Emptifish - 'Haunted'

"That girl has got, got me, got me cursed" 

In 2015, after some nearly 30 years of radio silence, Portsmouth Garage Rockers Emptifish re-emerged from the musical mists of time to finally release their debut long player. Having plundered the vaults 6.57 collected both long lost recordings and the band's two singles, on vinyl, in a deliciously designed retro sleeve. The positive reaction that their vinyl retrospective received naturally led to more live dates, including sets at Victorious Festival, which in turn energised the foursome to return to the studio, subsequently releasing the Sonic's Got A Ray Gun EP in 2017.

Spool the reel-to-reel forward a few years and the Pompey Surf Punks are back at it; new single Haunted, released via Portsmouth label Mayfield and featuring Rat Scabies (yes, THAT Rat Scabies) on drums, has a stomping swagger about it. A heady blend of guitars and thumping drums that power the tune along, laced with distorted vocals and organ stabs fill which out the sound to make something sinfully catchy. It's a great return although, and I'll admit this might sound picky, my only complaint would be that it sounds too slick for Emptifish (where's Lee Mavers with his bag of dust when you need it?)

 

To celebrate the new release the band are playing a rare live date, a home town gig at The Old Barn, on Sunday 5th May where they'll be joined by The Rems, The Dinz and special guests Acid Attack. Tickets are £8 in advance, available from Albert Road's Dress Code or online from book.events.

For a snapshot of the band in their heyday, replete with some very interesting newspaper clippings, check out the Emptifish page on the Portsmouth Music Scene website.

Neverman - 'Too Much Waste'

"two up, two down, you're a frown in a gown"

A short stroll from historic Fort Brockhurst, squirrelled away in an industrial estate, is Gosport's premier rehearsal and recording space Quay West Studio. Over the years the folks behind this fine enterprise have welcomed many musicians through its doors and, since becoming involved with the Wickham Festival, have booked bands across that shindig's stages. 

Portsmouth four-piece Neverman have both recorded at Quay West and been booked by them, recently playing one of the studio's curated gigs at Saint John's Church. The band are due back at Quay West soon to record their next single, Spineless, but ahead of that being released I've given their current release a spin.

If you're a fan of melodic alt-rock, particularly that delivered by Scandinavian bands such as Moi Caprice or The Kissaway Trail, then Too Much Waste may well float your boat (or båd as they say in Denmark). The slightly affected vocal, with its faint warble, sings over shimmery guitars and reflects on how life might not run the way you expect it to. Admittedly, on first listen, the rhyming of the verses may grate with their reminders of Brian Molko's worst excesses, but all is forgiven when the wall of guitars and the melodic chorus hits.

For a band that were new to scene last year this bodes well for Neverman's future, and I look forward to hearing the next single, I just hope they kick that rhyming dictionary into touch.



If you want to catch Neverman live they're playing The Edge of The Wedge on Saturday 20th April, supporting Chichester's Dutch Criminal Record, with advance tickets available now via the Wedgewood Rooms website.

Giant Peach @ The Wave Maiden

Indie quartet Giant Peach pay a visit to Southsea next week, headlining the bijou experience that is The Wave Maiden's upstairs stage. The band, who formed in Brighton early last year, released their debut single in June with a party at the city's Hope & Ruin venue (i.e. the place where I've queued in vain outside at every Great Escape I've attended, despite the bouncer's assurances to the contrary). 

Melatonin is a fine shimmery slice of alt-rock, replete with noodly guitar, moody lyrics and a catchy chorus (which, yes, has a bit of an Enjoy The Silence vibe to it) and has a suitably sparse video to accompany it (though I think leaving your bike in a field and wandering off like that is just asking for trouble).



Support comes from Berlin-based foursome Askers Dodge who'll be bringing some brooding alt-rock to the fray. The lyrics, and vocal delivery of frontman Greg Thompson, are reminiscent of a certain Sheffield band, something which the band allude to in their bio, or even that bloke who always arrives late for his own gigs, but these are merely cosmetic similarities; whilst you may pick up musical references at first listen there is a lot more going on here.



Wyse, who recently released their Switch Of My Controller EP, have been added to the line-up of the Friday 22nd March gig, with tickets are available now priced £4 in advance (via WeGotTickets) or £5 OTD. 

 

Updated 17/03 - Poster and support act added

Honeyblood - 'The Third Degree'

The return of Honeyblood has been something I've long been looking forward to, the first two albums have both received considerably play at Chez SoMC and, when seen live, the duo of Stina Tweeddale and Cat Myers are a force to be reckoned with. 

New single The Third Degree is a solid, foot-tapping Wall of Sound-influenced tune, a take on not giving your ex the satisfaction of causing a scene when you see them with someone new. This tale of a broken relationship is one that Honeyblood do well, a counterpoint perhaps to some of The Wedding Present's back catalogue of songs that tackle doomed romance.

Something, however, has changed. It's difficult to hear a difference in band dynamic when you hear a song on the radio but, watching the video, there is a noticeable absence in the band's line-up. Yes, moving forward with album number three, Stina has decided to make Honeyblood a solo project, using brought-in musicians to fill out the live sound when touring. This is both a bad (Cat is an excellent drummer, recently stepping into the brink to help Mogwai out) and good (there's always been a feel of a solo act about the project) thing.

On the strength of the single all bodes well for Honeyblood; a UK tour starts in April (including dates at The Joiners on Saturday 11th May & The Boileroom on Thursday 6th June) as well a series of in-stores (which take in both Pie & Vinyl and Resident) ahead of the release of album number three, In Plain Sight, on Friday 24th May.

Girli - 'Deal With It'

A few years ago at The Great Escape, in the pub on Brighton Pier, several hundred of us punters waited to catch Black Honey's headline set. However, before the local indie rockers took the stage, we were entertained by two acts whose sets bordered on performance art.

Whilst art-indie ensemble Drones Club employed masked dancers to interact with the crowd, with two juddering figures who moved around the room in a disquieting way, indie-pop chanteuse Girli challenged the male contingent of the crowd to deal with menstruation, throwing sanitary pads into the crowd at the end of the set (at least, that's what I remember). Yes, Girli's set definitely stuck in my memory and, much like every new act I encounter at The Great Escape, the artist was added to my ever-growing Ones To Watch list.

New single Deal With It is three minutes of shouts, call-outs and catchy beats, a football chant interlaced with a driven, annoyingly repetitive, tune that drills into your brain whether you like it or not. Admittedly it's not, for me, quite as strong as previous single Day Month Second (which was, quite rightly, selected as a 6Music Recommends track by Lauren Laverne) but is still rather good if you like that kind of thing (which I do). At the very least I expect to hear this ditty played on the next series of Made In Chelsea (yes, there go my alternative muso credentials).



Deal With It is from Girli's forthcoming debut long player, Odd One Out, due for release in April.

Lauran Hibberd - 'Sugardaddy'

Singer-songwriter Lauran Hibberd has a talent for blending a catchy tune with a fantastically snarky lyric, case in point new single Sugardaddy. Opening with an intro that Rivers Cuomo would be proud of, the song bounces along to a rolling riff which underpins the outrageously dark libretto. The chorus that joyfully infects your brain is one that could, quite easily, cause concerned glances from fellow travellers if sung aloud on the morning commute. 

The Isle of Wight artist will soon be out touring with Minnesotan indie outfit Hippo Campus, supporting them at dates across the UK and Europe, with stops at the Shepherd's Bush Empire (Thursday 21st February), Bristol's SWX (Saturday 23rd February) and the Concorde 2 in Brighton (Sunday 24th February) along the way. I can definitely recommend her live set; I was fortunate enough to see her perform at Dials last year, a polished performance of foot-tapping sarcasm and wry observation, interspersed with tales of travelling to Glasgow and song writing in a Citroen Berlingo. Fantastic.

Jerry Williams - 'David At The Bar'

One Saturday in 2015 I found myself emerging from the dark basement of Brighton's Sticky Mike's (RIP), ears ringing from Kassassin Street's morning set, and stumbled across Jerry Williams playing a courtyard gig a few yards away. Barely a song in I was already aware that I was in the presence of a rare talent. Since then Jerry has continued to perfect her craft, releasing new material, touring far and wide, building up an ever growing legion of fans in the process. 

Having recently returned from New York, taking over Tidal's Instagram feed for a session whilst there, Jerry has since travelled to Germany for a string of live dates with her band before a return to the UK for further shows (including a gig at the Camden Assembly, the Barfly as was, on Wednesday 30th January and a visit to Southampton's Joiners the following night).

Current release David At The Bar is a reflective ode, a tale of a bar-side conversation the artist had with a young alcoholic she encountered; a soon-to-be new father, David promised Jerry that he'd stop drinking if she wrote a song about him, this affecting tune being the result. The lyrics reflect the drinker's fears for the future, whether they'll be able to put down the last glass, before toasting the artist with a plea not to follow the same path. 

It's a delicate song which progresses in tone over its two and a half minutes, powerfully building to an anthemic crescendo that, yes, I could picture a drunken crowd sing-a-long aloud. Irony is a wonderful thing. It's unknown what the titular character makes of the song he made his bargain for as David appears to have vanished into the crowd after the conversation. I'm hoping that he's seized the opportunity life has presented for him, made good on his promise, and is building on the future with his young family. Yes, I've always been a sucker for a happy ending. 

Fake Empire - 'Elders'

Portsmouth alt-rock trio Fake Empire, a band who I unfortunately missed out on seeing at Dials 2019, start the new year with a new single. Elders is three and half minutes of banging indie noir, combining twangy guitar, sullen lyrics, stratospheric mixing and a thumping rhythm that, on initial listen, reminded me very much of early Editors (this is not, I must stress, a bad thing).

I confess that the more I've heard of Fake Empire over recent months the more I like them, the collective of Becky Bellinger, Simon Brookes and Les Black have a knack in serving up songs that are a beautiful blend of some of my favourite bands yet making the resulting brew their own. A pinch of The National, a sprinkle of The Cure, a dash of Suede, stir well and serve loud with a garnish of early Simple Minds, there is a lot going into the pot here. It's all too easy to spoil a dish like this by over-seasoning but the finished product is subtly flavoured and not over-powered by its constituent ingredients.

In the interests of full disclosure I must admit to previously being someone who tutted and shrugged when presented with such material (as happened after my first listen to The Strokes debut album, mostly due to its aural familiarity to another band from New York). However, in my defence, I read the NME from front-to-back in those days, fully absorbing its slights of perceived muso pedantry and pretension.

Fake Empire might wear their influences easily but they are not cloning my record collection wholesale. They channel the best of it and make something new, interesting, powerful. Case in point, Elders, a track that fair pelts along like a fast ride in a sporty convertible, the soundtrack to an urgent and windswept journey on winding roads. It's reassuringly familiar, instantly hummable and most definitely ticks a lot of my boxes. Is it the best thing I've heard from the band? No (that would be this gorgeously widescreen number) but it's a cracker of a tune all the same. And next time I get the chance to see them I'm definitely taking it.