‘I Inside the Old Year Dying’ is PJ Harvey’s tenth album, and her first in seven years. Throughout her career, she has always ensured that each phase of her progress has taken her somewhere new, but her latest music is audacious and original even by her own standards. Full of a sense  of a cyclical return to new beginnings, it combines its creative daring with a sense of being open and inviting, inthe most fascinating way. The new songs, Harvey says, offer “a resting space, a solace, a comfort, a balm-which feels timely for the times we’re in.”

And that intro from the press release is as good a place to start as any, I started listening to Polly Jean back in the time of 5OFT Queenie coming out, stocking Dry when I first opened my own record shop, have moved with her through virtually every stage of her career and watched and listened as every LP has unravelled each with their own personality each echoing a time in Polly Jean’s life making a statement from a snaphot, but always moving forward, the music itself constantly changing and adapting and very much as with people like Bowie and Nick Cave fans will be drawn to a specific era, a genre and sometimes not move forward with the artist happy in the now, unwilling to Embrace change, not something that can be levelled at artists such as Polly Jean.

So what does the LP give us again drawing on Polly Jeans words from the press release

” In the album’s liminal world, scattered with biblical imagery and references to Shakespeare, all these distinctions dissolve. “I’m somewhere where I’ve not been before,” Harvey says. “What’s above,what’s below, what’s old, what’s new, what’s night, what’s day? It’s all the same, really–and you can enter it and get lost. And that’s what I wanted to do with the record, with the songs, with the sound, with everything”.

Opening up with “Prayer at the gate” your instantly drawn into that world of Aural soundscapes faved by Warren Ellis and the Producer flood’s work really draws you in, this is a very different PJ Harvey, the voice an instrument in the whole rather than a lead. Next up “Autum leaves” has quite a Soulful almost funk feel in the backdrop, but the vocals push the song forward in a very different way almost sitting outside the music dipping into and weaving through the Sound. “Lonesome tonight” again has a very different feel a song that stops you dead and you just have to listen, the story unfolding takes me to a parallel with the Orianthi Poem written in old Cornish, this is probably my fave on the LP, it twists and turns and is I think one of the strongest PJ Vocal performances I’ve heard.

“Seen and I “ hints at past sounds but again the vocals move in a very different direction, the John Parish influence I think coming to the fore. “The Nether edge” weaves a very different soundscape almost industrial in its reverb and repetition, but again the vocals sit outside moving in and out, The acoustic guitar that introduces “I inside the old year dying” drifts away as that industrial soundscape takes over, the music changing and adapting to the story being told. “All Souls” enters almost hesitantly the piano and vocals overtaken as the distortion and reverb comes in. At this point you realise how strong the Vocals are throughout this LP I would definitely say this is one Of PJ’s strongest ever vocal performances,

Moving through the rest of the LP “A child’s question July” “I inside the old I dying” with its stop start animation led video, “August” with its initial Piano led soundscape, flows seamlessly into “a Child’s question July”which has an almost mystical feel weaving a fairytail picture, “A noiseless noise” finishes things up with again one of my faves of the LP tearing you back with power and intensity to earlier PJ Harvey works.

This is a powerful LP but in a number of ways, it holds your attention and is very definitely one to listen to all the way through, for someone new to PJ Harvey I’m not sure that it’ll set things up for you to explore the artists earlier work this Isn’t ‘Stories from the City’, ‘Is this Desire’, ‘Dry’ or ‘Pure’, its also a long way from ‘The Hope Six Demolition Project’ and ‘Let England shake’, but if you sit and listen you can pick up pieces from them all just re-interpreted. It might not hit you first listen, but stick with it I think it’ll creep on to my LP of the year list come December!!

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Author: Nev Brooks

For this gig, I have to admit taking a different tact and actually booking public transport (a Train ) , not once did I realise I was about to enter Dante’s Seventh circle of hell, the one full of miini demons, dressed in pink cowboy hats watching Tic Tok vids endlessly of the arch demon known to us as Harry Styles and discussing pilgrimages to see his Succubus Taylor Smith!!!! Yup I chose to travel the day after the Harry styles gig in Cardiff stadium, after Taylor Swift announced her gigs for the year, the only saving grace on the whole journey, apart from my phone and Exit_International Black Junk on full volume a message from the H-Bomb himself letting me know we had tickets for TSOL & MDC in the Exchange in Bristol. 

This was my first trip to Wolverhampton and to a venue (The Halls) now run by Live Nation  but seen as a centre-point on the Local Authority’s regeneration  of Wolverhampton. Not having seen the Venue before it still has an old school venue feel and an excellent sound system. 

Tonight was all about ticking off another of those bucket list artists never having seen Siouxsie before and being honest I approached it with a bit of apprehension having seen some of the usual phone recordings of earlier shows on this tour. I needn’t have worried from the start things were almost bang on, as the intro of Camille Saint-Saens carnival of the animals drifted away the night kicks off with a fantastic 1-2 of “Night Shift” and “Arabian Nights” but Siouxsie is not happy with the sound something that then gets sorted very quickly after her berating the sound engineer. By the time we get to “Dear Prudence” the band are spot on and in the groove with a sound to match. We had a superb “ Loveless” a creatures classic “But not them”, before too soon we’re into “Christine” and “Happy House” and the set comes to an end. But just telling you about the songs played doesn’t really give the full picture, this was a show, Siouxsie orchestrating the musicians visuals enhancing each and every track.

Moving into the first encore, we had two!!!! we had a blinding “Switch” followed by “Spellbound”, then the second encore of “Hong Kong Garden” and “Israel”.

After opening the Halls with Blur, this Siouxsie gig, Sparks the following night and many more top line artists to come, I’d really like to think that music can help regenerate a city and chatting to the owner of Stay Loose Records the following day he confirmed that yes things have been picking up since they re-opened The Halls and, footfall and number of people staying over has increased.

Just maybe the Local Authority have got this just right.

Author: Nev Brooks

It’s been a while since I dipped into the Ruts DC sound, even longer since I caught them live, way back in the Melkweg in Amsterdam with Johnny H and in truth a break from a Brutal afternoon of Gimp Fist, Lions Law and Discipline!!!

But on to this baby, welcome to One of my Favourite LPs of the year so far in a year that’s had some real blinders. A reminder of the times we’re living in, while also reminding us that Punk has a voice, and sometimes it just has to be listened to.

Opener Faces in the sky is one of the strongest openers to have hit these ears in a while, then Caught in the Kill Zone just moves it up a gear!!! That guitar sound that we all love front and centre.

Next up X-Ray Joy, shifts sound and focus, much lighter before things again move up a gear the sound just washes over you, drawing you in deeper and deeper. There’s the merest hint of a reggae skank to the beginning of The Question is before that Bass run takes over and that stabbing punk guitar nudges you reminding you of where the Ruts come from, where the sound is grounded, a societal scream of anguish, a story waiting to be told. Born Innocent gives you that hint of a dub reggae opening before the message in the lyrics stands tall and we move into some gorgeous lead guitar work.

Next up Counterculture again draws on that Ruts heritage, the guitars picking at you, “Whatever happened to the Counterculture?!” standing tall as a vocal refrain, probably standing up as my fave track on the LP. Too Much has an almost soft rock intro before that’s put firmly in its place and we’re back into that guitar sound we all know so well.

Truth be told there isn’t a weak track on this LP!!! Definitely, an LP for the times we’re struggling to survive in, led by the latest Tory Austerity measures, paying astronomical bonuses to the bankers (Give it 5 years and we’ll be bailing them out again) with Energy suppliers bleeding us dry, more than ever we need to turn and embrace the Counterculture, giving that light of Hope that music provides.

Fair play what an LP!!! Get in there!!!

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Author: Nev Brooks

Sometimes gigs pop up and you just have to book, no thought necessary especially when it comes to a legend of the Underground, one of the original pioneers of Art Rock, a founder member of the Velvet Underground, appeared on Nick Drakes Bryter Later, as well as producing bands as diverse as Squeeze, Patti Smith and Sham 69!! I mean come on he even set out the score for Leonard Cohens Hallelujah that Jeff Buckley followed, only thing is this gig was initially logged as with an orchestra, and the special guests weren’t actually announced until the week before.

 Safe to say when Gruff Rhys (Super Furry Animals) James Dean Bradfield (Manic St Preachers) and Cate Le Bon (previous collaborator of both Gruff Rhys and John Cale) plus adding in a gospel choir were announced you knew it was going to be a bit special.

Before diving into the gig I have to say something about the setup in the Millenium center for the Festival, exhibitions, live acts in the foyer, and other acts in Smaller theatres if you get a chance to check it out next year it’s well worth a look (As a footnote Pussy Riot were playing in the other theatre).

The gig itself? Wow talk about a representation of an artist’s career, but reworked updated, and current. The first song that jumped out at me was the third track in Do Not Go Gently Into That Good Night, wow talk about emotional, next up Mercy more than held its own in fact the new stuff (LP is released in January) really sets a high bar. Then the first of the guests came on and just Wow, Cate Le Bon stole the show completely if anything I’d have loved to see her perform some Nico-era stuff but we made do with Gideons Bible and the stunning Ghost story.

Next up the superb Style it takes from the Songs for Drella collaboration with Lou Reed. After drifting through Hatred and Half past France we had the first of another two newies Hanky Panky Nohow and for me, the standout of the night “Moonstruck” both a tribute to and homage to Nico.

Gruff Rhys then entered stage left to bring us Dead or Alive and Jack the ripper returning us to an era of Psychedelia, before Guts cranks things up swiftly followed by a personal fave from the Velvets I’m Waiting for the man, now if only Cate Le Bon could have/had time allocated to perform All tomorrow’s parties or Femme Fatale, it would have been perfect (but what do I know).

Next up James Dean Bradfield brought a whole new dimension to Buffalo Ballet and Ship of Fools, before Cale’s interpretation of Heartbreak Hotel, if you’ve never heard it do yourself a favour!!! Then we’re into the last couple Hedda Gabler and Oh La La.

I have to say the orchestra, Brass section, and Gospel Choir all deserve a mention, adding huge depth and layers to the songs.

It’s not every day you get to see a Bonafide legend of the underground, it’s even less when the new unheard songs yet to be released show you how even now John Cale is shifting focus, bringing something new to the plate. Pity pussy Riot wasn’t the support act instead of playing in a separate theatre. Would have definitely made my night.

Author: Nev Brooks

As we move further into the new normal and as restrictions drop away and we begin the learning process of living in a “post pandemic world” as things move towards becoming endemic, live music has a huge part to play in the healing process, and re-invigorate our thoughts, attitudes and ability to function in a Tory led new world order. Thinking about new world order takes my thought straight to killing joke a band that have constantly pushed against the barriers of genre, attitude and predictability.

 I mean as scribes we constantly bounce our thoughts around look for influences get hooks to our writing and try and introduce the reader to band’s they might like based on their current listening, now ask yourself two questions

  1. Who are the influences that have helped build the Killing Joke sound?
  2. Who do Killing Joke sound like?

The answer to the first is there aren’t any, Killing Joke are constantly shifting the boundaries of music, they draw their power and intensity from fantastic musicians exploring the scope of their instruments with a frontman looking both inwards and  outwards from an almost visionary perspective pulling the threads together.

The answer to the second? No-One !! Killing Joke stand out on their own an enigma pulled together by an enigmatic frontman, present post punk/post modernist future reaching music, moving ever outwards and dictating where music can go rather than following the masses.

Pulling things back there is a support tonight Brooklyn based anglo-American ‘The Imbeciles’

The Imbeciles are: Butch Dante (guitar and backing vocals), Ben Rice (guitars, lap steel, backing vocals), John Kent (lead vocals, bass guitar, backing vocals, drums, percussion), Joshua Lattanzi (guitars and backing vocals), Charlie Culbert (drums).

Youth played bass guitar and co-write the songs on their new album ‘Imbelica’.

Now I have to hold my hands up I didn’t dive in and research them prior through choice, sometimes its worth making your mind up raw without prior influence in the live setting and myself alongside the crowd  really took to the band again not really a band you could pin down to a specific genre, at times hinting at REM, at times drawing on the grunge attitude Nirvana in particular, but staying in the Seattle sound with the Meat puppets and Soundgarden again coming through and all underpinned with almost a classic rock sound. The new LP will be well worth exploring and I would urge people to check them out live.

In all the times I’ve seen Killing Joke alongside the H Bomb’s experiences who provided tonight’s photos well into double figures between us ‘Love like Blood’ has only been  experienced once and never by yours truly and they only opened with it tonight!!! Fair play and then to follow it with ‘Wardance‘ and ‘The Fall Of Because’ I was a happy man, in fact the whole gig was both intense and relentless, presided over by a frontman on top form, engaging and driven, the intensity just continued to ramp up as the band locked in and by the time we’d gone through ‘Money is Not Our God’ and ‘This World Hell’ we were on fire and then ‘Bloodsport’ just tore the roof off. There were so many highlights until we got to the end of the main set with ‘The Wait’ and ‘Pssyche’.

Time to take a breath and we’re back with Requiem dedicated to Taylor Hawkins, ‘I am the Virus’ and ‘Pandemonium’.

So returning to my initial thoughts Killing Joke are still bang on point as relevant today as they were in the beginning moving and dictating what music should sound like tearing their own path Brutal, intense, challenging and forward thinking as all music should be standing alone an Enigma but one that needs to be experienced by one and all.  

Author: Nev Brooks pics Johnny Hayward

It’s been a strange 18 months for everyone, the lack of live music has knocked all  us music fans sideways. Looking back I started going to gigs at the age of 14 and don’t think I’d gone a month at most without seeing someone somewhere in the country. Couple that with Artists struggling to get vinyl pressed, and you’d think in this Tory led new world order, our Boris would have got all he ever wanted a populace without guidance, lost and looking for some respite.


Now as we step gingerly out into this new normal of Lateral flow testing, temporary restrictions and venue numbers up and down like yo yo’s depending on muddied guidance and the latest risk assessment, its great to see the chinks of light coming through, and some blinding new releases coming forward starting with this one From Ferocious Dog aptly titled “The Hope”.


I’ve caught Ferocious dog live a few times, usually standing in the shadows of the Levellers, last time being on the Anniversary of the classic Levelling the Land LP, and in fairness, they knocked me sideways, more of an edge than the Levellers, more to say and everything coming from a punk led heart.


With “The Hope they have stepped right out of that shadow, and what screams at you is a band hitting their stride. There are a number of tracks here, that just stop you dead, you just have to listen!! First single from the LP “Pentrich Rising” hammers home how powerful a live standard this is going to be, while “Victims” spirals inwards drawing you in, on point and right on the button. While next up “Broken Soldier”, hits you full in the face, lyrically superb, with The Taliban introduction sample as apt for present times as anything I’ve ever heard, coupled with the damage done within modern warfare.


This light and dark shades are present throughout but when there’s a message, a nod of knowing its tracks like “Khatyn” that hit the hardest, (look up the Khatyn massacre). As the LP moves through these stages of Dark and Light, what stands out is a band that are confident, not to these ears drawing comparisons to The Levellers or New Model Army anymore, this is one dog that is really starting to bare its teeth, a band for now as the music scene begins to re-awaken, relevant, in your face and kicking against the Lethargy induced by a Tory government and the Tim Martins of the world. “Punk Police” tears out of the speakers, guitar led, followed out of the traps by “Slayed the traveller” Closer “Parting Glass” invokes the Pogues at their peak, you can almost see Shane MacGowan, draped around the microphone, but it definitely beats its own Gallic Drum, with a very different vocalist.


One of the LP’s of the year so far.

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Author: Nev Brooks



As we move slowly through time 2020’s been a bastard, with a lack of live music having a definite effect on mental health and wellbeing, not just on us the listeners or viewers, but on the musicians who’ve kept us sane with their craft for generations.

In this fucked up Tory government’s view, who all probably play Phil Collins on auto repeat, music sits sadly at the back of their agenda, alongside theatre and the arts in general. Lets see the next social media campaign with BoJo the performing chimp or our Dom Cummings retraining as human beings some time soon! They just don’t know it yet.


Without live music we find ourselves (or at least I do searching for new stuff to listen to,) or at the very least pushing our own musical boundaries, which needn’t include prog rock or Coldplay or Phil Collins unless you’re a Tory of course, none of these belong in any sane persons collection.


Where am I going with this? About a week ago this beauty landed in my inbox from Daley towers and it really made me sit up and listen!!! Proto Idiot in fairness are all over the place!!! But in a good way.


As I’m trying to put thoughts together as I listen to the opening tracks my own thoughts are bouncing all over the place as to how I would describe them, they’re tagged as garage rock, but in fairness that’s a huge category of music that ran through the 50’s, 60’s, 70’s 80’s, 90’s, 00’s up to present times.


And I suppose that’s my conundrum with this baby as I move through the opening tracks I can’t quite place it, but influences do come forward, for example “I like the Way” could almost be the Beatles, whereas “Replace” has more of any allegiance to Wire’s post punk sound however brief it is!!! “Mountain” has so much going on, you could almost call it industrial Prog? (have I just invented a new genre?) the repetitive vocals over the jangling guitar taking it into places I’ve never heard before.


“ Head straight” takes a more standard garage rock dive into the music and stands out as one of my faves on the LP.


“Well” has elements of Wonk Unit, elements of early Barrett led Pink Floyd but ultimately it’s a bridge into “It’s no good” an early garage rock review of the 60’s sound that came out of California, all tied together with a post punk thread.


When “Enjoy yourself” kicks back in with that Post Punk vibe, you can’t help but smile and your back in the day. LP closer “Try to be good” takes you back into that 60’s Barrett era Floyd sound, again one of the LP’s standouts for yours truly.


There are so great ideas in this LP when you dig underneath the sound, it’ll definitely take you out of your comfort zone, but that’s a good thing.



Author: Nev Brooks

Back in a dim and distant past I began this music reviewing thing and one of the first bands I got to review was a band called “One Soul Thrust” a Canadian band that even had Glenn Hughes guest on the LP, I got to know the band through the magic of the internet and always wondered why with the current surge in rock and metal they never got into the major league, because if you’re a fan of classic rock/metal this should be right up your street. As a front for the band Salem Jones has that classy vocal and after time spent building her range and working with Judy Rodman what we have is an instantly recognizable sound, grounded in a whole range of classic female vocalists.


Now after a long period of Soul searching, the band re-launched through Patreon pulled away from the music business and have produced a better body of work because of it, there’s a real sense of experimentation and downright enjoyment throughout the LP and an almost playfulness with the material presented, almost a fck you to the music mainstream.


Opener “full circle”, leads you in via a cracking guitar riff before we have a very different vocal, Salem leading and sitting on top of the music, before that playfulness is really brought to the fore in “Black Frank”. As we move through the next couple of tracks ‘One true flame” and “Hey Man”, the Lp settles the vocals drawing you in and then you begin to follow that classic guitar sound, understated, supporting the vocal giving a very definite base layering the music.


‘Fight for love” contains a real powerhouse of a vocal, caressing and lulling you into a false sense of security, before the guitar solo’s and your drawn into the body of the track, this is a seriously good ballad, would make a great single!! The chopping and stuttering guitar that drags you into “yes” again really sets the tone and the vocals that flit through the lead again draw on that sense of playfulness.


As we weave our way through ‘The sacred and profane” and “Nitric Oxide” my thoughts are again drifting to why haven’t these guys moved into the mainstream? Or more to the point nowadays do they want to? This LP I think has been their strongest, with the pressure off trying to attain sometimes we really deliver our best. Alongside the musicianship and vocal dexterity, the production really sets the bar high for the classic rock genre. Of the tracks that follow “Hunger and Sweat” contain a great vocal line showing real dexterity, “Golden souls” builds and drives the LP towards an ending, I think this has to become a set closer before final track “Summers over” with its picked acoustic guitar and vocal lead the LP out on a real high.


For all the classic rock fans out there, you really need to give these guys a like on whatever social media platform you frequent, introduce yourself and maybe check out those earlier LP’s, probably the best LP I’ve heard in this genre for quite some time!!!

Author: Nev Brooks

In this world of Lockdown bereft of live music, who’d have thought it, how many of us are searching the internet picking up on new stuff due out, or stuff in different genres we’d never have contemplated before? With that in Mind I got bounced an email from Church of the Cosmic Skull’s main man Bill Fisher with an invite to join the Billuminati and a link to a mysterious new LP (the one in my title Mass Hypnosis and the Dark Triad). With said LP duly ordered, the first press sold out in under24 hours!!! Really makes you wonder whether record companies are interested in old school promotion in music or is just the endless clicking on streams or downloading single songs for playlists that spark their interest.


As is the want after reading the blurb I was expecting a heavier offspring to the Church of the Cosmic Skull and fair play it’s been duly delivered. Opener “All through the night” took me right back to the 70’s and early Sabbath/Black Widow era, but the vocals link it to the Church inexorably, it’ll hold on to and satisfy the fans of “The church of the cosmic skull, the heavy intense riff overlaid with some great guitar work leading us throughout.


Next up “Mirror of tomorrow”, opens with that down tuned riff that we all appreciate, but heavily distorted evoking some of the heavier elements of Alice in Chains, moving the LP in a very different direction, held in sway by those un-mistakable vocals.


Moving on into “Celador” led through the opening by the vocals, the incessant guitar picking at you before it shifts up a gear, the riff rising and falling building throughout to a crescendo.


“The Dark Triad” again harkens back hitting that intense Sabbath style riff, led by the vocals again guiding you through the song, Then we move into a personal fave “Psychopathy” this is all over the place up a gear, with the bass starting to step in and take a lead, I think this is the song that pulls all the influences together, crystalizes the difference between this solo venture and the main band guitar and solo vocal replacing and leading rather than harmonizing through multiple vocal lines.

“Days of old” moves back into the 70’s picked guitar and solitary vocal producing the soundtrack to a new age of Aquarius, this is the song that will ground the LP holding on to the ethos of Church of the Cosmic Skull.  This feeling of the 70’s continues into “Message from the sky” before we move into LP closer “Mass Hypnosis” a much heavier beast but finishing the LP on a real high. If you’re a fan of Church of the Cosmic Skull, get this in your collection, if your not then back track and give them a listen, but make sure you give this LP the time it deserves, Lp’s sell out that quickly for a reason, we’re working through the second pressing now, join the Billuminati!!!!


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Author: Nev Brooks

As we spend our days playing through our LP collections, looking back at stuff we haven’t played in a while, how about looking at things in a different way? How about exploring a style previously unheard? How about diving in and just trying something different? Well for yours truly this really rips up the rule book, “It’s Karma it’s Kool.”


Now this baby appeared in my inbox after one of those do you fancy giving our band a listen conversations that you have over the inter-web and whatever Social Media platform you choose to frequent. As the opening intro to “Our love is an amplifier” eases its way out of the speakers you are instantly drawn to the pop sensibilities that permeate throughout, this is undeniably catchy as Fuck, and you find yourself tapping along to it as the lyrics bounce around your brain. Now as I listen I keep thinking it’s treading a path that another band I reviewed took me down, that Band was a Brighton band called World Secret. I mean when you introduce the phrase “pop” you are looking across all sorts of era’s and all sorts of styles, this LP is very much a pop LP for now, lets not go down Brit pop or power pop or indie pop route, lets call it well crafted music that’s going to appeal across the board.


As I sit listening I’m drawn back to the sixties at times, I feel the ghost of Syd Barrett will be up there smiling, there’s definitely more than a hint of psychedelia, maybe a hint of Alternative country (especially on “I woke up in Hollywood” the title track that contains some gorgeous harmonies) definitely the seventies with an updated version of the Byrds sound, that can be pulled out right the way through. We have a band I feel that have their influences grounded in the past but not afraid to play around with it, update it, while at the same time creating something that is defiantly different.


James Styring on vocals at time’s hit’s that classic Michael Stipe sound without copying, at times moving into Counting Crows arena size sound. This LP is an LP that washes over you, hints at lots of times spent immersed in music, crossing genres but at all times keeping your interest.


There’s some gorgeous guitar work on “The girl who gave you everything”, it weaves it way throughout, drawing in your focus. There’s a real homage to the previously hinted at 60’s psychedelia in “New Age Eve” but not from where you expect, the almost early ska type guitar run sets the scene before the vocals lead you into a brass section led element that twists and turns the music into all sorts of directions.


If your not smiling by this point as you listen your way through, there’s something seriously wrong, you really need to be sat in the sunshine, preferably with mates (remember guys no more than 6 at this time) with this LP setting the scene and creating the environment.


There’s a return to that alt country feel with “Ghosts of Rome” before probably my favourite track on the LP “Battle of Burnt out Bliss”, it just holds you, and draws you in the flamenco guitar giving some real colour to the sound.


AS the band themselves say “IT’S KARMA IT’S COOL throws away the rulebook, scribbles all over the blueprints, and forges their own path. Deliciously deceiving, their melodies will wiggle their way into the empty crevices in your brain and never leave.”


Too quickly we’re into the final track “Sunflowers” This is an LP that could form the soundtrack to your summer, its meant to be played with friends, outside and I’m sure the band would sound fantastic on a festival stage (maybe next year) let yourself get drawn into the band, remember “It’s Karma it’s Kool”.


Dare to be different, don’t follow the masses!!!!


Buy ‘Woke Up In Hollywood’ – Here

Author: Nev Brooks