Monday, November 06, 2017

Little Indie Roundtable Review - w/e November 10 2017

This week our three guest reviewers take on another five new tracks and give them a spin through the headphones before they then air their opinion on each.

This week's panel: Roger Quail, label manager, Rubyworks music & management; Catherine Lindley-Neilson - vocalist/ bassist with emerging band Gaffa Tape Sandy; Little Indie contributor Richard Cobb.


Released November 3 via LAB Records, the Leeds quartet apply plenty of grunge, scuzz and cymbals to the ever-present joyful hooks and harmonies.

Roger Quail: A robust romp through the tail-end of Britpop, plenty of punch with the obligatory singalong "ho!" bit thrown in. Decent. 3/5

Catherine Lindley-Neilson: A nice amount of hooks and a nice amount of fuzz! 3/5

Richard Cobb: Had high hopes as I’d heard great things about this band, but it’s a bit of an acquired taste that I can’t stomach. Drum sound is overpowering. They sound like that conveyor belt of bands that Kerrang chundered out in the early 2000’s. Giving them 1 because I’d feel absolutely brutal giving a band nothing. 1/5

Total score: 7/15


Featured on Little Indie last year with 'Fall Back To Earth', Manchester's self-described 'atmospheric space-pop' duo - Liv Westhead (vocals, synths) and Chris Abbott (guitars, programming) - return with this new self-produced, synthpop release on November 3 of Liv’s towering vocals, cutting guitar and pulsing synths and programmed drums driving the track.

RQ: If you ever wondered what The Knife jamming with Curve might sound like, wonder no more. Some lovely twang-work going on here, and she has a memorable voice. 3/5

CLN: The intro made me feel a bit like I was in a coming-of-age classic; wanted a bit of a bigger pay off, but generally pretty and pleasant! 2/5

RC: Initially disappointed this wasn’t a No Doubt cover. Obscure, but something hauntingly beautiful about this. If Kate Bush did the Drive soundtrack it would probably sound similar to this. Actually, the end was a bit unpleasant, like back in the day when you’re listening back to the top 40 that you taped, then at the end of a good song, some mad shit blares out in the background about 300 decibels louder than the rest of it and throws a bucket of ice cold water all over the candles. 3.5/5

Total score: 8.5/15


Produced by Eddie El Shakarchie aka Dr Ed Boogie, recorded in his front room in Cardiff, the psych-flecked debut single for Heavenly Recordings by Cardiff’s Davey Newington. Talking about the track, Davey said: "This song is basically just a celebration (rip off) of the late great William Onyeabor. I wanted the percussion to be purposefully a bit too loud, maybe by the usual standard. Loads of Onyeabor's percussion is blaring in the mix, but it makes it sound so live and feely. I wanted to create that feeling of being in the room where the music is being played."

RQ: We have a groove, ladies and gents. Deceptively simple; really enjoying the cheeky rhythm guitar and bass parts when they double up. Desk wiggle in full effect here. 4/5

CLN: Unique beat, droning vocals, very cool video: this song is simple, yet very effective. 3/5

RC: Knew I was going to like this from the start, like some sort of Daft Punk beat meets Tame Impala. I paused this half-way through to moonwalk through to the other room to check the football results, so the second half of this tune was far less enjoyable than the first half, but I can’t really hold the band responsible for that. 4/5

Total score: 11/15


Premiered last week by Zane Lowe, the return of the New Yorkers with the first single taken from their second Patrick (ex-half of Chairlift) Wimberly (Beyonce, MGMT, Blood Orange)-produced album, 'Street Safari', due out in February 2018. Based around a immediately recognisable bassline, the funky song builds to a soaring, joyous chorus.

RQ: Their debut album was one of the most played albums in the office last year, a joyful power-pop explosion. Sounds like they've got their dancing shoes on for the new record: nimble, quick on its pins, something of a grower. 4/5

CLN: Will cause you to tap your feet whether you want to or not. If you don't feel like dancing you will after a listen to this. Funky as hell. 3/5

RC: This and the last song have got me in the mood for a night out. I’ve got cramp in my foot from all the toe-tapping. The bass is the secret weapon on this track, without that it probably wouldn’t be nearly as catchy. Reckon a gig with them and Jungle would be class. 3.5/5

Total score: 10.5/15


One side of AA single (w/‘Babies Are A Lie'), out now on 7” via Nice Swan Records from 21 year old Amsterdam-based Pip. Angst-ridden, lo-fi indie, 'School’ is a fuzzier, raucous showcasing of her ability to write hooky rock songs.

RQ: Reminded me of Juliana Hatfield, which isn't a bad thing. At this week's pop party, Pip Blom would be skulking around the kitchen looking for Rizlas while Boy Azooga and Public Access TV are throwing shapes in the living room disco. 2/5

CLN: Short, but punchy, it definitely left me wanting another 2 minutes. Going to have to look up more of her stuff... Loved it, well played, Pip! 4/5

RC: One of the problems here this is the intro makes up a third of the track. With a track less than 2 minutes long, it really needs to grab you right away, this sadly doesn’t for me. Quite like it, it just sounds a bit half arsed and unfinished. If they threw another minute and a couple more ideas onto it, it would make a huge difference. 2.5/5

Total score: 8.5/15

No comments:

Post a Comment