The Teenagers – ‘Love No’Pulsating with sardonic adolescent lust, The Teenagers’ ‘Love No’ oozes with the pretension that would be expected from a trio of Parisians that hopped on the Eurostar for Capital Scene City, England.
It comes as no surprise that the band were conceived from a fake MySpace page for a fictional band; but the intrigue sold, the satire continues and the sinlges become evermore sarcastic. ‘Love No’ is about fulfilling as juvenile delinquents “sincerest” apologies that silently mocks with insolence. A stripped-down two chord Pet Shop Boys lo-fi thrash backed by Serge Gainsbourg inspired lyrics of broken youth poetry leaves an essence that is more velvet bed sheet porn than Velvet Underground longevity.
The Others – ‘Probate’ 
The Others’ rise to fame through association in 2004 was nothing short of a PR wet dream. At the time, London was burning with underground “talent” nestled within the wings of The Libertines’ eponymous scene of fad receptive youth. Lead singer Dominic Masters became somewhat of a spokesperson for urchin youth culture, publicising drug abuse, socialism, and lethargy, playing the role of a pied piper to the drones that wished to follow their antiestablishment “Gorilla Gigs”.
“Probate” continues to mark The Others’ emancipation from the central train of thought with the same obstreperous arrogance that they first unleashed on the class system. The result is a furiously paranoid nine minute rant of laboured punk proclaiming how “The future’s not bright, you see/You won’t get no fucking sympathy”. Masters is a man who will continue to suffer for his art, but now, more than ever, he sounds as if he’s suffering from the realisation of his own meaningless degenerate bleatings.
The Others’ rise to fame through association in 2004 was nothing short of a PR wet dream. At the time, London was burning with underground “talent” nestled within the wings of The Libertines’ eponymous scene of fad receptive youth. Lead singer Dominic Masters became somewhat of a spokesperson for urchin youth culture, publicising drug abuse, socialism, and lethargy, playing the role of a pied piper to the drones that wished to follow their antiestablishment “Gorilla Gigs”.
“Probate” continues to mark The Others’ emancipation from the central train of thought with the same obstreperous arrogance that they first unleashed on the class system. The result is a furiously paranoid nine minute rant of laboured punk proclaiming how “The future’s not bright, you see/You won’t get no fucking sympathy”. Masters is a man who will continue to suffer for his art, but now, more than ever, he sounds as if he’s suffering from the realisation of his own meaningless degenerate bleatings.
Dave Cloud & The Gospel Of Power – ‘You Don’t Need Sex’ 
Having roamed the Nashville scene for over 25 years with a drunken psychedelic garage poetry akin to the likes of Captain Beefheart and the age of love, the iconoclastic Cloud returns with “You Don’t Need Sex”, the first single to be taken from his forthcoming album ‘Pleasure Before Business’.
The scuzzy sixties garage deconstruction of MC5-esque heavy riffs, beats and two-tone vocal tracking creates a sense of fuelled sobriety and intoxication circa the hostilities of Iggy Pop, Tom Waits and Echo and the Bunnymen. In all, “You Don’t…” creates an anachronistic revelation of stalwart eccentricity with an unabashed lust for experimentation and integrity.
Having roamed the Nashville scene for over 25 years with a drunken psychedelic garage poetry akin to the likes of Captain Beefheart and the age of love, the iconoclastic Cloud returns with “You Don’t Need Sex”, the first single to be taken from his forthcoming album ‘Pleasure Before Business’.
The scuzzy sixties garage deconstruction of MC5-esque heavy riffs, beats and two-tone vocal tracking creates a sense of fuelled sobriety and intoxication circa the hostilities of Iggy Pop, Tom Waits and Echo and the Bunnymen. In all, “You Don’t…” creates an anachronistic revelation of stalwart eccentricity with an unabashed lust for experimentation and integrity.
Hard-Fi – ‘I Shall Overcome’
It’s impossible to even think that Hard-Fi’s first single of 2008 will not become a mainstay of the public domain after past efforts: whether that is aurally facilitating lager adverts selling conformity to a nation with an ever present habitual drinking problem, or penning a song to the tune of said issue to be played on every generic indie and drive-time play list going.
The fact is, Hard-Fi have forged a career steeped in irony and lacking in moral fibre; their ham-fisted attempts at Clash articulacy and reinvention of sound somehow sold millions in the form of their debut album ‘Stars of CCTV’. They have been happy to sell out from the start, and “I Shall Overcome” shows no change in behaviour for the self-titled demigods of suburban didactics.
Perpetually observing social disarray and fiscal worries for influences in no longer an issue for the ever snarling Richard Archer – he has money and a house with security now – so a lacklustre attempt at one’s own personal feelings have been long overdue and ultimately arrives with the excitement of a new family saloon: economic but functionally disappointing.
The Boggs – ‘Arm In Arm’
As one of the independent bands that helped create the “New New York” scene of 2001 along with the likes of The Rapture, Yeah Yeah Yeahs and Interpol, The Boggs’ “Arm In Arm” shows no willingness to repent towards traditions and the norn.
Taken from their forth coming album ‘Forts’, Jason Friedman’ raw recording techniques and artsy post-punk folk reverences endears towards the ear. A simple acoustic blues beat-down cascades into a phenomenal new-wave of throbbing Adam and The Ants drumming and scaled down Arcade Fire inspired instrumental fills leaving a lyrical lunar howl to drool over.
Team Waterpolo – ‘Letting Go’ 
Heralding from the culturally absorbing abyss that is Preston, Team Waterpolo have managed to ascend out of the city’s chasm with the aid some Avalanches-influenced pop hooks and samples with their debut single, ‘Letting Go’.
Combining the bright harmonies and art-pop structure of Franz Ferdinand with the esoteric sample simplicity of Kraftwerk results in something at first playful but lacking in substance; much like receiving the aural equivalent of a Sega Master System as a forthcoming Christmas present: the nostalgia will soon wear to become novelty.
Heralding from the culturally absorbing abyss that is Preston, Team Waterpolo have managed to ascend out of the city’s chasm with the aid some Avalanches-influenced pop hooks and samples with their debut single, ‘Letting Go’.
Combining the bright harmonies and art-pop structure of Franz Ferdinand with the esoteric sample simplicity of Kraftwerk results in something at first playful but lacking in substance; much like receiving the aural equivalent of a Sega Master System as a forthcoming Christmas present: the nostalgia will soon wear to become novelty.
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