The Cottonettes from Guildford in England is the new-wave trio of Ben Madle (Guitar / Vocals), Josh Young (Bass / Vocals) and Adam Broadbent (Drums).
Turn up the volume, make sure the DMs are laced and let yourself go as The Cottonettes careen across the room with some smartly fuzzed guitar work which is offset by a set of drumsticks which rattle the rafters as a bass thumps elephantine footsteps and anthemic vocals have you joining in with their infectious chant.
Tracks which rarely last three minutes will have you reaching for breath as the pace demands of strained calves. However The Cottonettes are not just about speed as underlying the frenetic pace are well considered commentaries, which are effective for their very brevity and the compositions are finely structured, leaving the audience with sweaty brows, aching lungs and appreciation of smart musicianship.
With a regular live performance schedule this is certainly a band worth getting out to see. I am reminded of tipexed band names in straight edged lettering onto jacket, how could I not recommend adding The Cottonettes to your playlist, as they take three-chord brevity – double the chord count and add some swagger – I am just off to pick up the broken fragments around the room…..
TheMisanthropists from London in England is the psychedelic-blues trio of Louie Boffa ( Vocals), Marc Aster (Guitar / Vocals) and Omar Lacchinni (Drums / Bass).
Themisanthropists (no that isn’t a typo of a no gap betwixt two words) combine 1920’s blues, with 70’s UK Blues Rock and ’60s Psychedelia to excavate grounds of enticing formulation. The trio offer a journey which takes in schedules of time-capsules and are able to convert it to a coherence for the ’10s as they configure blasé guitar with a percussion that harries alongside mushrooming clouds of echo and delay, which scrobble along the floor gathering mass like a snowflake tumbling down a mountainside.
There is a consuming fecundity of progressions as Themisanthopists blend the various ingredients into a homogeneous wonderment for the ears, which is best taken laying down with blue lights glowing in the room. The eight and twelve bar constructs are filled with expansive wafts of wide frequency that slow the pieces to spiralling kaleidoscopes of colour as the music loops itself – inside itself.
Themisanthropists have much to say and their début LP City Of Tales will hopefully gain them, wider traction.
Captivves from Reading in England is the industrial-rock trio of Daniel Haylock (Vocals / Bass), Phil Howell (Guitar) and Kieran Phillips (Drums).
Recently formed and with only a couple of songs that I have been able to hear, I look forward to much more by Captivves. Industrial distortion echoes around the walls, whilst taughtly tied percussion, like a flag bearer marching into battle, rallies the sounds.
The combinations of echoes and delay meeting sharply defined precise drums gives the music an immediate attraction as the bass soars away, sweeping up the stray reflections of sound and a vocal steeped in gauze adds a mystery to the tracks. There is a powerful and tangible presence which marches across the room as Captivves deliver music that reflects of the malaise of society.
A track which opens with a solitary string on a bass, as you will know, can’t help but make me enamoured. The trio have made an impressive start and assuming these two songs aren’t their finest hour, they have much to offer the world of music and I look forward to hearing much more in short order.
Beginning to put together a live performance schedule, I recommend getting out to see them play, if they turn up in a town near you.
The Wonder Beers from Surbiton in England is the new-wave trio of Pete Gwilt (Guitar / Vocals), Dan Pitfield (Drums/ Vocals) and Charlie Geary (Bass / Vocals).
The Wonder Beers
Still finding their feet with a set list of ten songs – three of which I have heard – The Wonder Beers have me spiralling round the room in broken furniture of joy.
Sometimes things arrive in perfect symmetry. I wrote about a band a few weeks ago who have now broken up over inability to perform on stage due to too much alcohol before a performance, which reminded me of every gig I have ever performed threading back to the ’70s – out of my head and normally covered in vomit stains and still managed to sing – now we find a band who revels in the wonders of beer, but let’s get back to The Wonder Beers not the wonder of beer….
Brief exchanges of gun-fire scatter around the room as a rattle of percussion flights bullet points around the room whilst a sabre of guitar snipes at the ears and a bass slams away in a space of its own as a lyric chuckles about the realities of life, I am minded of Sham 69 in conjunction with Ivor Biggun, yet I find myself perspicaciously repositioned to the ’10s.
Clear the room of static armaments which will shatter your shins and turn up the volume. You will be pogoing in seconds, if not – you are reading the wrong website.
The Spase from Halton in England is a semi-acoustic outfit centred around Andy Forrest, Peter Walker and Simon Morris – plus additional players as makes sense.
The Spase – photo by trust a fox photography
Getting acoustic right is not something every band can do and writing songs specifically for acoustic presentation, in a world of ever more complex electronics, is a brave step. The Spase have every justification in so doing as the glittering melodies, which have a depth of tonality that captures the imagination, light-up the room.
Formed out of the embers of a previous iteration, by using extra instrumentation, which ranges though furrows of strings and players The Spase is able to bring fresh insight to each of their tracks, without the listener thinking – didn’t I just hear this? An impressive vocal is able to add considerable emotional context to the pieces and is deserving of far wider audience and their début eleven track LP – On A Cloud, which came out earlier this year is a fascinating journey which will, with fortune, gain them higher profile.
I wish The Spase every success with their career and I will certainly be dipping in to the music in the future.