THE BLOAKES – Kanye Westboro Baptist Church EP

the bloakes epIt’s hard to resist a release with a title like ‘Kanye Westboro Baptist Church’. Swedish combo The Bloakes clearly have a sense of humour, but take their music very seriously. Here are five men who are committed to taking their listeners back to a great musical past, while simultaneously keeping the sounds of psychedelia in the present, whenever that may be. Their music is unashamedly retro with some very obvious touchstones, but never ever lazy in its construction. The result is five songs that sound like a jam between The Beatles, Traffic, Primal Scream and The Charlatans, with a little Swedish prog chucked in the pot for good measure – and it’s bloody fabulous.

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THE LONG TALL TEXANS – The Devil Made Us Do It

long tall texans lpIn the early 80s, rockabilly music had a real resurgence. While Brian Setzer and The Stray Cats represented the commercial side of things, a year or two from their breakthrough, they were just one of about a hundred upright bass slappin’, retro haired combos tapping into a musical past. Boz Boorer’s Polecats, The Meteors and many others were making noises and The Klub Foot club became a hive of activity for fans seeking out these high energy sounds. 1982 also saw the formation of The Long Tall Texans.

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STRANGE MAJIK – Raised On Rock ‘n’ Roll

strange majik lpIn an unexpected move on his 2015 release ‘Lights On’, Strange Majik – aka David Pattillo – cast aside the raw blues of his band The Dead Exs for a deep voyage into funk and soul textures. The results were the very definition of “mixed bag”; while the music was often great, the variety of vocalists – and, rather more specifically, the inclusion of rap elements – meant some tracks worked far better than others, and it didn’t always connect with his existing fans. Taking a musical sidestep on 2016’s ‘Raised On Rock ‘N’ Roll’, it seems Pattillo has taken a long hard look at his musical past and crafted a record from the best of his findings. In many ways, it is the missing link between The Dead Exs and the first Strange Majik project. The funky edge and some soul aspects from ‘Lights On’ are firmly present, but the rap is cast aside. The end results firmly grasp the Santana-ish and Funkadelic grooves from that LP, but fuse them with a little blues and rock along the way…and with Pattillo handling all vocal duties, everything sounds like the funked up cousin of The Dead Exs, with some hard grooves delivered by a crack selection of back-up musicians.

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STUART MASTERS – Mystic Blue & The Black Balloon

mystic blue and the black balloonA virtuoso of the acoustic guitar, Stuart Masters creates a sound that’s been likened to Nick Drake and Syd Barrett. It seems odd that so many artistes would be compared to Barrett, given that his rather scant post-Floyd output borders on the disturbing. Aside from just about managing to string a few chords together, Barrett could all too often be heard mumbling through nonsensical lyrics he seems to only barely remember. This fourth release from Masters, the wonderful ‘Mystic Blue & The Black Balloon’, is nothing like Syd. It’s sometimes possible to hear why comparisons have been made to Drake, however, for Stuart is very fond of a finger picked style and almost pastoral moods – but the combination of his dexterous playing, loops and layered approach to most things is sometimes closer in spirit to another guitarist…and one from more recent times. It might be fair to say that fans of Matt Stevens will find an instant kinship with Masters and his complex soundscapes.

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THE GRAND – Incapacitated, Ill Fated and In Love

THE GRANDThe Grand’s 2015 full-length debut ‘Incapacitated, Ill-Fated and In Love’ pushes the band’s brand of indie rock into the dusty corners of the psyche, often setting out as much to unnerve as entertain. Such an appropriately named album: the ten tracks take the listener through states of confusion, denial, anger, spite, heartbreak and more general upset in about forty minutes than most could ever manage. From a musical standpoint, experiencing this album is like hearing Arcade Fire dropping in on some of the bleaker themes from John Grant and Richard Thompson’s lyric books…and it’s bloody great.

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