound different and fresh each time. Their set seemed all to brief to me, but they did treat those who turned up early to a very interesting interpretation of Paul McCartney’s Christmas classic ‘Wonderful Christmas Time’, which whilst a little scrappy around the edges was bursting with Christmas cheer and enthusiasm. Here’s wishing the best for Conquistadors for 2012 – they deserve it.

Despite having come across the name countless times before, I’d never actually seen or heard The Cape of Good Hope before. Despite this, I went in with high hopes and I am pleased to report I wasn’t disappointed. Rarely would I say the focal point of a band is their drummer, however this is certainly the case with The Cape The band boasts two drummers, both of whom drive the band along and tease, nay, force you to move your feet. Funky post-hardcore in the vein of Dartz!? Something like that. One blast of 'I Saw Something Dead Floating' or 'I'm A Little Bit Evil' and you'll know what I mean. Highly recommended, and a band I hope to catch live again soon.

Shapes

Next on we have Shapes. One of Birmingham’s more popular exports, I’ve always had trouble getting into them. Considering their pedigree (tours with Glassjaw, releases on Big Scary Monsters), you'd think I'd be totally down with it, but the problem I find with Shapes is that their music lacks real hooks – nothing really pulls me in. I haven’t heard their début LP yet (‘Monotony Chic,’ released earlier this year), but maybe I just haven’t had that eureka moment and until then I won’t get it! In Shapes defence, you can't fault their musicianship – they can play, and can play hard - it's just not for me.

&U&I

&U&I take the crown for being my most seen band of 2011, and also one of my favourite live acts of the year. The band’s impressive work ethic resulted in a cracking debut record – Light Bearer – and tonight, despite a few technical hitches,  the songs from that record really shine. 'Belly Full of Fire...' sounds particularly fine this evening. The band appear in quite a reflective mood, dedicating older material from  last year's EP to fans who have been there from the start, and I can't think of a better time to do so. These three guys have slogged it out since the untimely demise of Blakfish, and have come back far stronger than many would have imagined. A Christmas show wouldn't be a Christmas show without some crazy Crimbo guitar antics, and atop the bassist from Shapes’ shoulders Thom gives Brian May a run for his money by soloing out  'We Wish You A Merry Christmas'. ‘Chancer’s Paradise’ brings the night to a climatic conclusion, but not before seguing into ‘I Wish It Could Be Christmas Every Day.’ If it means that there are more shows like this then I'll have no choice than to agree.