Tag: indie-pop

Duality; Debut EP From Melksham’s Between The Lines

It was never just the fervent ambience created which made me go tingly with excitement about Melksham’s young indie band Between The Lines’ demo single Fading Time, it was the profusion of potential. A latent driving me to Swindon Shuffle this year, where they’d be playing at The Hop, but now a manifest for all to hear the reason for my tingle, as Between The Lines release their debut EP Duality………..

Four tunes including the demo Fading Time, flowing on an exceptionally defined style of breezy, female-fronted indie pop-rock. Age makes me contemplate Fleetwood Mac, younger might cite Florence & The Machine, I’m left thinking of The Corrs, particularly the opening track of hurt heart, Personal, with subtly building rich layers akin to grunge, but subtle and so incredibly cool. 

I interviewed bassist Belle upfront, lead guitarist George, and Ethan and Louis, who both switch between drums and guitars, the latter being the rhythm guitarist, back in February and their professionalism impressed me enough to go in with high expectations for this debut. I was expecting goodness, I got my earful and it was even better than I imagined it might be. This is delightful magic with universal appeal, charming yet biting with tender guitar riffs.   

Debatably Fading Time has the snappy hook, but Stuck in This is melodiously superior, the metaphorical drowning theme. Oh my, Belle’s vocals reflect off the water on this. I’m going out on a limb here to suggest something comparable to Kirsty MacColl, but don’t assume that’s sacrilegious or exaggeration until you’ve listened, please.

I worry I’m overusing the word sublime recently too, possibly reducing its impact, but I happen to like it, and can find no word more apt to describe Duality, and for a debut that it’s a fantastic achievement, an accolade they should all be very proud about.

But they saved the best till last. Simply titled Your Love, the final song is an uncomplicated rolling pop ballad, rich in ambience, and possibly the most durable, accomplished technically, and commercially viable. While fresh and contemporary with smooth indie-pop vibes, the EP flows akin to something timeless, even prog-rock, and if Your Love is the one to be accompanied with a dreamy showcasing video, which I believe it deserves to be, I’d like a slightly extended bridge, to really show the listeners what they’re made of.

And to meet Between The Lines isn’t the zesty teenage gang with stars in their eyes encounter, rather a modest and humble unity who seem thoroughly at ease with their talent, and while there’s a confidence which needs blossoming on stage, given the quality of Duality, it remains the boost they will naturally attain. I’ve high hopes, this is beautifully constructed and produced.

Shearwater: New Single From Nothing Rhymes With Orange

There’s a new single from Bristol-based Nothing Rhymes With Orange out tomorrow (Saturday 20th September) which takes the band to a whole new level, and it has got me thinking back to their Devizes roots….. 

You know, I really cannot remember how this thing started, if they contacted me or if I found them. It was three years ago, at a time when local media seemed rampant with scare stories sensationalising teenage hooliganism. Folk jumped the bandwagon, naming and shaming wayward youth on Facebook like it was modern gallows, and making fearmongering sweeping generalisations, classing every child as a psychotic delinquent.

I figured this wasn’t the same picture I was seeing. That there’s always been a handful off the rails, but in comparison to previous generations, most Gen Z were passive, thoughtful, and creative. So I set out to prove this wonky narrative wrong, and in doing so found many aspiring teenage bands to use as examples, but none so accomplished and motivated as Nothing Rhymes with Orange.

There was always something staunchly between the members of this Devizes School band, frontman Elijah Easton, Sam Briggs, Fin Anderson-Farquhar, and drummer Lui Venables, an unequalled camaraderie which combined their honing skills harmoniously. Their calculated sagacity writing painted a blithe picture of Gen Z, equal to how punk bands like The Newtown Neurotics summarised life for generation X, and it spawned a zeitgeist.

Image: Gail Foster

Moments after reviewing their debut single, Chow for Now, they launched an equivalently impressive EP called Midsummer. I figured it was overdue to check them out live, as they organised their own gig at West Lavington Village Hall. Divided between parents and youth I witnessed the birth of a local phenomenon. I dubbed it “Beatlemania in Devizes.” Teenage fans chanted the chorus of Manipulation back at them, as Elijah jumped from the stage relishing in the moment.

I encouraged teenage budding writers and photographers to record this blossoming movement for us, as alongside bands like Melksham’s The Sunnies, they were inspiring a new generation of musicians too. And for the adults, I wanted them to quit whinging about youth, by showcasing NRWO in an environment free from age division, where they could see for themselves this emergent youth fandom and the local band which created it. I urged our carnival committee that their annual “International” Street Festival in Devizes should showcase such a local act, and pride overcame me as I introduced them to the masses gathered in the Market Place, because alongside their excellent self-promotion, Devizine expressed with honesty that townsfolk should support this spectacular homemade band, and they did.

The lads released several new songs, all of which were tiny progressive steps to a maturity in their sound. At a gig at The Three Crowns in May 2024 Devizes-own BBC DJ and presenter, James Threlfall gave me constructive criticism regarding their production levels, suggesting it wasn’t quite to the level necessary and in comparison to upcoming bands across the southwest. I also worried at this time, moving along that adolescent rocky road generally was the make or break of a young band, usually the latter.

Delighted that they planned to study together in Bristol Uni, I finished off our local angled reporting of them with a parting interview, safe in the knowledge both the uni and bustling life in Bristol would open new doors for them and hopeful it would perfect their skills to the level James so honestly pointed out. A huge festival touring summer at Dot 2 Dot, Golden Touch, 110 Above and Camper Calling, returning to Studio 91 for the session which produced their new ear-invasive single, Shearwater, out at 6pm on 20th September across all streaming platforms, surely proves they have.

Image: Gail Foster

Shearwater signifies a hotly-anticipated next chapter, one of huge guitar sounds, jacked up drums and Elijah’s desperate vocals, evoking stories of fiery lust and explosive aftermaths. This is the single which will do for an international audience what Nothing Rhymes With Orange did locally three years ago. The spritely frenzy is replaced by the concentrated rhythmic flow and evocative ambience of the kind of timeless indie-pop anthem a multitude of audiences will shine their phone torches too. The layers are divine, the composition professionally crafted.

I’ve never needed to exaggerate my appraisal nor flatter NRWO for encouragement. I saw this potential, as did their local fanbase. And tomorrow you can hear the fruits of their labour in full bloom, a categorical advancement of Devizes export to the world, and it makes me feel proud to have backed them to this point, what the future holds is answered in this track, and it looks orange!

But don’t just take my word for it; chatting to James Threlfall just yesterday, I pointed out this single felt like the entry level we were talking about last May, and he agreed, telling me they’ve landed a featured artist spot on BBC Introducing South and West, which is live at 8pm tonight (Thursday 8pm.) The single will be debuting live at their upcoming headline show, 26th September, at The Old England, Bristol. There’s also an exciting word on the grapevine: an album is the pipeline. Oh, and don’t forget they’re playing our Wiltshire Music Awards on 23rd October here in Devizes, and will be at Devizes Arts Festival next summer like Bruce Springsteen returning to New Jersey!

For me, I’ll always have those early moments, like blagging a Sharpie from the sound engineer at street festival, so teenage girls could have their T-shirts signed (not by me, you understand?!!)

Talk in Code Down The Gate!

What, again?! Another article about Talk in Code?! Haven’t they had enough Devizine-styled publicity?! Are their heads swelling?! 

Didn’t that crazy toothless editor catch them at The Vic in Swindon just last week? And now The Southgate in Devizes? Isn’t that his second home anyway?!

Hold back your keyboard warrior typing fingers from those vicious comment sections, critic, I will attempt to answer these burning questions I falsely imagine straining from your lips, in a short piece about a Sunday gig well worth mentioning…..

Yes, again, it is another article about Talk in Code. It’s either that or I risk playing a brain training game on my phone; it’s Monday, and my brain refuses instruction.

Yes, they’ve been showered with love from us, but being this an opinion based blog, I reserve my right to express my honest opinion; they deserve it! I have succumbed to being a T-shirt embossed “talker,” a more family fashioned classification than fanbase.

If the idiom of enlarged heads implies they have a conceited, exaggerated sense of self-importance due to our consistent splatters of flattery, that’s the biggest untruth you could suggest about them. I only said it in ironic jest; woe is me for my fractured sense of humour; pinch of salt, please!

Whilst their performances are showy, that’s pop; they’re the most down to earth bunch you’ll ever have the pleasure to meet … .especially musicians!! Observe them engaging with their audience, young to old. Observe the attention they attract wherever they happen to play as being a product of their universal brilliance. If they appear excitable about this, it derives from their dedication, motivation, and the deserved positive feedback from their audience, not a two-bit blogger!

So what, yeah I was at the Vic last week for their awesome single launch gig, when I said it was the  best I’ve ever seen them play, suggesting perhaps because it was on their home turf. I’m considering taking this back after catching them yesterday, for two reasons, firstly but less important, Swindon is only home to two of them, Snedds is home here in Devizes, or as near as dammit. Secondly, pop grows on you, the more you listen the more the hook catches you, and they have this down to a T, so maybe the level of skill they’ve attained has now become standard as more fans amass;  it certainly seemed that way Sunday at the Southgate. They rocked it with professional ease, just as they did the Vic, as they always do, and it was only a Sunday afternoon at Devizes’ answer to the O2 arena. Given the actual O2, I predict they’d rock that one, too!

Matter of fact, I’ve not been down the Gate for what feels like ages, honest, mum! This occasion was purely circumstantial; I was in town to attend the dress rehearsal of an emotionally sobering play at the Wharf. It is fantastically evocative and reflects a sad time for me personally. See the review to understand, and go see the play. I needed cheering up, and being that it ended when the gig was kicking off, I thought I could sit in the back row and scribe some thoughts on my phone with a pint. It didn’t quite work out this way, not for the want of trying, because Talk in Code’s sound is irresistible, and yeah, it cheered me up a treat.

I’ve not been down The Gate recently, what with a summer season of festivals, a family holiday and inflation mugging us all off. But being the Southgate is so insatiably irresistible, friendly, and  affordable too by comparison, I slip back into its gorgeous rustic appeal like a glove, anyone would.

I’ve stated numerous times how my honest opinion casts it as the best pub locally, these facts stick more than mud, and perhaps it hasn’t been that long, it only feels like it has! George seemed to remember me as a gullible accessory to doggie biscuit snatching crimes. Autumn drawing in, save me the cosy chair.

All hail Talk in Code and The Southgate too. The first play top class indie-pop within a more humble local scene than following a national pop star and praying you can mortgage your home for a ticket to see. The latter is a cathedral to our humble scene, and lively pub culture too, with a rich history of showcasing local musical talent, one all our writers have been disciples of since day dot.

There’s so many artists still to mention, pinky promises I will, all in good time, but a Talk in Code gig at The Gate, despite catching them only last week, was still too good not to drop into!

Stepping Up My Spine; New Nothing Rhymes With Orange Single

Developed in Devizes, blossoming in Bristol, as well as a snazzy new website, indie-punk phenomenon Nothing Rhymes with Orange released their next single, and it’s stepping up their spines … apparently!

A narrative of pending infatuation in the hope the feeling is mutual, Stepping Up My Spine is instantly lovable, projecting a more lenient and ubiquitous indie-pop sound than the band’s raw punkier past; a direction they seem to have been progressing towards with each new release.

Image: Gail Foster

I cite many local bands like Talk in Code and Atari Pilot, reflecting a national indie trend to return us to an eighties pop-rock vibe, and this follows suit, but only slightly. It retains the “real instruments” rock ethos they’ve sworn to uphold, there’s no electronica influence, thus maintaining the edge we know them for. Let’s call it a natural progression rather than a desire to follow a trend, not forgoing it’s still stylised to their sound and is bound to appease their maturing fans.

If we’ve keenly watched Nothing Rhymes With Orange and their devoted fanbase evolve and proliferate, this new single reflects and preserves that continuation. And long may it be so!

Keep up the good work, guys! You catch NRWO at SwinterFest next Saturday, at the Castle. 

Harder to Breathe; New Single from Talk in Code

It’s been a fantastic summer for Wiltshire’s indie-pop favourites Talk in Code. I think I’ve caught them live at least four times, and only once blagged a lift home from guitarist Snedds, of which is customary to drunkenly chew his ears off on as many random subjects the journey time will allow; I guess that officially makes me a “talker?!”

But hey, nights drawing in, back to recorded sound, and Talk in Code have a new single, Harder to Breathe, out this Friday, 4th October 2024; it is still 2024, right?!

Again this one follows the irresistible building template of the band, bridging the gap between 80’s new wave electronica and 90’s indie pop. This one, I believe, really harnesses the band’s objectives of creating timeless pop with dynamic eighties synth and guitar combos. The effect is akin to iconic producers like Peter F Wolf or Narada Walden; Harder to Breathe evokes blissful recollections of songs from the peak of the era, from Go West to Madonna, and we’ll never stop dancing to them; try to stop me, I double-dare you!

Harder to Breathe is another universally exemplary precedent of this original timeless anthem ethos Talk In Code are achieving. The sound reaches that blinkered emotion of ones infatuation suffocating the object of their desires, at least in a pop-tastic fashion, as is the theme. At least I think it does, it’s been a long time since anyone was infatuated with me, but once upon a long time ago, believe it or not, some did; funny old world, isn’t it?! No one was even paying them!!

Frontman Chris Stevens said of the single, “we want to evoke the feelings you have when you meet people that have a huge impact on your life; being overwhelmed, lust, falling in love…the song addresses if it is simply instinctual to gamble with matters of the heart.”

A versatile force live, able to suit a variety of festivals and venues, it’s been a great summer, but the fun doesn’t stop, this tune matches the gusto of their performances, in the comfort of your own home; give it a listen, just don’t try to stop me from dancing!

Pre-Save this beauty HERE. Return Friday in diddy-boppers and rah-rah skirt, I know I will!

Trending…..

Ha! Let’s Laugh at Hunt Supporters!

Christmas has come early for foxes and normal humans with any slither of compassion remaining, as the government announced the righteous move to ban trail…

Rooks; New Single From M3G

Chippenham folk singer-songwriter, M3G (because she likes a backward “E”) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesy tunes…

Burning the Midday Oil at The Muck

Highest season of goodwill praises must go to Chrissy Chapman today, who raised over £500 (at the last count) for His Grace Children’s Centre in…

Talk in Code are All In for New Single

Swindon indie pop virtuosos Talk in Code released their brand new single, All In, Yesterday, via Regent Street Records. And We. Love. Talk in Code here at Devizine Towers….

Bridging the gap between eighties new wave electronica and nineties indie pop, Talk in Code are producing original timeless anthems. All In is unarguably their finest example to date.

With an upbeat euphoric ambience and a racing chorus to a rousing hook, it hints at Sam Fender but relishes in reminiscence of the memorable pop of A-Ha or Spandau Ballet; one can almost envision a comic book drawing of a distressed Morten Harket, banging his head on a doorframe; ah, school disco era seems like yesterday!

The narrative is one of hope for a rekindled romance, that maturity will warrant it successful this time around. The mood is optimistic, creating an engaging, danceable riff with pulsating rhythms under a shimmering soundscape.

Recorded with Sam Winfield at Studio 91, Newbury (Amber Run, The Amazons, Fickle Friends) The track is the fifth release on Regent Street Records, in partnership with Phoenix Music International and Horus Music. All In continues to ascend Talk in Code to beguiling pop greatness.

Frontman, Chris Stevens said of the single, “the song’s narrative takes us through a journey of recovery from adversity and mistakes over the sound of a pulsating rhythms and glistening soundscapes enough to want to hit the dancefloor ‘Mr. Brightside’ style!”

“We feel it’s a true statement of our thumping, upbeat anthems we’ve become renowned for.”

Talk in Code have been supported by BBC Introducing and Amazing Radio networks together with achieving editorial streaming playlist placements with Apple Music, Soundcloud and FLO. Live they are a versatile force able to suit a variety of festivals and venues, and they extensively tour. Highlights this summer are Minety Music Festival, Home Farm Fest, Napton Festival, Aston Clinton Beer Festival, Box Rox, and The FullTone Festival.

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LilyPetals Debut EP

One of many young indie bands which impressed me at Bradford Roots Festival, and proof there’s more than the name suggests at The Wiltshire Music Centre’s winter convention of local music, Bristol-based LilyPetals released their debut EP this week….

Firing on all cylinders, there’s five three minute heroes and one slightly longer tune on this impressive introduction to an equally-gendered and equally promising four-piece. Contemporary themes imploded by two fierce opening tracks, Currently Unavailable and, particularly, We Want More, arch a punk flavour of punk’s heyday; and I like that a lot! There’s wailing guitars, echoing chorus lines, and emotion pouring out.

If we’re talking emotion though, the tempo lessens for the third tune, That’s What You Said to Me, proving LilyPetals is no one trick pony. It’s a rolling ballad, with a euphoric element akin to a rock classic. If this tune will raise your eyebrow, note, Playwright reverbs with passion and fire, there’s almost shards of glam rock meeting gothic in there too. But LilyPetals have mastered the hook, leading to a bridge via a finger click, is clever and beguiling stuff.

The four minute tune is the penultimate one, and it just drives from the intro. Break Your Mind is perhaps a magnum opus to date for this band, though I highly suspect from the concentrated and tight compositions of all these tunes, we’re going to be moving onto even better stuff from them in the near future. In principle then, this is encouraging, and it feels like punk is saved for a new generation in their indie passion. This is to Bowling For Soup what Reef is to The Rolling Stones, but the potential for improvement is gapping in their hands; the canvas here is ripped and ready to rock!

It finishes with Spaceman, mate, check this out, the hook is a sinker, it has all the elements of a classic, and, as we’ve seen with bands like The Radio Makers, punk rock can evoke modern generations, and punk can live on through them. LilyPetals, arguably ironic namesake, yet the fervour is at a blossoming point, and this is a great and lengthy EP, verging on an album, and album worthy of your perusal.  

LilyPetals LinkTree

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One Of Us; New Single From Lady Nade

Featured Image by Giulia Spadafora Ooo, a handclap uncomplicated chorus is the hook in Lady Lade’s latest offering of soulful pop. It’s timelessly cool and…

Large Unlicensed Music Event Alert!

On the first day of advent, a time of peace and joy to the world et al, Devizes Police report on a “large unlicenced music…

Winter Festival/Christmas/Whatever!

This is why I love you, my readers, see?! At the beginning of the week I put out an article highlighting DOCA’s Winter Festival, and…

Devizes Winter Festival This Friday and More!

Who’s ready for walking in the winter wonderland?! Devizes sets to magically transform into a winter wonderland this Friday when The Winter Festival and Lantern…

Snow White Delight: Panto at The Wharf

Treated to a sneaky dress rehearsal of this year’s pantomime at Devizes’ one and only Wharf Theatre last night, if forced to sum it up…

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Something Of Nothing; New Single From Talk in Code

Swindon indie popsters Talk in Code return tomorrow (1st March) with a new single, Something Of Nothing …..hold tight to your Deely-Boppers, things are about to get eighties around here….

Every time Talk in Code releases a single I find myself pondering deeper into what makes good pop, and if the word pop is a suitable term to use to describe a song at all. Wikipedia defines ‘pop’ as a “genre of popular music,” a rather incontrovertible statement, being it defines ‘genre’ as “a conventional category that identifies pieces of music as belonging to a shared tradition or set of conventions.” Find me ‘shared conventions’ between Elvis’s Heartbreak Hotel and Doja Cat’s Agora Hills, other than both were commercially produced? If they weren’t ‘pop’ they would hardly fall into the same category. They’re styles apart, separated by time and influences, ergo ‘popular,’ at the time, and that’s an epoch, not a genre.

I’d argue pop is only a genre when thinking outside its own sphere, ie; classical, jazz, folk. Ergo, everything else is pop, making pop a blanket term. Not all pop songs are popular, even if the intention was; singles flop, or, era depending, they become timeworn. Ah, but we were discussing ‘good pop’ and for that there’s two distinct categories.

Category one is throwaway, only encapsulating briefly, fitting with a current trend. Think of those songs you bought back when, but you’re now horrified you liked them, compared with those songs you consider classics, and will still drag you down to the dancefloor today. I bet you thought of more classics than the once trendy ones, because the latter you block from your mind, until some radio DJ spins it and you think, did I really like that shite?! Therefore, good pop breaks the very rule of pop, it’s not trending, rather it’s timeless. Ask yourself why tribute acts are big business, or a current act feels the need to sample an eighties electronica riff, it’s nostalgia.

Talk in Code often cite The Killers and The 1975 as influences, and certainly their root lies in another ambiguous genre, indie. Indie to me implies nineties dance-indie or Britpop, but whenever I hear a new TIC single I’m contemplating eighties electronica pop, more with every release.

Something Of Nothing is no exception, it accentuates the euphoria of an eighties dancefloor filler, and wouldn’t sound out of place on a chart hits compilation of 1986. By the opening bars I thought Ah-Ha were making a comeback, I thought Roxette might sing. The fact that when I addressed this eighties influence with the band they were agreeable, despite citing nineties influences themselves; it’s what you want to hear, meaning one thing, that their sound is timelessly classic, ergo, good pop.

If it was so, that this tune was on a mid eighties hits album, I’m assured it would be a smash and Bruno Brookes would be introducing them on Top of the Pops. Equally with a nineties one. Talk in Code cherrypicks from era-spanning memorable and timeless pop songs, garnishing them with contemporary freshness.   

Subject is equally perennial for any good pop, they blurb this one as, “taking things at face value, over analysing and the scene of one person wanting more than the other from a relationship.” Woody Guthire wrote this lyric, “and it’s hard and it’s hard, ain’t it hard, To love one that never did love you?” in 1941, again, recurring themes are so because they’re eternally popular subject matter, ergo good pop!

The song will be available via Regent Street Records on all streaming platforms from tomorrow, 1st March. Recorded with Sam Winfield at Studio 91, Newbury. Talk in Code take their dynamic show on the road,  7th July – Minety Festival, 20th July – Southgate Inn, Devizes, 27th July – Fulltone Festival, Devizes, 2nd August – The Three Horseshoes, Bradford On Avon, 3rd August – The Castle Inn, Swindon and 26th August – Box Rocks, Box. The act which can neatly slip into these diverse events, can equally thrill an audience at say, FullTone, or the Three Horseshoes, proves my waffling point, I think!

Pre-save it HERE!

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Chatting With Burn The Midnight Oil

It’s nice to hear when our features attract attention. Salisbury’s Radio Odstock  picked up on our interview with Devizes band Burn the Midnight Oil and…

Some Work Experience At The Southgate!

Not as the title might suggest….

Since I peaked too soon over the bank holiday, coupled with working it, yeah, I sadly missed Monday’s entertainment at our trusty Southgate. Deborah plonked a cheap-as-chips scrumpy on the bar for me, to cure my Southgate withdrawal symptoms, and rubbed salt into the wound by telling Well Hung Heart was her “gig of the year.” Never would’ve guessed!

Across Devizes pubs sought to cater for the dregs of carnival-goers with discos and karaoke, no other thought live music might be an idea, and on those justified grounds attending the Southgate was a no-brainer.

I assumed the Gate might bring in something more generalised, but punk was promised from a Chippenham trio called Work Experience, (who I’d yet to witness,) and punk we got. Though playing to a majority regular who was around for the punk era, mixed verbal reviews came across, because the contemporary pop-punk pigeonhole is a far cry from its roots, and I get that, time moves on, but they were proficient, beguiling and more importantly, loud!



They bought an entourage to lower the age demographic, which is (wink) no bad thing! Though it is The Southgate, and you’re guaranteed a great atmosphere even if Sir Patrick Stewart was reciting War & Peace.

While the band name is new, it’s a reformation of JCJ, brainchild of frontman Julien Biddulph, alongside him, drummer Theo Lender-Swain and bassist Charlie Gibbons. They’ve recently supported Nothing Rhymes With Orange and Lucky Number Seven in two sold-out shows at The Pump, and that’s all I got on them, but never doubt Kieran of Sheer’s word on such matters.

Julien came across well-mannered and passionate about his craft, but behind the instruments, they belted out some refined and (what sounded like) intelligent originals with the hook in perfectly coordinated steady riffs. Yet as common to the genre, the rather subdued vocals could’ve been notched up a bit, nothing a good technician couldn’t solve. It’s the Gate dammit, and we like it rawer than Ol’ Dirty Bastard, and there’s a joke in there to boot; don’t make me spell it out!

They sprinkled the set with some covers, too, few of which I knew, but if Stacey’s Mom is the Wonderwall of pop punk, they delivered it without cliché, and it never fails to amuse.

Okay, so holding onto the bar at the end badly preaching history on Don Lett’s Roxy was at least done subtly to someone of equal age and I didn’t embarrass myself by thickly layering my Uncle Albert moment on the band. You’d be fooling yourself, hoping for a Clash cover, for Blink 182 is an equal classic to this generation, and I’m fine with that, honest, guv.

One surprise was Work Experience stripping back for a fantastic acoustic Tom Petty cover. Yeah, Free Falling, doesn’t matter who covers it, always will love it. And this point leads me neatly onto the support who simply introduced himself to me as Jonah, unnecessarily twisted my arm with a pink shot like a mini McDonald’s shake, as he blessed the Gate with some thought-provoking self-penned acoustic magic.


Honestly, sweet liquors don’t sit on the palate well while drowning oneself in scrumpy, but it was only in the absence of tequila, we did what we did! Nevertheless, like the shot, Work Experience was a gamble for a carnival night, and it paid off in my opinion.

You can catch them this Friday at The Pump with Start the Sirens supporting Lewis Poole, but full praises to the Southgate, as ever, felt so good to be back after venturing the summer festivities. They played a wildcard, introduced and hosted an enthralling, young upcoming band, and aside from being the friendliest boozer in town, I support that notion and their dedication… me? I’m vegging out for the rest of the day!

Swindon band Talk In Code in race to Glastonbury Pilton Party; show offs!

Those cheeky popsters who rocked up at my 50th with a beanie hat present from their own merch range and expected me to parade around wearing it like I was their personified billboard, yeah them, the fantabulous Talk in Code, well, right, haven’t seen them since, say they’ve been busy on the festival scene, when all of a sudden without a drop of notice, tell me they’re travelling to Pilton this Saturday, 17th June, and we all know what happens there!

Turns out Swindon’s toppermost indie-pop band are playing in the first heat of the Glastonbury Pilton Party competition to audition to win a coveted slot at the Glastonbury Pilton Party, held on the Worthy Farm site, home of the world-famous Glastonbury Festival; show offs!

This Glastonbury Pilton Party is held in early September, and previous headliners have included Liam Gallagher, Elbow, Fatboy Slim and Bastille. Talk In Code have been chosen from hundreds of hopefuls to audition, and I say, while it’s a bit warm for a beanie, thank you so much for my hat, and, oh yeah, also for playing an absolute blinder at the Three Crowns, I feel honoured and it will be a day if I hadn’t have overindulged in Thatcher’s Hazes I will never forget.

But all this aside, as I cannot be bought by showering me with gifts, in my book, Talk in Code would remain the best band in Swindon even if they dunked me in a bath of hot & sour piranhas in just my mankini till I cried like a baby, so I wanted to wish them all the very best of luck, and I hope you will join me in wishing them all the very best of luck, bloody good luck to them!

It’s all going down at Pilton Club, a stones throw from the Glastonbury Festival Site on Saturday 17th June. Tickets to come and support Swindon’s best indie pop band are available from HERE. 

Talk In Code are thrilled to be flying the flag for Swindon at this prestigious event, and I know they’ll knock ’em for six, and if not I want an inquiry as to why not. If you can’t make this, I get that, bit short notice, you should have a listen to Talk in Code, who have amassed over 400,000 streams and been added to over 700 Spotify playlists, HERE.

Trending……

The Lost Trades Float on New Single

I’ve got some gorgeous vocal harmonies currently floating into my ears, as The Lost Trades release their first single since the replacement of Tamsin Quin…

Nothing Rhymes Orange, Fact

Oh, for the enthusiasm of emerging talent; new track from Nothing Rhymes with Orange is a surprisingly garage band delight……

My dad never revealed his feelings about being in an amateur teenage band. Though I knew he was, he played down its importance. Sacrificing his guitar for parenthood, he’d shrug and tell me they were never any good, anyway, then explain it was the trend of the era, everyone tried picking up a guitar. A tendency succumbed to electronica and the pop machine of my youth; we grew up hailing the DJ and the sound system. Yet the DIY ethos of swinging sixties is very much revitalised these days, and if there’s lots of current notable young bands on Wiltshire’s circuit, one to watch are called Nothing Rhymes Orange.

But, if it’s fact nothing does rhyme with orange, I confess to know little else about this emerging talent, save they’ve a Devizes connection, recently rocked up Lavington’s Churchill and supported Carsick at The Pump, as Sheer’s incentive to promote upcoming locals never fails to spot greatness. And greatness it is, if raw and somewhat undercooked; such is the delight of discovering a garage band, as they come out of Martin Spencer’s Badger Set studio with a blinding original track this week, Chow For Now.

Garage is an appropriate blanket term, I was pleasantly surprised not to hear some expected grunge-inspired thrash, rather the balance of indie-pop akin to the Coral, with occasional nod to post-punk, when fitting. This sounds garage, yeah, basslines of early Jam, even, which rings out a beguiling riff of contemporary sparkle, not forgoing an original concept for theme. Ah, Scouting for Girls, or more; taking on local favourites like Longcoats and Daydream Runaways.

Immediate like from me, guys; one to watch. Aside another two tunes in the works, you can find Nothing Rhymes Orange supporting Harmer James and Chasing Kites at a Freaky Friday down St James Vaults, Bath on 11th November. Link-tree is here, go figure.

This is what picking up a guitar is all about, albeit to suggest it takes perseverance; likely where my dad’s Who-like wannabes failed, but Nothing Rhymes Orange seem to excel. Guess I’ll never be sure about the first, but I’m certain of the latter.  

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Talk in Code get Illogical

The only person who isn’t going to love this is Mr Spock! Swindon’s Talk in Code released a new single today, Illogical, their first release on Regent Street Records, since signing at the beginning of the year……

Only seconds of a Tangerine Dream fashioned intro elapses before the boys’ flare that uniformed indie-pop at you; the kind they’ve grown into and we’ve come to love them for. Again, Illogical sums up their undeviating style, upbeat and optimistic, each new title shimmeringly fresh and more astute to the “code.”

Built-in euphoric backing consecrates this imitable style; yeah, there’s tinges of eighties pop while retentive of the contemporary knowhow, so to have discovered it on an “Hits Album” of the era would’ve likely caused a seizure of excitement for the listener, and a technical enquiry call from Kraftwerk for the band.

Recorded and produced with Sam Winfield and Tom Millar at Studio 91 (Amber Run, The Amazons, Fickle Friends), the ‘guilty by design’ theme connotes relationship complexity, contradiction and confusion. Yet, as with universal pop formula, their leitmotifs pale by the energetic beat, until the bridge which winds down and highlights subtle narrative. Talk in Code find that perfect balance, which I why I tip them one of the very best on our local circuit. More so, the theme of the song seems to suggest this.

But their strive for wider appeal is deservedly paying off independently amassing 170k streams and over 600 Spotify playlist adds, radio airplay from Amazing Radio and BBC Introducing, and thriving festival appearances.

If you’re expecting covers at their gig, you might be disappointed, but Talk in Code’s beguiling singles are immediately palpable by effect, and will have you thinking you’ve heard them before; “catchy” is a word I try to avoid, but is apt. Illogical is perhaps more danceable then their power-pop previous single, Young Love’s Dream, and more akin to 2020’s Talk Like That. With such an amazing discography gradually building, probably best now to compare Talk in Code singles with Talk in Code singles rather than cite influences. Progression is the only issue here is, each one seems to better the previous and each new one binds this aforementioned uniform style.

“Analysis please, Mr Spock……”

“Given variables, Captain, it would be illogical to find fault with this new Talk in Code single!”    

Showing off the day I made a rubbish roadie on the road with Talk in Code!

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Longcoats Get Dancing

Opps, near-on delayed a month due to the amount of work involved with promoting our Julia’s House album, other stuff going on, and generally slacking off in my garden with my belly hanging over my khaki shorts, I’ve a backlist of music to tell you about, hopefully, before you visualise me slacking off in the garden with my belly hanging over my khaki shorts.

To begin, Bath’s indie-pop favs, Longcoats have an official new bassist, Will Vickery. The band claim he was “a stray man we found on the street and august-rush style he could just hear the music and play it.” Proof in the pudding, I’ll double-bet ya you’ll going to love their new belter, “Get Dancing,” which is, incidentally just what we all need right now.

Will Vickery

Probably why it’s blossoming attention and airtime from the likes of BBC Bristol, Target, Soho Radio, Sheppey FM, New York’s New Visions Radio Network, and even Australia’s Valley FM, and seeing them bookings at Moles, Brighton’s Pipeline, and supporting The Rift at Swindon’s Rolleston.

Just as Pretty in Pink did, which incidentally Longcoats kindly donated to our aforementioned and plugged charity fundraising compilation, (which I’m not going to shut up about until you buy it) Get Dancing is symbolic of the band’s ability to compose such a beguiling and catchy riff it feels like it’s always been in your life after just one listen.

It’s lively, carefree, resides bopping over hopeless romantically conversing, as it says on the tin, encouraging to dance in both sound and theme. And with that, I should take heed, stop writing how great it is and just add the Spotify link so you can hear it for yourself and I can revert back to the building mountain of new music I’ve yet to explore. But rest assured, this one is a keeper, and perhaps true to the word; I should get dancing if I’m ever going to work off this belly hanging over my khaki shorts!

OUT NOW! Various Artists 4 Julia’s House

As a nipper I’d spend days, entire school holidays, making mixtapes as if I worked for Now, That’s What I Call Music! In the era before hi-fi, I’d sit holding a microphone to the radio’s speaker, adventurously attempting to anticipate when Tony Blackburn was going to talk over the tune, and just when In the Air Tonight peaked with Phil’s crashing drums, my dad would shout up the stairs that my tea was ready; eternally caught on tape, at least until my Walkman screwed up the cassette.

Crude to look back, even when I advanced to tape-to-tape, I discovered if I pressed the pause button very slowly on the recording cassette deck, it would slide into the next song, and with a second of grinding squeal Howard Jones glided into Yazoo!! Always the DJ, just never with the tech! Rest assured; this doesn’t happen on this, our Various Artists compilation album, 4 Julia’s House. And oh, have I got some news about that?!

Huh? Yes, I have, and here it is….  

We did it! Thanks once again to all our fabulous contributing artists, our third instalment of detailed sleeve notes will follow shortly, but for now, I couldn’t wait another day, therefore, I’ve released it half a day early, this afternoon!

Buy it here!

Now all that needs to happen is to get promoting it, and you can help by sharing news of this on your social media pages, thank you. Bloggers and media please get in touch, and help me raise some funds for Julia’s House.

I’ve embedded a player, in which you should be able to get a full try before you buy, I believe you get three listens before it’ll default and tell you to buy it. I hope you enjoy, it has been a mission and half, but one I’d gladly do again.

Please note: there are many artists giving it, “oh no, I was going to send you a track!” Fear not, there is still time, as I’ll causally start collecting tunes for a volume 2, and when the time is ready and we have enough songs, we will do it. It might be for another charity, I’d personally like to do another raising funds for The Devizes & District Opportunity Centre, but that’s unconfirmed as of yet.

You know, sometimes I think I could raise more money with less effort by trekking down through the Market Place in a bath of cold baked beans, but I wanted to bring you a treasured item comprising of so many great artists we’ve featured, or will be featuring in the near future on Devizine. Never before has all these artists been on one huge album like this, and look, even if you don’t care for a particular tune, there’s 46 of them, check my maths as I pride myself on being exceptionally rubbish at it, but I make that 22p a track, and all for such a worthy cause!

Track listing details part 1
Track listing details part2
Click for info on Julia’s House

“We are so grateful to Devizine and all of the local artists who are taking part in the charity album to raise funds for Julia’s House. We don’t receive any government funding for the care we give to families in Wiltshire, so the support we receive from our local community is so important.”

Claudia Hickin, Community Fundraiser at Julia’s House

Nothing Good, Longcoats; I disagree!

Have no worries, Ollie, you’re a spring chicken, mate! Out this Friday, another dynamite single from Bath’s indie-pop trio, Longcoats, and this time it considers age. Subjective, isn’t it? I mean my boss calls me “young Darren,” but my daughter constantly reminds me I’m as ancient as ye gods. I have to wonder what Bruce Springsteen thinks of his nostalgia-related single Glory Days, written at the tender age of thirty-five comparably to his age now, seventy-two. Worse for the Who, they hoped to die before they got old, Daltrey still rocking at seventy-seven.

Similarly, this track, available across streaming sites from Friday 28th May, Nothing Good, reminisces of the golden teenage years, under the pretence “there’s nothing good about getting old.” What about a free bus pass, eh?! It’s as long-a-road as your coats, lads, enjoy it while it lasts, it doesn’t get any better than this. Think of a time when you’ve got more hair in your ears than on your head.

But if you should wish to look me up in my nursing home decades from now, and then let me know how you feel about the connotation of this track, it would be interesting to hear!

I thought I should clear that up, as the song title is ironic against the melody; everything is good about that, better than good, it’s pretty much fantastic. Filled with nostalgia though is the mainstay of this beguiling sound. The shift towards the classic eighties pop-rock sound complimented the previous single, Pretty in Pink, and continues here with this one.

Yet retaining that fresh, current vibe, I’m relishing in this trend, produced by the Longcoats, and other local bands such as Talk in Code, Daydream Runaways and Atari Pilot, I’m virtually contemplating getting my Now albums out to compare, volumes one to ten. As if you’d have heard this in that day of Rubix’s Cubes and Sinclair C5s, it would be astounding. Today, it’s just as great, as if time bypassed the comparatively melancholy indie vibe of the nineties.

It’s how to capture that uplifting, danceable sense within the gloomy theme that we’re not getting any younger, which somehow Longcoats just nail here. A highly enjoyable, layered track with a killer riff. Check it out on Friday. Me? I’m off to get some of those slippers with zips on the side….

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Pretty in Pink Longcoats!

Bath’s young indie-pop favourites, Longcoats has a forthcoming belter of a single, with a generous slice of retrospection; you may admire them again today.

As one who usually supports the underdog, I favoured the originally intended ending of the John Hughes cult, Pretty in Pink. Although it’s all in the past, Duckie deserved his promqueen for the overtime he put in. I mean, don’t get me wrong, boyishly I wouldn’t have chucked Kirsty Swanson out of bed, but by the final cut, the Duckster failed at the goal he set. And I liked him, rooted for him against the dweeby snob Blane. Though it was never about the guys fighting, Molly got what she wanted, I suppose, and Duckie learned not to cross the friends barrier; c’est la vie.

But I’m not here to rap eighties coming-of-age romcoms, less you’ll never hear the end of it. Windows down driving music we are here for. Out this Friday (16th April) I’m backing this will be an instant indie-pop anthem, with the same name as that movie.

Frontman Ollie Sharp confesses, “John Huges is a big inspo for us, always loved Breakfast Club and Pretty in Pink.”

Bath’s Longcoats rocking the summertime vibe with a beguiling riff, and feel good factor. Pretty in Pink has to be the best we’ve heard of this promising indie three-piece, to date.

Akin to recent tunes we’ve reviewed from the likes of Talk in Code, Daydream Runaways and Atari Pilot, here’s a fresh indie track, retaining the contemporary yet with that sublime nod to eighties pop-rock, which, as precisely as the title suggests, wouldn’t look out of place on a John Hughes soundtrack any more than the Psychedelic Furs’ title theme.

It’s an upbeat wah-wah scorcher, fading to emotively driven verses, powerful as anything you might hear on such a film score, with a popping an earing in and punching the sky ending.

Since last October’s awesome EP, named conveniently after the month, things have progressed in a direction I’m liking for the Longcoats, being a Thatcher’s child and all!

This is a grand job, find it on Spotify on Friday. Pre-sale link here.