The K’s – Tramshed, Cardiff – 12/04/2024

The K’s

There’s a powerful sense of victory in the air tonight. Since the incredibly huge response their debut single ‘Sarajevo’ gleaned back in 2017, The K’s have spent the intervening period slogging their hearts out around the UK’s small venue circuit, living on the breadline and, as frontman Ryan Breslin alludes to later on in the set before ‘Throw It All Away’, questioning whether the whole enterprise would ever come good. Today’s announcement that the Warrington boys’ debut LP ‘I Wonder If The World Knows?’ is this week’s third best selling record in the whole of the UK behind only The Libertines and Beyonce sees their efforts sweetly vindicated.

The Malakites

Cardiff heroes The Malakites take opening such an occasion in their stride, delivering a set brimming with confidence. An impressively sized crowd have formed early to catch their home town show, a set of psychedelic indie rock and strong riffs featuring their singles to date – debut release ‘Roses On The Doorstep’ in all of it’s early Stone Roses ‘Sally Cinnamon’ paralleling finery, giving ‘Morning After’ a suitably colossal outro.

The Clause

Second on the itinerary are Birmingham’s The Clause who stride on stage to Oasis’s ‘(What’s The Story) Morning Glory’ broadcast over the sound system, frontman Pearce Macca possessing plenty of Liam Gallagher presence, leading a set of glam stomps and energetic rock.

The K’s

The setup for the ‘I Wonder If The World Knows?’ album tour sees a giant initialism of the record’s title in lights across the back of the stage providing a suitably grandiose backdrop for what feels a culmination of The K’s sustained endeavour, as well as a similarly grandiose backdrop for when the band surge onto the stage calling “Happy fucking Friday” before hurling into an empowered version of ‘Icarus’.

It seems an accomplishment for the band to finally be able to play their songs with a complete album’s worth of material out there, as noted by frontman Jamie Boyle at the closing of ‘Circles’, with all it’s lightshow and full musical breakdown, the singer observing the show is the first one since the album’s release where it feels like the audience truly know the record: “Thanks for being so fucking nice about the new songs”.

The K’s

Although much of the setlist is made up of ‘I Wonder If The World Knows?’, old favourites ‘Picture’ and ‘Glass Towns’ are rapturously received. The first few lines of ‘Girls Just Wanna Have Fun’ also get a reaction but the rendition then morphs into their second biggest tearjerker, a tale of drunkenly falling in love with a stranger while staggering to a payphone, ‘Hoping Maybe’ which has plenty of mobiles rising into the air and filming causing a sea of accompanying swaying lights.

The K’s

The genuinely moving moment is halted when Boyle demands “Let’s have a fucking party” and ‘Black and Blue’ comes crashing out of the amps, guitarist Ryan Breslin lurching about the stage, a sheer guitar hero, as the frontman keeps the crowd in the palm of his hands from behind the microphone with three false ending shouts of “Black and black and black and…”, to bassist Dexter Baker’s visible amusement.

Slowies ‘Throw It All Away’ and ‘Lights Go Down’ provide a breather for both audience and fans but the celebration manages to spill over into mild chaos during ‘No Place Like Home’, one fan being granted asylum behind the front barrier to save them from a clamour during ‘Aurora’.

The K’s

The first one back on stage after the encore, Breslin positions himself behind a keyboard creating a poignant moment leading into their second heartbreaker, ‘Valley One’. There’s a rampage through ‘Hometown’, Baker making one final check on the beleaguered crowd, noting Cardiff’s audience are a “rowdy bunch”, and then an incendiary performance of ‘Sarajevo’ gets kicked off by a version of ‘Dirty Old Town’.

It’s possibly a kicker for The K’s to think that on a week when adored celeb-indie veterans The Libertines and global megastar Beyonce weren’t releasing albums then their debut may have been a contender for the top spot after a recent run of new guitar bands made the grade. Tonight’s show, however, finds the group relishing their number three LP status as the success it is, noting Beyonce actually only beat their sales figures on the final day, a fact Jamie Boyle mockingly states he’s not happy about, bidding a final humble request of the crowd: “if you see her, you can tell her”.

The K’s

The K’s ‘I Wonder If The World Knows?’ is on all of the streaming services and you can bag yourself a physical copy over on their official site.

Their tour continues at pace and if you want to catch them then some remaining tickets are still available, also over on The K’s site.

If you still need your appetite whetting at this point then we’ve put the video for the magnificent ‘Heart On My Sleeve’ down below for you to watch. We promise you, it sounds even better live:

The K’s – I Wonder If The World Knows?

Photo: press

Although ‘I Wonder If The World Knows?’ is their debut LP, The K’s are no johnny-come-lately chancers (regardless of what their 2023 song title may indicate), grabbing the attention of clued in onlookers way back in 2017 with their startling first single release ‘Sarajevo’. As would be expected of a 7 year old song, ‘Sarajevo’ has been omitted from the collection’s tracklisting, but in all honesty it’s really not missed, as the sheer quality of the included tracks is sky high.

If you’re not familiar with The K’s, the Earlestown foursome have a knack of pulling earnest indie rock tunes out of the bag time after time after time. As a rule, their melodies are key, backed with driving, visceral guitars and singer James Boyle’s northern vocals masterfully telling stories of everyday small town rough and tumble acting as an emotional appendage to roar along to.

Photo: press

Funny that we mention guitars and raw everyday small town life when the first track begins with violins and is named ‘Icarus’, harking across to towering notions of Greek mythology, but the fervent rhythm starts in no time and after a bit of a listen it turns out the track’s about the perils of having a bit too much of a good time on a night out with Icarus getting too close to the sun as a metaphor.

From hereon in, sustained rhythms and candid lyrics compose the majority of tracks, most of which we’ve already heard. In fact only ‘Icarus’, ‘Throw It All Away’ and ‘Circles’ are brand new numbers. It’s no bad thing as although the band have carved out a cult following, up until now the group’s symbiosis of punk-pop and indie rock hasn’t had the attention of the wider world, the singles not yet reaching the mass audience they deserve.

The Arctic Monkeys comparison is easy due to the regalement of nights out and run ins with mates of mates, as in the smirksome chorus of ‘Black and Blue’: “He’s 6 ft tall and 3 ft wide/ I don’t know him too well/ but I know he’s done time on the inside”. If anything Boyles’ stories are even more brutally suburban than Turner’s.

It’s on the stripped down songs that The K’s demonstrate the range of what they can do, ‘Lights Go Down’ boasting just the essentials, then out of nowherw a lifting refrain. ‘Hoping Maybe’ is the real tearjerker, an anthemic jewel with stirring strings to a girl the singer’s met whilst wrecked on a night out “I was hoping maybe you might know how to save me/ and I know we’ve never met but tell me where you’ve been just lately/ Cause I’ve missed you all my life, I just never realised it til tonight”.

‘Valley One’ is positively hymnal, just the singer, guitars and the strings that opened the record up. Although they’ve made their name with an abundance of brilliantly punchy, heartfelt singles about falling in love with girls on messy nights out, getting high and getting duffed in, it’s these total rousers that show The K’s have enough longevity to be sticking around for a long while more yet. The whole world’s gonna know before long.

Photo: press

‘I Wonder If The World Knows?’ was released on 5th April 2024. To mark the album’s release The K’s are currently on tour around the UK with The Clause and numerous other support acts and you can catch them at the following dates:

9th April – Glasgow, Assai
10th April – Warrington, Parr Hall
11th April – Bolton, The Ramp
12th April – Cardiff, The Tramshed (supported by Cardiff’s own The Malakites)
13th April – Birmingham, O2 Institute
18th April – Edinburgh, La Belle Angele
19th April – Newcastle, NX
20th April – Leeds, O2 Academy
26th April – Manchester, O2 Victoria Warehouse
27th April – Nottingham, Rock City
2nd May – Camden, London, Electric Ballroom
3rd May – Brighton, Concorde 2
4th May – Bristol, Thekla
11th May – Stockton-on-Tees, KU

You can buy the LP right now on loads of formats and it’s also available to hear on all of the streaming sites, obviously.

An official music video has also been put out for the stunning ‘Lights Go Down’, which we’ve included for your viewing pleasure below:

The Libertines – All Quiet On The Eastern Esplanade

Photo: Ed Cooke

Safely away from the dank early 2000s tenements of London’s East End and closer to home than the Thai setting of ‘Anthems For Doomed Youth’, The Libertines fourth album ‘All Quiet On The Eastern Esplanade’ sees the four dapper carousers holed up inside their Albion Rooms hotel and recording studio in Margate, an outpost corner of England that’s as close to their romanticised, arcadian vision of old Albion as exists in reality, all cockney accents, fish and chip shops, market stalls, carousels and salty shorelines.

Aside from the touring circuit and lucrative festival dates, new music-wise the group have been silent for nine years now and with a profile arguably grander than their former three album legacy and their cherished nation currently up the swanny it feels as if the band have something to prove with album number four, and by god do they do a grand job of proving it!

Photo: Ed Cooke

A schizophrenic war has always been at the heart of The Libertines, their output summed up by two of this record’s lyrics – “It’s a lifelong project of a life on the lash” (Run Run Run) and “With the chalk cliffs once white, they’re greying in the sodium light” (Merry Old England), a push and pull between limitless hedonistic excess and the telling of valuable stories from behind Britain’s closed living room curtains or sticky pub barstools, as well as a similar tug of war between their celebratory skiffle punk clamour and fragile acoustical melodies, not to mention the literal microphone grab between frontmen Carl Barat and Peter Doherty. ‘All Quiet On The Eastern Esplanade’ manages to find enraptured peace on all counts, a notion summed up by the LP’s title.

When asked about the record during it’s formative stages the group stated it may end up as their version of ‘Sandinista!’. Whilst not as sprawling as The Clash’s infamous triple LP, the mass of overt styles is here, only filtered down to eleven solid compositions, each one amongst the finest the band has penned to date.

The bold punk singles are on show and set apart, ‘Run Run Run’ and ‘Oh Shit!’ making no pretensions at being anything other than concise, blatant hook spattered raucous rock songs about booze and love and money, ‘Mustang’ is a 1960s Rolling Stones rock’n’roll-like social commentary peer into the life of kitchen sink characters Traci, a Juicy Couture tracksuit wearing mother who “Likes a drinky when the kids are at school” and the pious Sister Mary who “shivers at the touch of the Lord”, both spending their nights away in fantasy, “riding Mustangs through her dreams”. ‘I Have A Friend’ and ‘Be Young’ both nimble and lyrically dense, attempting to suss out the war torn outside world and the state of rock’n’roll culture: “There’s no wandering away/ From total and utter fucking annihilation”.

Photo: Ed Cooke

Going beyond their fragilely strummed tunefulness and piano paeans, some of the songs here wander entirely into the eclectic realms of classical music and bar-room jazz, ‘Night Of The Hunter’ using theremin and Tchaikovsky’s Swan Lake to tell a murderer’s regret-tainted story, ‘Baron’s Claw’ using jazz trumpet and the name of the signature move of former wrestler Baron von Raschke to paint the picture of a lofty, mysterious individual equal parts altruistic and shady who is only ever witnessed through hushed tales and rumour.

The album has a trinity of crucial moments: starting with ‘Man With The Melody’, the first official Libertines song on a proper legit release penned by bassist John Hassall, a lilting Beatles melody featuring vocals from all four members, drummer Gary Powell included, more than a nod to the group’s current united front. Then there’s ‘Merry Old England’, the band roping in a choir to empathise with refugees rushing across the channel from Calais, asking either sardonically or naively of the crisp packets and puddles on the ground, “Is it everything that you dreamed of?”. The final is ‘Shiver’, a widescreen stirring melancholic discourse on the chilling state of Britain after Brexit, the death of the Queen and the coronation of the King. Musical boundaries are extinguished and topics they’ve flirted with throughout their vocation are dealt with astutely and head on.

‘Songs They Never Play On The Radio’, with it’s title cribbed from James Young’s book about life on the road with The Velvet Underground collaborator and original chanteuse Nico, contains one of the record’s most relatable lyrics with Doherty quipping “Men of my class/ we live too fast/ and we can’t be arsed/ and we batten down the hatches” next to lines observing the cash-depleting effect streaming has had on the music industry, adorned with luscious strings and another well placed backing choir creating an elegiac outro for their most accomplished work yet.

For The Libertines to truly be the band their twenty year narrative has boasted them to be – a Union Flag draped scruffy celebration of the pomp, splendour, spit and squalor of Britishness, this album, a clear-headed appraisal of their beloved imperfect isles complete with unequivocal anthems and sure-fire arena worthy hits needed to exist in their catalogue. Along with their classic debut album ‘Up The Bracket‘, consider Arcadia satisfyingly top and tailed.

Photo: Ed Cooke

‘All Quiet On The Eastern Esplanade’ was released on 5th April through EMI records. It was produced by Dimitri Tikovoï and you can find it on all streaming platforms or you can buy it on all manner of crazy formats. Purchasing it will also get you the unreleased bonus track ‘Last Feel-Good Song Of The Summer’ as well as demos from the band’s demo recording sessions in Jamaica and Normandy.

‘Merry Old England’ was released as a single a couple of days before the album and has a powerful video to go along with it. Have a watch of it below:

em koko – Take me as I am

‘Take Me As I Am’ doesn’t exist in the standard 3D tangible world that the rest of us mortals live and breathe in. You may be listening to it in the here and now, making cogent sense of heavily distorted lyrics about acceptance and safety, but the bass-driven, dreamy melody, hypnotic synths, mesmerising drum pounds and shimmering guitar emanate from the glitchy and detached, late web 1.0 liminal backrooms of cyber-space.

Before she slipped into this phantasmagorical other dimension, em koko found her footing in Abergavenny and played bass and synth for leading South Wales musicians Alice Low and Minas. Her debut single has the artist putting that bass and synth expertise right at the fore, creating industrial shoegaze, like Warpaint or DIIV, in her own name, communicating dissociated messages of strength and encouragement from beyond the liminal veil of the electronic mainframe.

em koko’s debut single ‘Take me as I am’ was released on March 20th 2024 and you can listen to it on all of the usual streaming platforms right now. We’ve put the Spotify link for you below:

Dead Freights – The Fury Tape

Photo: Dead Freights socials

To head up their latest cluster of macabre blues rock classics, The Fury Tape, Dead Freights have turned the ‘Shot Girl Summer’ phenomenon of post-COVID sun tans and beach parties inside out with vocalist and guitarist Charlie James dedicating their inverted tribute to: “Sex, dead queens and rotten meat”. On this glam-infused stomp, haunted harmonies, jabbing guitars, ringing one note piano and a blistering riff, side-by-side with James’ twisted poetry, create a brilliantly unsettling slinky seether of an EP opener.

Photo: Dead Freights socials

Live track ‘Sauvignon Blanc’ sounds more speed-fuelled romp than a homage to French white wine but, either way, this addictive ode to trysts over vino is fiercely primal in it’s rough and ready gig-recorded form.

Photo: The Fury Tape artwork

One of the group’s best compositions yet, ‘Asking For A Friend’ is the kind of deliciously dark anthem we’ve come to hope for from Dead Freights. Purring bass, an irresistible hook of a chorus with atmospheric background “ooohs”, asking “Would you make me lonely again? I’m asking for a friend” – a double-entendre of a question either maintaining distance or begging for intimacy and an instrumental tempest of a culmination brings the strongest track on the EP to a definite halt.

Photo: Dead Freights socials

The past few months have seen some major personnel changes in the Dead Freights camp but The Fury Tape EP, produced by their label boss – The Libertines’ Gary Powell, is all the evidence we needed that the downright dirty four piece have barely even begun.

The Fury Tape was released on 22nd March 2024 via 25 Hour Convenience Store records.
To mark the EP’s release Dead Freights are on tour throughout the start of May with tickets available at the usual outlets. You can stream the entire record wherever you normally get your tunes. We’ve put the Spotify link down below so you can even give it a listen right now:

Fate Of The Sun – UFO

For a little bit, Fate Of The Sun went quiet on us. We thought he was away in his bunker, concocting his latest batch of dystopian fuzz-hop. Turns out he was getting summoned up in an intergalactic traction beam and, thankfully for us music fans, he got chucked back down over by the Wentloog hinterlands with enough extra-terrestrial inspiration to create utterly bonkers new single ‘UFO’.

Structured about a local radio news report of an old valleys boy abducted by aliens on his way home from the night shift, FOTS trademark industrial squelchy beats and pounding fuzzy bass carry the tongue-in-cheek tale of the artist’s X Files worthy cosmic trip outside of earth’s atmosphere, desperately lamenting: “they went inside my head and made my brain go mushy”.

‘UFO’ was released on 15th March 2024 and is available to listen to on all of the streaming sites. We’ve bunged the live music video down below for you to have a listen:

Lisa Moorish – Sylvia

For some undefined reason the world of club bangers and the literary scene don’t, as a rule, collide. Yes, artists like Kai Tempest have put incredible spoken word works to top-quality electronic music but dance floor fillers that use all-time great authors as their muse are thin on the ground. London music scene goliath Lisa Moorish obliterates that ridiculous paradigm with new single ‘Sylvia’, penned about the singer’s affinity, both aesthetic (they’re the spitting image of each other) and spiritual, with mid-20th century poetic icon Sylvia Plath.

Striking out in the early 1990s, vocalist Moorish carved out a solid pop-dance music career robustly supported by the likes of George Michael, featured on recordings by Oasis and Ash later on in the decade and formed punk band Kill City with guitarist Pete Jones/Welsh Pete in the early 00s, putting out cult-classics ‘White Boy Brown Girl’, ‘Just Like Bruce Lee’, ‘Tis Pity She’s A Whore’, performing a raft of incendiary gigs, Libertines support slots and releasing on Alan McGee’s much lauded Poptones label.

‘Sylvia’ has the singer/songwriter returning to her house anthem roots, setting her soulful vocals to an electropop floorfiller of Ladytron, Miss Kittin or The Knife ilk. The bass-heavy, sparkling rhythms are spiked with words raking through the poet’s fame and fraught marriage, applauding her stellar, esoteric talent and remarking on Moorish’s own feeling of kinship with the writer, asking of the ill-fated authoress: “Sylvia, where do I end and you begin?”

The ‘Sylvia’ EP features some vital remixes from DJ and producer David Holmes. It was released on 6th March 2024 on Out Yer Box records and is the first single from Lisa Moorish’s forthcoming new LP ‘Divine Chaos’. You can listen to ‘Sylvia’ on the bandcamp link below:

WRKHOUSE – Snow

Photo: press shot

Within a month of putting out debut single ‘Getaway’, North Wales suave-pop maestros WRKHOUSE have come back with another slab of sophisticated vibes. The quartet’s fiercely cool second release ‘Snow’ finds the group working their electronic magic yet again, mashing indie rock with R’n’B stylings, along Tame Impala lines.

Photo: press shot

Synth flashes and throbbing bass create a tranquil basis for frontman Lewys to analyse the end of a flawed relationship, remarking: “But darling, you left me in the cold/ We’re like flowers in the snow”. The frost cannot remain, however, as the track’s crescendo is marked with a crash of drums, shimmering piano and the singer lamenting resignedly: “What can I say?/ I can see it in your eyes clear as day”.

Snow Artwork

‘Snow’ is the second single to be released from WRKHOUSE’s forthcoming debut EP, named ‘Out Of The Blue’. The EP has a planned release date of 5th April 2024. The track list is below:

1 – Byw A Bod
2 – Time Again
3 – Getaway
4 – Out Of The Blue
5 – Snow

Out Of The Blue EP artwork

And the good news keeps rolling on in as WRKHOUSE have also announced some tour dates throughout April to mark the EP’s release:

2nd April 2024 – Bangor, Rascals
3rd April 2024 – Liverpool, EBGB’s
4th April 2024 – Leeds, Hyde Park Book Club
7th April 2024 – Manchester, 33 Oldham St
9th April 2024 – London, The Grace
10th April 2024 – Newport, Le Pub
12th April 2024 – Cardiff, Porter’s – FREE – NO TICKET REQUIRED

There is also an official video for ‘Snow’ that you can watch below right now:

Duke Keats – Heavy Heartbreak

Photo: Black Peppa

The last time we heard Coventry performer Duke Keats was on last year’s sprawling jazz-funk live recorded odyssey, ‘Dirty Glamour’. His latest single ‘Heavy Heartbreak’ is a large-scale departure from 2023’s EP, finding the artist distilling his many varied and wide-ranging influences into an astonishingly ace dreamy radio-made bop.

Photo: Black Peppa

An upbeat summery synth and bass powered alt-pop tune spliced with words that look back misty eyed and fondly on an innocent former love, alluding to the ample pain that comes from reminiscing, Keats has penned a Passion Pit style spiky but sugary sprightly treat of a song. As buoyant as it is theatrical.

‘Heavy Heartbreak’ is the first track we’re getting to hear from Duke Keats’ forthcoming ‘BORNSTAR’ EP. Word on the grapevine/Keats’ instagram account is that the next track is imminent. For now though, you can hear ‘Heavy Heartbreak’ on all the usual streaming platforms and we’ve put the official music video for you to view down below:

Real Farmer – Compare What’s There

We’ll admit our ignorance and state that before writing this review we admit to being ill informed of the Dutch music scene and couldn’t even place Groningen, Real Farmer’s home town, on the map. But since completing our homework our audio world has been brightened up due to Personal Trainer, The Klittens, Frontsector, Youth Deprivation, to name a few (check out the God Is In The TV interview from January for more recommendations from the group) and the emergence of this DIY punk-ish quartet from the country’s diverse music scene makes magnificent sense.

To paint Real Farmer entirely as a punk band would be doing them wrong and their debut LP ‘Compare What’s There’ contains enough contrasting sounds to combat any such stringent labels while maintaining an undeniably punk rock spirit. Think Idles but more free-form, being as experimental and inventive as a group could be when retaining the rudimentary ingredients of guitar, bass, drums and a microphone, albeit with some murkily fuzzed up amps.

‘The Feeding’ strikes off at raw breakneck speed, only to be stopped in it’s tracks by the album’s first single ‘Inner City’, featuring strong backing vocal contribution from bassist Marrit Meinema next to frontman Jeroen Klootsema, reminiscent of Thurston Moore and Kim Gordon’s Sonic Youth dynamic. Meinema’s prominence is further proved by the strong bass parts throughout the record, most notably on the album’s third single ‘Consequence’, the sparse intro of ‘Empty’ and the expansive angular artrock of ‘Wayside’.

As well as wielding a hefty dose of authenticity, the four piece tackle the scourge of gentrification (‘Gentrified’), the drug lifestyle (‘The Straightest Line’) with ‘Perry Boys’ taking it’s title from the Fred Perry bedecked 80’s Mancunian football casual scene, yelling “What you want is a waste of time/ I got problems but these ain’t mine”. ‘Next In’ feels the weight of financial restraint, begging “Take me to places that I can’t afford/ In front of them, the worst place to fall” and ‘I Can’t Wait’ and final track ‘Never Enough’ feel like they might just crack with anger and heartbreak.

Compare What’s There album artwork

When asked about the band’s name, Jeroen Klootsema said that he grew up on a farm so the moniker’s stating plain fact, but there is nothing rural about Real Farmer. There’s plenty of charm in the straight forward reality of their name, but ‘Compare What’s There’ echoes the modern, complex sounds of a loud and rowdy, heterogeneous suburbia, no muddy fields and tractors in sight.

Photo: press pic

‘Compare What’s There’ was released on 8th March 2024 by Strap Originals records. You can buy the record right now and it comes replete with a double sided A2 poster with lyrics. You can also stream it on all of the streaming sites right this very second.

We’ve put the video for ‘Consequence’ down below there so you can have a watch: