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South Londoners Loganstone have high expectations with their new EP ‘Sooner Not Later’ – shame then that they sound so much like Toploader. Strong song writing skills are no bad thing though, so rather than holding their likeness to Doogle’s long lost relative against them, marvel at the fact that these guys come from the same stable as The Stands and Brendon Benson.
Praise the Lord, 144,000 out of 10 for best band name on the planet: Geezers of Nazareth. So it’s unfortunate that their brand of pseudo funk is so rank on single 'Gold Rush'. At least some kind of effort is made to drag a once defunct genre into the noughties, just a shame it’s this genre.
David Wrench is a six foot five albino. Applaud. That’s no real reason to make records though is it? The ideas in ‘World War IV’ are all there, but by the time we hit his Barry White-esque second verse I can’t see the CD player for puke splashed all over it. The electro sounds are great, but this guy’s voice isn’t.
Marshmallow is New Zealander Alan Gregg and an acoustic guitar. ‘Anytime Soon’ is a catchy piece of acoustica pop in the same vein as Graham Coxon's quirky solo efforts. This is Coffee & TV with extra pink and white fluffy sugar deposits. Lovely.
Supergroup Brakes (made up of members of British Sea Power and Electric Soft Parade) release their debut ‘Pick Up the Phone’; an insane piece of brilliance. Apparently they like to “meet up and discuss punkin’ new hair moves, denim pocket designs and awesome postcodes.” These things are important to some people and this CD is mine and I’m keeping it, so fuck off.
Girl singer alert! Republica anyone? Phew, fortunately The Duke Spirit's Leila is more in the style of Elastica here, albeit a much breathier, sexier version. ‘Cuts Across the Land’ is a wiry take on Rolling Stones pomp and attitude and well worth anyone’s 79p or however much it is to buy singles nowadays.
Auf Der Maur, can this fiery haired rock chick do no wrong? ‘Taste You’ follows hot on the heals of AdM’s previous singles and self titled solo album. A bit of a slow starter, but it's saved by a grungey pop chorus, an ode to tasting me, or you for that matter. ‘I will taste you, taste you.’ She can taste me whenever she wants.
‘I’ll beat that bitch with a hit’, dang she’s still alive. Miss Kittin, I mean she’s alright but what’s all the fuss about? ‘Requiem For A Hit’ just starts to get going then some fella says, “eh, stop the tune a sec,” and some chick starts burbling on all lovey dovey, before our man comes in again with his beatings. Then the Kittin’s in there beating away. Madness. I wouldn’t wipe my ass with any of these five mixes (er except the acid house mix, but I’m not admitting that in public).
C’mon Kelly Osbourne? Easy target lads. San Franciscan’s Subtle have a pop at the daughter of the Prince of Darkness in ‘F.K.O.’ (fuck Kelly Osbourne). Haven’t got a clue what they’re saying though cos their faux gangsta accents sound more like they’re bunged up with cold. Tuneless - this’ll make a great coaster.
From start to finish this visceral piece of effervescent ska-rock is an absolute necessity in anyone’s record collection. ‘Riot on the Radio’, The Dead Sixties second single and follow up to ‘You’re Not the Law’, will hopefully launch their careers into the mainstream. With a Morrissey support slot already under their belts and loads of air-play big things beckon this Liverpool four-piece.
