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Aurora by Daisy Jones & the Six Tom Radigan 25 May 2023 It’s time to dive back to the 1970’s and focus on a group that everyone forgets which is Daisy Jones & the Six. If anybody is unfamiliar with this group then you probably are living under a rock. But in case you need a refresher this group featured Billy Dunne on lead vocals with his brother Graham on guitar, Karen Sirko on keyboards, Eddie Roundtree on bass, & Warren Rojas on drums. They released a sensational self-titled debut album as the Six. However Billy Dunne would enter the famous Rock ‘N’ Roll tale we all rock fans are too familiar with which includes sex, alcohol, drugs and infidelity but in a lot of cases that’s the sign of the end for a band and it can only get worse from there but in this case it was the beginning and the success they already had was nothing compared to what they would eventually receive. After Dunne’s addiction, the record label didn’t want to take a chance on the Six. However their record producer, Teddy Price felt they needed a new addition to the already established group and that was singer-songwriter Daisy Jones. Jones was not at all a star or sensation but she was the ghost writer of the hit “Stumble on Sublime'' for the singer, Wyatt Stone. It has been well known that Stone ripped Jones off and did not give her any credit for her contribution. Price decided to let Daisy contribute to Dunne’s new composition “Honeycomb.” Dunne did not approve of this but Price knew what he was doing and it worked. The song later became known as “Look At Us Now” which led them to create their well known album Aurora and the rest is Rock ‘N’ Roll history. Ok by now if anyone that is reading this and is up to date with their anticipated television series then congrats for you. If you really are unbelievably surprised you don’t know this group and think you are misinformed with pop culture, well the answer is your correct but you’re even more misinformed with your pop culture facts than you think. So obviously this group does not exist and it was just a TV series so let’s get serious with this review. So Daisy Jones & the Six is a series that was released, March 3rd of 2023 on Amazon Prime. It was based on the 2019 novel of the same name by the author, Taylor Jenkins Reid. In regards to the tv miniseries, it is filled with cliches and can be very corny at times. There is not much originality or anything new added to the table. I somewhat can’t believe how for an anticipated series there is no new flavor and we are stuck with the same formula for any movie or story about a fictional famous rock band dealing with the same tropes such as drugs, sex and egos. The problem is they are trying to show toxicity and tension with a band when really the only tension is between the main leads of the show which are Billy Dunne and Daisy Jones. There is other drama with the other fictional band members but it doesn’t affect the music in any way unlike Dunne and Jones’s drama because they are the lead singers and songwriters. If anyone has no idea who they are based off of and what type of album this pays homage to then you really do live under a rock. But in case you don’t know, I will spoon feed it to y’all. It is based on the actual legendary band of the 1970’s, Fleetwood Mac and their album Rumours. Now the difference with the albums Rumours and Aurora was that even though both albums focus on a lot of tension and drama, the drama that was happening with Fleetwood Mac was all over Rumours. So for instance when you watch the series you probably get the vibe that Daisy Jones is like Stevie Nicks, Billy Dunne is Lindsey Buckingham, and Karen Sirko could be seen as Christine McVie. However for Aurora, the contributions in songwriting and lead vocals are just mainly Dunne and Jones. When for Fleetwood Mac they had 3 main lead singers and songwriters which were Nicks, Buckingham and McVie. McVie’s tension was with her husband and bass player of the group, John McVie. The rockiness of their relationship was used in the song “You make Loving Fun” which was about an affair McVie was having with the band’s lighting director. In the series Karen definitely gives me McVie vibes and especially her relationship with Graham pays a tribute and makes reference to the types of flings that were happening inside the group. Why don’t we now finally dive into the song that makes up the album that is called Aurora. So the title track is the opener of the album and it starts off with an up tempo guitar riff and then the harmonies of Daisy Jones and Billy Dunne emerge with the structure of the tempo. It sort of reminds me of “Suite Judy Blue Eyes” by Crosby, Stills & Nash and the way it is used as their opening track on their debut album because it opens your ear to hearing the beat of a faster tempo that does have rhythm and feel to it which is similar to the pace of“Aurora.” I do have to talk about the actors that make the two stars of this group come to life and that is focusing on Riley Keough as Daisy Jones and Sam Claflin as Billy Dunne. What is even more interesting to know is that both of them had very little to no musical experience. So to hear both of them sing in perfect harmony and really wail on these tracks really gives a type of magic and proves that anything can be possible if you put hard work and dedication into your projects then you will see the progress of positive results. I find it interesting how Keough’s vocal range changes during the lead and backing parts throughout this song. Her voice can be a mixture of pop rock, folk rock and even soul. You can understand what critics say when Riley Keough can sing, especially when you hear this song. I mean what do you expect when you're Elvis’s granddaughter? You probably are going to inherit a natural talented voice. I definitely wouldn’t be surprised if she decides to cut her own record and definitely think she should. On this song I really feel the commitment Keough and Claflin give to the harmonies. It brings a lot of intensity and it reminds me of something Linda Rondstat said in an interview of how singing with someone is so intimate and almost is like having sex with someone. I can feel that from both of them on this song, and even on “More Fun to Miss” and “Look At Us Now.” Now let's dive into both of those songs starting with “More Fun to Miss.” On this song Keough puts a lot of oomph on it. I think this song represents and reminds us of why Keough who hasn't been a singer all her life could naturally just belt out a bunch of soul and I think it could be the fact that the King of Rock ‘N’ Roll is her grandfather. The one thing I am not a fan of on this track is Claflin’s backing vocals. It is overproduced and way over the top. I do like the way they have him perform it in the series when there are scenes of them performing this song live in concert. You can hear him naturally and clearly too unlike the record version. I will say another thing that blew me away about Keough was that this was my first time seeing her act in anything but was blown away at her stage presence which once again shows a resemblance with her relation to Elvis. Natural charisma just runs in that family I guess. But getting back to the song, I feel it definitely has more of a rocking sound unlike any other song on the album. I think it even has similarities and a resemblance to Debbie Harry from Blondie. “Look At Us Now” is probably my least favorite song which is funny because it is supposed to be the lead single and the hit from the album. The ballad intro reminds me of Fleetwood Mac’s intro of “The Chain.” I mean I do feel Keough and Claflin establish a good blend of harmonies but this song is just average compared to anything else on it. Another similarity with the Fleetwood Mac song, “The Chain” would be the little instrumentation break that the band goes into which definitely I think was possibly an intentional homage to “The Chain.” I even see another resemblance to Fleetwood Mac on the folk rock style of "You Were Gone." I feel it definitely has similarities to "Landslide” Their harmonies on it even have the essence of Nicks and Buckingham. I feel it can even be compared with their song, “You Can Go Your Own Way.” They are in unison and you can feel the chemistry here with this fake band. They are able to create a friendly environment for listeners. I even feel this track can persuade people to be really into their music and even hope for more. In some ways the point of what the album proves to listeners is a type of beginning for Daisy Jones and the Six but would wind up becoming the end. The song “Two Against Three'' has an acoustic approach for instrumentation and has kind of an homage to Sarah McLaughlan’s style of singing. This is definitely a hit or miss track for me. There was nothing glamorous about this song but if it appeared suddenly on my car radio I wouldn't necessarily turn it off. An essential track on this album would have to be “KIll you to Try'' because I think this song does the best job at capturing the pop rock essence of the 1970’s California sound, with homage in style of groups such as of course Fleetwood Mac but also the Eagles and solo artists like James Taylor, Carole King, Joni Mitchel, Carly Simon, Bonnie Rait, and Jackson Brown. Brown also was a co-producer for this album alongside popular musician Phoebe Bridges. I also love the xylophone on this song and I think the outro harmonies that Keough does at the ending can bring some cliches and can be kind of tedious to a simple pop song but it brings a real beauty and flavor to the sound. “Regret Me” also is a good track that has a solid rhythm section and smooth vocals from Keough. Claflin and Keough do a good job remaining unison vocally on this track. I even like the line delivery of the last lyrics from Keough, especially when the music stops as she sings it. A hit or miss song for me on this album would be “The River. '' I can totally feel it is homage to female rock stars at the time like Stevie Nicks and Linda Ronstadt. The instrumentation doesn’t stand out and is kind of plain but it works for the song. I think the song that shows off Claflin’s voice would be “Please.” Now I will say I don’t think he has as much of a soulful voice that Keough does and does not have the roughness she has but he has got more of a soft timbre and I will say that this is his best vocal track. My favorite vocal performance from him overall in the series would have to be the songs that aren’t on the album and are during the time before the Six meets Daisy Jones which would be “Look Me In The Eye” and their cover of “Have Love Travel.” “No Words” which is the last track of this album has a lot of similarities to the ending track of Rumours with Stevie Nicks’s composition of “Gold Dust Woman.'' Especially with the same type of tempo and instrumentation. Keough’s voice could definitely be compared to Nicks for this. When you hear it a few times you definitely get the vibes of that Fleetwood Mac song and what’s funny is they use “Gold Dust Woman” in an opening scene in episode 9 and I won’t spoil what happens in case some people haven’t seen the series yet but when I listened to it I thought that it was their original song playing but that shows you how similar both of these tunes are. The problem with this song though is that it’s very monotonous. There is a gap in the middle and then when they get back to the melody it is so repetitive to the point where you think the song is on loop and restarting. This track also makes me lose interest with the harmonies from Keough and Claflin. However I will say the vocal blend from Keough is able to remain soothing throughout the track. Overall I will say this album has grown on me. Is it the snazziest album out there? No, but it definitely has entertaining songs with some good hooks and vocal parts. The instrumentation also does a good job at holding a person’s attention. The songs aren’t masterpieces and do not compare to the impact Rumours have had on music but it is a decent record and I definitely would advise people to check it out.

Once Do It With Feeling by Candy Coffins Northern Wanderer 25 May 2023 South Carolina's Candy Coffins rears their beautiful head on latest album 'Once Do It With Feeling' South Carolina-based postpunk outfit Candy Coffins presents 'Another Kiss', the latest offering from their 'Once Do It With Feeling' album. With Cure-esque textures and melody, thematic elements and the visceral delivery of The Afghan Whigs, this 10-track collection showcases their best work to date, chronicling a relationship from the onset of the first crack to its complete crumbling dissolution. Right up the alley of music aficionados, who love The Cure, Psychedelic Furs, Afghan Whigs, Echo & The Bunnymen and TRAITRS, this is an album of lush instrumentation and sombre storytelling. Their gothic post-punk vortex engulfs you. Poignant vocal melodies swoon amongst soft guitars and expansive synths to craft a song that will continue wandering the sonic corridors of your mind Songwriter-singer Jame Lathren takes a deeply introspective turn on the treatment for the video, culling through literally thousands of photographs to present both the beauty and the sobering timeline of life. While the video appears to be very personal, it is one with which all of us can closely identify. Just as with life - the pivotal moments are captured, and the longer it goes on, the faster the pace seems. “I love all the songs on the album, obviously - they’re my babies, but 'Another Kiss' is so special to me. I love the dynamics of the song and the brevity of, yet how impactful, the lyrics. But truly I love this song so much because the band, along with producer/engineer John Furr, were able to create what was in my head so closely - the sonic juxtaposition of the prelude to and the actual event of losing control. And many times that’s what artists are chasing, whether it be film, physical art mediums, or music - it’s that vision in your head. That’s what I am always chasing and this song gets there," says James Lathren. “Ever since this song was written, I have envisioned a video that presents life on a timeline with the pressing urgency that comes with time seeming to move faster as one ages, as we all experience. I was elated (and a little surprised) that I was able to get that vision pulled off so succinctly, yet eloquently, in my opinion.” Mixed by David Barbe (Drive-By Truckers, Superchunk, Deerhunter) at Chase Park Transduction (Athens, Georgia), the 'Once Do It With Feeling' album was Produced and engineered by John Furr (E.Z. Shakes, Flippants) at Pow Pow Sound (Columbia, South Carolina). 'Another Kiss' follows the short film for 'Tangled Up In Teacups', the third act crescendo of a relationship in a tailspin with an urban ballerina-themed video produced and directed by The Pierson Collective. Earlier, the band previewed lead singles 'Every Day A Fresh Atrocity' and 'Seaside Girls'. Vocalist, guitarist and songwriter Jame Lathren formed Candy Coffins in 2018 in Columbia, South Carolina. A cultural outcast, his resilience, sensitivity and hyper-awareness of his emotional state would ultimately permeate his own music, getting right to the heart of the emotions surrounding the human condition. After disbanding his band Crown The Cake, he formed Candy Coffins with hometown guitar legend Tom Alewine (Bachelors of Art), followed by seasoned bassist Alex Mabrey, keyboardist Justin Purdy and drummer Jonathan Bradley (Iron & Wine). With dynamic and textured approach, the band's trademark lush sound bolsters Lathren’s emotive songwriting and delivery. With tasteful nods to Joy Division, The Cure, The Psychedelic Furs, The Afghan Whigs and The Cult, as well as The Brian Jonestown Massacre, Spiritualized, Black Rebel Motorcycle Club and Interpol, Candy Coffins’ sound is dark and emotionally restless, but with elements of hope and elation. Defiantly unique, their sound is a welcome respite from musical mediocrity. The 'Once Do It With Feeling' LP is out now and is available everywhere digitally, including Spotify and Apple Music. It can also be ordered directly from the artist via Bandcamp at Bandcamp https://candycoffins.bandcamp.com TRACK LIST 01. Every Day A Fresh Atrocity 02. The Falling Man 03. Seaside Girls 04. Abject 05. Tangled Up In Teacups 06. French Exit 07. Another Kiss 08. A Victory Like This 09. Cold Crypts 10. Peel Off The Stars

Bosola Launch New EP Thomas and Judas Do No Harm, Take No Shit: A Vulture Wake New Age Healers Tease Their Fourth Album Revolution Above Disorder Aurora by Daisy Jones & the Six Tom Radigan 25 May 2023 Once Do It With Feeling by Candy Coffins Northern Wanderer 25 May 2023 Moondog Matinee by The Band Tom Radigan 1 Mar 2023 Did you know that HMV still exists? Yeah, me neither. Turns out that people still buy CDs from their high street. Who knew! Well, if you happened to be wondering past the Bristol branch earlier this year and you heard an audial soup of overly reverbed guitars, characterful synth play and distant yet commanding vocals spilling out on to the concrete, you may well have witnessed one of the very first official outings of local two-piece Kodomotachi. Kodomotachis First Demos S3Interlude2 Som Wardner In this very special interlude Chris sits down with his dream guest, My Vitriol's Som Wardner. They discuss the bands roots, Som's early influences and much more. Matt, on the other hand, has been looking back at Windows 96, exploring Japanese Jazz fusion and considering contacting Prince. Seriously, don't miss this one! SuperfanCast is the music podcast that puts the fans first. Each episode we interview a self proclaimed superfan and discuss their love for and relationship with their favorite artist. We’ve talked tattoo’s, exclusive rendez-vous and failed kidnap attempts and we’re only just getting started. Subscribe now to always be up to date with the latest from SuperfanCast. SuperfanCast is a product of SuperfanNews - Your Voice, Your Music Media Superfan News & Reviews is music media for the fans by the fans . Create a free account and submit your own music reviews in seconds. The music world wants to know what YOU think. Log In Unlovable by Beach Weather Aaron Meeks 19 Aug 2022 Laryngitis & Getcha by Won't Say Rabbit Muse BeeLove 29 Jul 2022 Gary Hoey Live at TCAN, Natick MA Ira Sperling 28 Jul 2022 Behave Myself by She Drew The Gun Chris Peters 8 Oct 2021 What Is Glitchcore? Aaron Meeks 6 Aug 2022 The New Home Of Independent Music Reviews? Aaron Meeks 5 Aug 2022

Moondog Matinee by The Band Tom Radigan 1 Mar 2023 When you think of the Band’s 1973 release, "Moondog Matinee," of course at first you might say this could be just an excuse from a prominent rock group of the 1970s to release an album filled with more covers than originals but really it’s not your typical nostalgia album that contains old mainstream rock songs from the past two decades. It would not be considered an oldies album to me when I listen to it. There is more of an authentic theme to it than we might think. It is a celebration of black music. Each of the nine songs, excluding the instrumental, were all originally done by black vocalists. It is a celebration of the music that they laid the groundwork for and pioneered for generations to come. With this year marking the 50th anniversary of this album, I thought this would be a perfect time to talk about "Moondog Matinee." Even though the style is bringing the roots of original rock ‘n’ roll into it, there are elements that the band uses to make this an original album and a different spin on a tribute to those oldies but goodies. It took five people to make that type of musical magic the band did. Levon Helm as the drummer, Rick Danko on bass, Robbie Robertson as lead guitarist, Garth Hudson on the organ and Richard Manuel as the piano player. What also was a key ingredient in the Band’s formula was Levon, Rick and Richard being the lead singers of the group. Robbie as the creative genius and songwriter, and Garth holding all the pieces together on his lowery organ and being the multi-instrumentalist using instruments such as the tenor sax, clavinet, synthesizer and accordion. The title of this album is a reference to the legendary 50’s disc jockey, Alan Freed, who was known as “The King of the Moondoggers” and used that in his rock shows that he would put together such as the “Moondog Coronation Ball.” The album features songs from the 1950’s and 1960’s. What I feel really makes this album authentic is their choice of the 60’s songs they use. I feel it especially has to do with them starting out as the Hawks which were the backing band for rockabilly musician, Ronnie Hawkins. When the Hawks departed with Ronnie in 1964 they went out and performed as Levon and the Hawks before they teamed up with singer-songwriter and legend, Bob Dylan. The original concept for this album was just going to be a recreation of their setlist of songs they did as Levon and the Hawks. However it shifted into just doing a tribute of songs the band admired. This was their fifth studio album. It definitely was a different type of outcome unlike their first two albums, "Music From Big Pink" and "The Band," which have been claimed to be the best in their catalog and also both are praised highly by music critics and are in the 2003, 2012 and 2020 edition of Rolling Stone Magazine’s, “The 500 Greatest Albums of All Time.” The albums that followed after such as "Stage Fright" and "Cahoots" were also songs made up of original material. "Rock of Ages" was their live album that they put together which really proved their impressive stage presence and also got us to not only hear their studio songs live but hear some new material not on their previous albums such as “Get Up Jake” and Garth’s swan song, “The Genetic Method.” What is the most notable track on that album for me though has to be their uplifting groovy rendition of Marvin Gaye’s “Don't Do It.” So Moondog Matinee definitely reminded fans that when they do covers they can really make it their own. But yes it can also show an alerting sign to fans when an established rock group releases four albums with fully original material and a killer live album then heading in the direction of an album full of covers. People could think they could be on the verge of slipping. In all honesty the Band was in crisis mode with Levon, Rick and Richard getting high on drugs and it was even more concerning considering they were the members that were the heart and soul of the band. In an interview that was done back in 2002, Levon talked about why "Moondog Matinee" was the type of album it was. “That was all we could do at the time. We couldn't get along—we all knew that fairness was a bunch of shit. We all knew we were getting screwed, so we couldn't sit down and create no more music. 'Up on Cripple Creek' and all that stuff was over—all that collaboration was over, and that type of song was all we could do." I think this statement represents the bitterness that Levon apparently claimed to have over the years when reminiscing about the Band. Even though they were known to the public for five years at this point they already had been playing together seven years prior to that so this was really the only thing they could cook up. This album doesn't really fail the public's expectations, in my opinion. It is possible that it is due to the fact that they were established musicians and that with the force of their talent they are still able to put out a top notch record. So for now why don’t we dive into the songs that makeup "Moondog Matinee." The songs that include the memorable 50’s songs would be Levon’s rocking style of “Ain’t Got a Home” originally done by Clarence “Frogman” Henry, their tribute to Fats Domino’s “I’m Ready” and Richard Manuel’s soft version of The Platters’s “The Great Pretender” but the real memorable track would have to be their cover of Junior Parker’s “Mystery Train” which was also of course done by Elvis when he was with Sun Records. The band really adds a lot of funk to their version of “Mystery Train” and is the only song that adds lyrical originality with Robbie Robertson writing additional lyrics and with these new additions actually includes Levon singing the title of the song which is not at all heard in the original. They also do an instrumental of the theme of the 1949 film "The Third Man." This version on the album shows a sophistication of the band instrumentality and also showing a diverse taste of not just picking the classic teen records of that era. I also do enjoy that the Chuck Berry song they use is more of a recent one and not the classic 50’s songs every kid knows like “Johnny B Goode” or “Roll Over Beethoven.” Levon’s homage to Berry is shown clearly in the 1964 country rock, “The Promised Land.” They also included Allan Toussaint’s composition, “Holy Cow," originally done by Lee Dorsey back in 1966. This song represents that fun dynamic with Danko, Manuel and Helm, all singing and blending their vocals and rotating parts. Also of course like every Band record, Garth Hudson really is holding the group together with his organ work and unique sound that you’ll hear from each song on this record. Of course what I also can’t wait to listen to when I listen to an album from the Band is hearing songs sung from Richard Manuel. Levon definitely had some great soul but I feel a lot of people overlook Richard as a dominant singer of the group. Whether he is changing his vocal range from doing very gritty soul to plain high falsetto or just being able to gently sing a ballad. There is no greater example on this album than his rendition of “You Don’t Share Your Love With Me.” This was originally done by Bobby Bland who also was credited at having different vocal ranges too. The way Richard is able to add his own flavor to this tune and really put his heart and soul to it says it all. Richard is able to get you so wrapped up into this song and bring so many layers into it. He sings this song like it's one of his own compositions like “Tears of Rage'' or “Lonesome Suzie.” This song was done in the peak of Richard's heavy drug and alcohol use and even through all of that pain he is able to bring a sense of beauty to listeners. He still is able to show the world and his bandmates that he still has that charismatic voice. Sadly his demons did catch up to him and eventually commited suicide in 1986 but this song and any other after he did still showed that even though he was going through a ton of pain he was able to still put on a hell of a performance and convince people and even himself that it was all ok. I mean that is a true magical talent there and when you look at it from that perspective, how can you not think of the heavy impact a wounded bird like Richard could bring to music? That is why I will be transparent and call him one of my favorite white soul vocalists because he brings so much vulnerability and can put listeners into such a trance. Another example that shows his full force would be his fast pace rock gospel version of Lieber and Stoller’s “Saved.” His version makes you forget that this song dates back to 1960 and is able to just instrumentally expand a rock tune. Richard is able to channel the charisma and oomph that Lavern Baker put in the original version. And the song that wraps up this album and will wrap up this review is Rick Danko’s soulful rendition of Sam Cooke’s “A Change is Gonna Come.” This song was released near the end of their days as just Levon and the Hawks. Then later of course they played with Dylan. Dylan actually plays a heavy role in Sam Cooke’s “A Change is Gonna Come.” Cooke was so moved by Dylan's work, especially “Blowing in the Wind" in which he did a version of it and then later wrote his own inspirational song about the troubled times which of course became “A Change is Gonna Come." It later became a civil rights anthem. Rick is able to do a hell of a job channeling Cooke’s vocal insecurity and emotional sadness about a topic that still resonates with people to this day. Even the instrumentation stands out with Garth's noticeable contributions on the lowrey organ and his tenor sax solo adds so much beauty to this beautiful standard. Rick is another vocalist in the Band that does not get the credit he deserves but is able to bring a soft but soothing flavor to this melodic song that has so much of an impact on music and even the world. To wrap up my review of this album, I would have to say it is an ear worm to listen to. After getting really into the Band’s catalog, I have made the conclusion there really is no bad Band album which is similar to the argument that there is no bad Beatles album. It has a different vibe for sure than the other albums but they are adding something different and not just recycling old songs. They are able to make you really care for these renditions and are able to bring that band magic that only could be made from Garth, Levon, Robbie, Rick and Richard.

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Kodomotachis First Demos Chris Peters 15 Oct 2022 Did you know that HMV still exists? Yeah, me neither. Turns out that people still buy CDs from their high street. Who knew! Well, if you happened to be wondering past the Bristol branch earlier this year and you heard an audial soup of overly reverbed guitars, characterful synth play and distant yet commanding vocals spilling out on to the concrete, you may well have witnessed one of the very first official outings of local two-piece Kodomotachi. I once caught former England football manager Glenn Hoddle doing a book signing at an HMV so I can confirm they are definitely willing to break the mould when it comes to hosting. Kodomotachi’s appearance, however, is something far more interesting since at the time of writing they still only have a 10 minute demo available and have not begun gigging in earnest yet. To be at this point in their journey and still managing to land an in-store performance at a branch of the UKs largest music retailer suggests we should probably be paying attention. So let us catch up. Kodomotachi translates from Japanese as ‘the children’. They’ve gone and duped you again though. This duo are not naive teens messing around on their dad’s instruments. This pair are seasoned musicians bringing together their years of experience playing post punk, new wave and gentler acoustic work to create something entirely different and all together unique. They express a sound and style made possible only through their combined influences and interests as well as new approaches to instrumentation they hadn’t necessarily explored prior to Kodomotachi. On the (very electric) guitars and much of the vocals is Nick Moran. Moran has passed through a number of bands over the years but has been most notable as a singer songwriter with an acoustic guitar. He traded his acoustics for electrics a few years ago and has since been steadily sinking deeper and deeper into an ocean of effects. Anyone who knows me will not be surprised that I am thoroughly on board with Moran's sound. On Polythene, the first of two tracks on the accurately named Kodomotachis First Demos, he manages to permeate every inch of space with shimmering streams that provide a canvas for him to paint on top of. The foreground melodies are then played in a beautifully hopeful, chiming tone and are surprisingly minimalist which is all they need to be to build the tracks atmosphere. John Joseph Lynch provides the synths, drum machines, production and additional vocals for Kodomotachi. Much like his partner, Lynch is no newcomer to music, having been a member of the Sheffield based early noughties rock group Pink Grease. He has also performed solo under various guises and appears to be able to play a different instrument each day of the week. The depth added by Lynch's production masterfully clouds any hint that this group is only two members. The layering of the vocals and the way they are treated is key to the groups sound as is the analogue synth effects that are really taken for a spin on Impossible Boy. Kodomotachis First Demos is available on Bandcamp now as a taster of what's to come. They are currently planning a run of live performances so follow them on Bandcamp or at facebook.com/nicholassimonstantonmoran to stay on top of dates and venues. As an introduction to this intriguing new project 'First Demos' is infuriatingly short but equally pleasing. If Ride and The Velvet Underground got together and took a lot of Ketamine they might produce something not dissimilar to this and as far as compliments go I think that's a pretty big one. With that in mind, I strongly suggest you give this a listen and maybe keep an ear out for Kodomotachi in the months and years to come.

Bosola Launch New EP Thomas and Judas Chris Peters 4 Oct 2022 It’s not often you find a band that blend genres so seamlessly that they seem to define their own. To do that as a three piece and still create layers and depth worthy of a group twice their size is even more impressive. Bosola have been refining their unique alternative rock with dreamy elements and jangly guitars for the last couple of years and are currently celebrating the release of their second EP Thomas and Judas. To mark the launch Bosola will be playing a one off headline gig at The Lubber Fiend in Newcastle this Saturday October 8th. If you find yourself wandering the North East this weekend itching for some loud music you should definitely make your way there. Listening to Bosola pulls the listener in so many directions with their style and approach. Tim Cox's expressive lead vocal has a personal quality to it as well as a subtle punk influence bleeding through, particularly on the slower numbers. In the heavier sections the guitars sound way more numerous than seems possible for a three piece with hefty, chugging chords contrasting with dreamy picked sections melting through reverb. The rhythm section displays equally impressive flexibility with playful basslines underpinning most tunes and Andersons drumming stitching everything together yet still finding time for cheerful little fills at every opportunity. Superfan News caught up with Tim Cox earlier in the week to discuss Bosola, the new EP and what we can expect from them in the coming months. SN: So how did you end up making this wonderful music together? TC: [Myself] and Pete were playing songs as a folk duo before lockdown and decided during the pandemic to give the band thing a go and it's escalated from there. Emma came on board after we recorded the first EP and we have been a three piece ever since. We all bring our own musical influences to bear on Tim's songs and we take influence from The Smiths, The Replacements, The Coral, St Vincent, Kate Bush and Bob Mould. SN: You’ve just released your second EP, Thomas and Judas. Did you approach this one any differently to your debut release? TC: Well there were some similarities - the same producer, James Haselhurst and the same studio, Grain Studios in Byker, Newcastle - but the difference is largely that we had rehearsed some of the songs before recording them and Emma is on drums in this one. This EP tilts towards a more alternative rock feel than the first which draws more on an Indie Folk/ Britpop vibe. Playing together has given us a different energy and this EP was recorded in Summer 2021 so it feels really eclectic as we hadn't quite developed our sound at that point. Still I think it's a solid EP and the singles have had a good reception so far and have provided the launch pad for our plans going forward. SN: Who’s the brains behind the fantastic cover art you have for Thomas & Judas? TC: I'd like to say it was me but we worked with a graphic designer called Graeme 'Chappy' Chapman who works under the moniker 'Limited Output'. It's important to us that the aesthetic matches the mood of the tracks so it works as a coherent piece of art. Lots of people seem to like it! SN: What’s the live music scene looking like in and around Newcastle these days? Has it been affected much by the events of the last few years? TC: It's looking pretty lively I have to say. Lots of new bands and some new venues popping up all over the region since the end of lockdown. It seems like people were writing songs during lockdown and are getting out there to play them. Putting on gigs can be frustrating as people wait until the last minute to buy tickets so it's always kind of hair raising being a DIY band but I think that's the case across the country to be honest. All in all guitar music is in fine fettle in the North East of England. SN: You have an EP launch at The Lubber Fiend in Newcastle this coming Saturday. What can people expect from Bosola’s live performance? TC: Our gigs tend to be sweaty and raucous. Saturday will be no different but we will be dipping into our deep cut repertoire so the acoustic guitar will be making an appearance. SN: What’s on the horizon after this release? Will you be returning to the studio or the venues for the remainder of the year? TC: We have a new single ready to go which we recorded earlier this year so we will probably release that. That's called 'Worth the Wait' and we are looking at getting into the studio to record some new demos. Our sound has changed a lot since we recorded 'Thomas & Judas' and so we are excited to get back in to the studio. Live wise we have a few gigs lined up before the end of the year. In October Tim is supporting Ren Lawton on the London date of his tour at Camden Chapel on the 20th October. Then we play the Mosaic Tap with Oddo's Gaze in Newcastle and then we play Ghost Signals' No Shit Xmas parties gig in Gateshead on the 10th December. Find Bosola on bandcamp at https://bosola.bandcamp.com/ and purchase their new EP from Deliberator Records at https://deliberatorrecords.bigcartel.com/

Gary Hoey Live at TCAN, Natick MA Ira Sperling 28 Jul 2022 Singer/guitarist Gary Hoey has been around the block more than a few times. Emerging in the early 90s as an instrumental shredder, the Lowell MA native scored a Billboard #3 Rock hit with his cover of Focus’ Hocus Pocus. Since then, he’s added vocals to his repertoire, delved deeply into the blues, toured extensively with guitarist Lita Ford and become the music director for Rock And Roll Fantasy Camp. He is also the creator of the much loved Ho Ho Hoey series of holiday shows, where he uses rock guitar stylings to reimagine Christmas classics. Hoey recently performed at The Center For Arts At Natick, a lovely small theater with great sound and chill ambiance. Taking the stage as a power trio with bass and drums, Hoey took the house on a musical journey. Mixing classic blues (Going Down) with original blues compositions, iconic surf tunes (Pipeline, Penetration) and eclectic covers (Tom Cochrane’s Lunatic Fringe, Low Rider), Hoey’s guitar and vocal chops are as sharp as ever. Hoey also brought his son Ian, a solid guitarist in his own right, on stage for some father/son blues jams. It was easy to clock the pride on Gary’s face as Ian took off on some blues flights of fantasy. The family vibe was strong for this show. In addition to everything else, Hoey is one of the most humble and appreciative entertainers in this man’s experience. He’s constantly thanking the crowd for coming and always manages to name check members of the armed forces at show’s end, playing the Star Spangled Banner as the show comes to a close. Short story: if you love instrumental shredding, blues, surf and rock guitar from a man that’s truly thankful you’re spending your hard earned money with him, Gary Hoey is your guy. Plus, he live-streamed the show so his mom could watch from home. How can you go wrong? www.garyhoey.com

Three Sides of One by King's X Primus Tracks 24 Sept 2022 Oh, what a glorious return, 14 years later, of King's X. A band's band by any measure, the group has legions of big-name admirers, yet has largely remained out of the mainstream for much of its career. To be certain, Dug Pinnick, Ty Tabor, and Jerry Gaskill have remained active numerous side projects between (and in place of) King's X record cycles over the years, and the creative time away from one another is realized on Three Sides of One, a title representing the group's individual personalities as parts of the whole of King's X. The standard King's X sound and vibe is there - Dug is unmistakable, Ty's idiosyncratic guitar tone remains the envy of many, and Jerry's quick-twitch drumming keeps the tracks driving. However, the band finds new wrinkles in their signature sound, starting with the driving pair of "Let It Rain" and "Flood Pt. 1" - guitars more detuned and chugging than usual, strings and keyboards around the edges, some team percussion, and even a false ending to "Nothing But The Truth". These little things capture the attention of the seasoned listener, but it's also a joy to hear the band's riffing and signature vocal melodies again after so long away. Ty and Jerry's harmonies support Dug's soulful lead vocals throughout the album. Further, this latter-day display of power tells us the band still has something worthwhile to give, and it's a pleasurable reminder that, whether it's an up-tempo rocker or a contemplative ballad, hot damn can these guys write and play with the best in the rock world. Stray observations: -Longtime fans will be happy to hear background vocals from Wally Farkas on numerous tracks. -Clean production from Michael Parnin gives everyone room to shine -Album notes indicate this record was at least three years in the making. Well worth the wait. Standout tracks: Let It Rain, Give It Up, Watcher

Unlovable by Beach Weather Aaron Meeks 19 Aug 2022 When I was a teen I pretended to play in many different bands. Or most of them were the same band on a different day. Most of my pretending was on guitar but I also pretended to be a lead singer. I do know how to play guitar and sing but I say pretending because none of us really knew what we were doing and you could sooner call us an all girl championship curling team than a band. One time we didn’t have a microphone but we discovered that a pair of headphones plugged in to the mic jack did the job. A pair of headphones obviously isn’t designed to be used in this way so it sounds distant and distorted and very cool. Is there a point to this story? I'de like to say yes but I guess you’ll find out at some point in the next five paragraphs. This week, during my usual trawl trough the new releases I came across the new single, Unlovable, from pop rock project Beach Weather. Don't get confused with Beach House and then spend 20 minutes looking up Beach House's back catalogue and wonder why this single sounds so different. That would be a waste of your time. Beach Weather is in fact a project of American singer-songwriter Nick Santino who has been releasing music under various names since 2006. I was simply drawn to this single by the supernatural, glowing silhouettes on the cover art. Unlovable opens with a wavy acoustic guitar, subtle retro sonar noises in the background and vocals sung through a pair of headphones plugged in to the mic jack (There it is!). The vocal melody doesn’t excite too much. The energy of the delivery reminds me a lot of Twenty One Pilots. That energy does increase with the chorus which comes in far sooner than you’d expect. I would have liked a longer verse or more drawn out structure. The chorus is brought in with stripped back music focused on the drums and sparing distorted guitar chords. In an unexpected turn a piano shows up at this point to provide a bouncy additional piece of rhythm. The post chorus centred around the repeated line ‘How did I get so damn unlovable’ is a much busier piece of music and I really like this step change from the intro. One thing this song has got a plenty is defined sections and a very clear structure. At the two minute mark we are rewarded with what can only be described as a guitar solo! It might not be very long or interesting but it meets all the requirements. That then unfolds in to the vocal bridge which brings us back in to the song proper. I like this segmentation and it also sticks in your mind far more easily. There is no grand crescendo for this song. After the final chorus there is a very purposeful stop. I appreciate the ending though and avoidance of a fade out. The production here is smart enough. The instrumentation is all identifiable and easy to follow but at the same time it’s surprisingly complex and the more you listen the more additional qualities you will pick out. Nick's voice has been treated well for this recording and is presented in a couple of subtly different ways in the verses, chorus and bridge. Sadly, the punchline I have been dancing around, is that I just don’t like the song that much. I cant speak for Beach Weather's entire catalogue, but based off this song alone I find the style to be a little too generic and just simply not offering me anything new or uncharted. If you are already a fan of Beach Weather or Santino's other work then this single might be up your alley but I don’t think it is a single that is going to draw in swathes of new listeners. Now I have discovered Nick Santino's existence though I will listen to something else by him before closing the door for good. Fingers crossed. Unlovable is available on streaming platforms now so take a listen yourself and hopefully it’s your thing.

Freaky Styley by Red Hot Chili Peppers Matt Crawley 13 Apr 2022 Red Hot Chili Peppers have had a well-documented tumultuous relationship with drugs. They are open about the dangers of substance abuse and how their lives are significantly better clean. All kudos to them. It makes it an awkward conversation then to say that the album Freaky Styley, recorded by the Chili’s while dealing with the influence of heroin and cocaine, is amongst their best work. Produced by Parliament/Funkadelic frontman George Clinton, (unquestionably a man of funk royalty), it was certainly in good musical hands, and showcases a band lightyears from the safely mild pop-rock band post Blood Sex Sugar Magic. We have a fabulously sleazy horn section (“Yertle The Turtle” particularly grooves), a sweetly soulful ensemble of backing singers, and Clinton’s unmistakable drawl ever present. Lead singer Anthony Kiedis warbles in a burly baritone (“Jungle Man”) raps and shouts (“Nevermind”) and howls like a monkey (“Black-eyed Blonde)”, giving vibes of a young Mike Patton (don’t tell Kiedis I said that…). Flea is always inventive and relentless with his bass, channeling The Brothers Johnson. Hillel Slovak’s guitars and Cliff Martinez’ drums fuse the dirt and pocket of funk with a punk attitude so unique to the early RHCP sound. It is a real shame they did not continue this later in the band’s life, but of course changes of lineup and lifestyle bring significant changes of music. There is a true old school funk sound throughout the album, and the similarities to Parliament are clear and proud for many tracks. We also get loud psychedelic rock peppered with horns and slap bass. The lyrics can be crass at times (“Catholic School Girls Rule”) and the humour often falls flat (“Thirty Dirty Birds?” What were they thinking?). Freaky Styley however is rarely dull, and spoils us with so many ideas, always with an electric energy that could power a city block. This is not the Chili’s as they are today, but is a fascinating snapshot of a very different band, and one that listeners may be surprised to enjoy.