In an exclusive for KCL, Will Gregory interviewed the singer of Cardiff's Anonymous Iconoclasts about their third album, 'Send In The Suits'. They chatted about songwriting, post-lockdown creativity, encouragement for the live music scene and some of the twenty tracks (20!!) on the brand new album. As the band are 'anonymous', Steve's face is not available but his opinions are!
'Send In The Suits' is released on July 30th, 2023 and is distributed through Distrokid.
Physical CD's are available from the band's website: https://www.anonymousiconoclasts.com/merchandise
Classic Album Review - The Libertines
After a tumultuous time in the recording studio; The Libertines were able to create an album as equally as chaotic as the band's off-stage antics.
At the turn of the 21st Century, indie dominated the UK charts. Bands such as The Strokes and the Vines paved the way for a new wave of garage rock musicians. However, The Libertines also contributed to this sudden revival of the scene. The strained relationship between front-men Pete Doherty and Carl Barat and Doherty's aloof personality and unpredictable behaviour mixed with their punk-infused debut album caused the band to be at the fore-front of the UK scene.
Despite this, a second album seemed unlikely with Doherty's health rapidly deteriorating due to a number of well-documented addictions. All of Doherty's problems culminated in 2003 when he was arrested and jailed for 6 months after burgling bandmate Barat's flat and damaging a number of items.
Surprisingly, the pair were able to set aside their differences and head into the studio; determined to recapture the magic of their debut record. To be able to harness the same feeling as 'Up the Bracket', former Clash guitarist Mick Jones returned to produce the album with former Suede guitarist Bernard Butler also lending a hand with the production.
Jones' influence can be heard prominently on the opening track 'Can't Stand Me Now' with Barat and Doherty playing call and response guitar riffs that are reminiscent of the trademark Clash sound. The song itself delves into the strained friendship between the two charismatic front-men and how recent events affected them but eventually brought them back together.
The band continue their punk-infused assault on the ears with second track 'Last Post on the Bugle'. The rumbling guitar riff weaving a wall of sound and complimenting Doherty's lackadaisical vocal delivery perfectly.
Songs such as 'Music When the Lights Go Out' and 'What Katie Did' display a new side to the Libertines that had never been heard before on previous recordings. Both tracks are covered in a pop sheen with the group possibly desiring more radio airplay to catapult them into indie rock stardom.
However, the group still maintain their unadulterated punk sound throughout the majority of the album. 'The Ha Ha Wall' is a highlight of the record with an iconic swirling guitar riff chugging through the entirety of the run-time. 'The Ha Ha Wall' could potentially be seen as a tribute to Doherty's profession due to his lyricism making remarks about how music saved his life and prevented boredom in his youth.
The Libertines continue their raw, garage rock sound on tracks such as 'Arbeit Macht Frei', a chaotic and manic minute and a half of pure punk mayhem. Doherty's lyrics are uncharacteristically political, showcasing the ridiculousness of homophobia and racism.
The percussion section can sometimes be overlooked due to the erratic personalities of the two front-men but Gary Powell and John Hassell shine throughout. Powell is able to showcase his unbelievable timing on tracks such as 'Don't Be Shy' and 'Narcissist' where he is able to overcome the chaos and keep the songs on track.
Finally, 'What Became of the Likely Lads' is a perfect way to end the record, Doherty and Barat once again singing about their peculiar dynamic whilst also playing complex guitar riffs that are joyfully unconventional.
Overall, The Libertines eponymous album is a seminal record in the UK indie scene and is a must listen for anyone wanting to understand this intriguing sub-culture that captivated Britain in the early 2000s.
Rating: 8/10
Classic Album Review - All Mod Cons - The Jam
The Jam's third studio album is much more subdued when compared to their previous releases but still manages to keep their punk ideologies intact.
In 1978, frontman Paul Weller hit a wall. Notably suffering from writer's block and also struggling with the commercial failure of their previous record, 'This is the Modern World'.
Weller openly admitted to becoming complacent with the song-writing process, causing the album to be re-recorded in its entirety due to the first set of songs reportedly being substandard.
After being put under pressure from record label 'Polydor' to release a hit record, the British trio took this challenge in their stride and created an album that maintained the aggression of their previous outings combined with new-found pop sensibilities that were more widely accessible.
These re-recordings as tedious as they were seemed to pay off. 'All Mods Cons' instantly became a hit and has since been regarded as one of punk's greatest albums.
Despite the altering in their sound, Weller's working class views and left-leaning politics remained prominent throughout his lyrics. Songs like 'Mr Clean' showcase his distaste for the hierarchy and the lavish lifestyles that they lead. Weller's raw and pugnacious delivery confronts the senses, proving that he believes every word that he is saying on this track.
'To Be Someone (Didn't We Have a Nice Time)' continues the theme of the hierarchy. This time Weller criticises society and how fickle they can be in attaching themselves to someone that gains even a small amount of fame; which could possibly be taken from personal experience.
Bruce Foxton remains an integral part of The Jam's sound, with his blistering basslines bringing each track to life as each story unfolds. This can be seen most predominantly in 'Down in the Tube Station at Midnight' where his driving bassline compliments Weller's erratic vocal delivery perfectly. Weller originally discarded 'Tube Station' due to being unhappy with the songs arrangement before Vic Coppersmith was eventually able to convince him otherwise.
Weller shows his versatility throughout the record however; moving away from politically-fuelled punk tracks and showing his vulnerable side on the beautifully simplistic 'English Rose'. The track itself is a lot more stripped back when compared to most of their songs with Weller initially being hesitant to include it on the record due to its romantic nature.
Songs like 'In the Crowd' and 'Fly' show the band experimenting with their sound, taking inspiration from a number of hard rock acts. Both tracks start quietly before exploding into catchy rock classics that overwhelm the senses and are bound to take the listener off guard. 'In the Crowd' also makes a reference to 'Away from the Numbers' from their debut album.
Finally, Weller does go back to his punk sensibilities in snippets throughout the record. 'A Bomb on Wardour Street' and 'Billy Hunt' both share likenesses to songs that would have featured on their previous two efforts. The band notably disliked 'Billy Hunt', opting to replace it with 'The Butterfly Collector' on the US release.
Overall, 'All Mod Cons' is an important record that helped shape British counter-culture and the mod revival scene in the late 70s and early 80s. The album also has glimpses of the transitional period that the band would undertake in the coming years, transforming from angry punks to one of British rocks true giants.
Rating: 8/10
Classic Album Review - After The Gold Rush - Neil Young
One of music's most versatile and prolific songwriters sets his electric guitar to one side and releases a poignant and thought-provoking album that is a staple in his vast discography.
Neil Young has portrayed a number of personas during his career; differing from the insightful poet to the gritty hard rocker. The Canadian-born singer is able to combine these traits into one compelling record that varies from vulnerable melancholy to moral and political disdain.
After the release of his abrasive and visceral second album 'Everybody Knows This Is Nowhere', Young transitions away from this sound and creates and intimate album that relies heavily on the minimalistic sounds of his acoustic guitar and piano.
The simplicity and the subtlety of the record instantly shines through with the opening track 'Tell Me Why'. Young's fragile vocal delivery paired with his complex guitar playing is a notable shift away from his previous work whilst still being able to keep his philosophical lyricism intact.
The title track showcases Young's ability to take real-life trauma and transform them into haunting ballads that are audibly striking and perfectly paint a picture in your head. The song itself is supposedly about a catastrophic flood that swept through California, but Young has since stated that he is unable to recall the true meaning of the song.
Despite the album moving in a more acoustic direction, Young's aggressive guitar riffs still shine through in brief moments throughout the record. The politically charged 'Southern Man' is a particular highlight of the album with Young's raspy vocals perfectly emphasising the importance of the message he is trying to get across. The song was extremely controversial at the time, Young expressing his hatred for the American Deep South and the racism that was prominent throughout much of the 20th century.
There are also moments on the record that hark back to his self-titled debut. The exquisitely dramatic 'Don't Let it Bring You Down' and the infectiously catchy 'When You Dance I Can Really Love' are perfect examples of folk-infused rock tracks with Young putting his own spin on the genre to make them utterly unique.
The album is also able to encapsulate complicated emotions such as melancholy and sorrow without being cringeworthy. The single 'Only Love Can Break Your Heart' is a perfect example of this, with Young dedicating it to band-mate Graham Nash who had recently split up with fellow folk singer Joni Mitchell.
'After the Gold Rush' also includes a cover of the classic Don Gibson track 'Oh, Lonesome Me'. Young was unphased by the popularity of the song and transformed it into a soft yet intimate ballad. The song is full of vulnerability, Young's trembling vocals perfectly complimenting the themes of loneliness and isolation.
Finally, the minimalistic nature of the record causes a couple of the tracks to lack any real substance. 'Cripple Creek Ferry' and 'Till the Morning Comes' are songs that come from the same formula as the rest of the album but are ultimately filler that fall short of the mark when compared to the other songs.
Overall, 'After the Gold Rush' is a quintessential Neil Young album that is a perfect blend of his hard rock sensibilities and his love of traditional folk music. However, it is not a particularly accessible record due to Young opting for a more subdued album when compared to his previous work up to that point.
Rating: 8.1/10
Classic Album Reviews: 'The La's' by The La's
The eccentric and intricate musicianship of an elusive frontman makes 'The La's' one of the most intriguing albums of the late 20th century.
After numerous line-up changes, a multitude of different producers and years of recording; Lee Mavers' brainchild is a magical masterpiece that stands the test of time and should be revered as one of the best records of the 1990s.
However, Mavers' pedantic nature was simultaneously a blessing and a curse. His erratic persona being what pushed The La's into the limelight whilst also being the catalyst for their eventual downfall.
Stories of the Liverpool-born musician's eccentricities would later become folklore in the indie music scene. Rumours of tuning his guitar to the hum of a fridge and refusing to use a soundboard at the famous 'Abbey Road Studios' due it not being covered in genuine sixties' dust cement Mavers as being one of the most interesting musicians in the UK indie scene.
The album itself instantly grabs the listeners attention with the opening track 'Son of A Gun', that has a guitar riff that is as complex as it is infectious. The lyricism could possibly be an almost autobiographical piece from Mavers, with 'a man who's at loggersheads with his past all the time' and who was 'burnt by the 20th century'.
The single 'Feelin' brings a rockabilly style sound to the album that will undoubtedly bring anyone out of a bad mood but also not overstaying it's welcome with the track lasting just under two minutes.
Most tracks on this record are rather brisk, pop infused classics that are bound to get stuck in your head. Songs such as 'Way Out' and 'Failure' tackle heavy topics such as the ending of a relationship with a significant other and being alienated from family members but do so in a way that is easily accessible to listen to and process.
Lead single 'There She Goes' is an everlasting classic that fully deserves all the praise that it gets. The original release of the song was not successful with it peaking at 59 in charts before being re-released in 1990 where it reached number 13.
Mavers would showcase his versatility throughout the record, going back to basics with tracks such as 'Doledrum' and 'Liberty Ship' that both emulate a skiffle sound which was a genre that originated in the band's home city of Liverpool.
'Timeless Melody' oozes with nostalgia and shines above almost every other song on the album. Mavers possibly reminiscing on the music he listened to in his adolescence and his lifelong mission to replicate it.
The closing track 'Looking Glass' is an earnest masterpiece that is an unstoppable, emotional rollercoaster for the entirety of it's run-time. The track overall is possibly an honest self reflection on his weathered outlook on the world with themes of child-like loneliness and isolation being touched upon. Bass guitarist John Power would eventually take inspiration from this song, naming his band 'Cast' after the last lyric uttered by Mavers.
The album is an absolute masterpiece but could potentially leave listeners with a bitter taste in their mouth with Mavers never building upon this beautifully-crafted record. Mavers would eventually disown the album, with the only other snippets of his genius being a number of bootlegs that were released throughout the 1990s.
The lack of content leaves us with one of the biggest questions in music. What if The La's were able to build upon their eponymous debut album and release another?
Rating: 10/10