In an age where there are a billion singer songwriters out there and a little of Nashville rubs off onto so many of them infusing the rock and the pop with country (seemingly the only way some feel they can make the big time), it’s surprising to discover a performer from Nashville who isn’t quite so beholden to America’s core musical style. Step forward Hannah Fairlight, a woman who not only mixes 80s rock and 90s singer-songwriter styles on her 2015 release, but also revels in unfashionable 80s AOR moods that are quite unexpected. Wrapped up in a knowing title, ‘Bright Future’ cares not for fashion and in some ways should be all the better for that. However, it doesn’t care for consistency or honesty either.
In March 2017, retro rock band King Black Acid released their ‘Twin Flames‘ EP. Despite ’17 barely being a few months old at that point, it was clear that the EP was special enough to potentially be one of the year’s best releases. Bringing together the sounds of Crazy Horse, Band of Horses and more besides (not necessarily horse related), its three tracks dropped the listener into a twenty minute musical cycle that was both other worldly and pretty much timeless. If ever there were a great example of music being utterly satisfying, then ‘Twin Flames’ most assuredly fit the bill.
The King’s Parade perfected their craft on a cruise ship. They were arrested for busking in Leicester Square. They’ve been given recognition by the city’s resident buffoon/sometime mayor, Boris Johnson…but frankly, don’t let any of that put you off, since the good far outweighs the bad here.
It was fifty years ago today…that the world was first introduced to Sgt. Pepper. It’s hard to imagine, at this point, that there was even a time when the album didn’t exist. Whether you consider yourself a fan or not, for the past two generations the album has become omnipresent. Two generations of people have loved it and hated it, while those who have yet to hear the record itself will still be aware of it’s presence. Visiting a record shop, there’s a good chance that its technicolor collage artwork will be seen. It’s always there; for most of us, it’s always been there.
It’s May 2017. We’re approaching the halfway point of the year and supposedly knee-deep in a UK springtime. Not that you’d especially spot that by taking any more than a cursory look. For the better part of the past five months, the sky has decided to settle upon the lightly cloudy, with only occasional flashes of blue daring to break up what is otherwise a heavy, milky blanket. It’s also bloody cold; you might even dare call it wintry. In fact, on the surface, pretty much everything looks and feels more like a standard late October than a time that’s laying the groundwork for sun and optimism.
The slightly disappointing weather seems to have had an impact on The 1957 Tail Fin Fiasco too. Once a band guaranteed to bring some westcoast American sunshine despite working from a semi-secret location somewhere in the south east of England, their second full length release is somewhat moodier than expected. There are scraps of Steely Dan and remnants of The Doobie Brothers scattered throughout the ten tracks, except this time around, they’ve cast the net of inspiration far wider and come up with a record that’s steeped in loss and the feelings of what could have been.