One of my favorite British acts making music these days is Amongst Liars, who play a fiercely aggressive style of melodic hard rock, forged from a powerful trifecta of alternative rock, grunge and punk. Based in the Brighton/Eastbourne area on the South England coast, the band consists of Ian George (lead vocals, guitar), Leo Burdett (guitar, backing vocals), Ross Towner (bass, backing vocals), Adam Oarton (drums), and newcomer James Brumeo (keyboards and piano), who recently joined the stellar lineup.
Photo by Duncan Tyler
I first learned about them in early 2020, and was immediately blown away by their explosive debut single “Over and Over”, which along with their third single “Burn the Vision”, ended up on my Top 100 Songs of 2020 list. Since then, they’ve dropped several more outstanding singles, many of which I’ve reviewed on this blog. In July 2022, they released their eponymous debut album Amongst Liars, an outstanding work featuring 11 tracks, including the two aforementioned singles. Now they’re back with “The Shameful“, a blistering ripper of a song overflowing with the signature searing riffs, pummeling rhythms and savage vocals we’ve come to love and expect from these talented gents. The track was recorded & mixed by David Radahd-Jones at Red City Recordings in Manchester, and mastered by Grant Berry at Fader Mastering.
While they don’t consider themselves a ‘political’ band, Amongst Liars are not afraid to tackle some of the pressing socio-political issues of the day, including war mongering for financial gain, poverty, greed, fake news, deceitful politicians, election fraud, human rights abuses and climate change, and they’ve been outspoken advocates for social justice on several of their songs. On “The Shameful”, they call out politicians and media personalities who bombard the public with bullshit and lies to gaslight and confuse, turning us against one another and causing us to vote against our better interests. Band vocalist Ian George elaborates: “[the song isabout the world of bias and misinformation that we are living in today. Government (with certain characters more prominent than others) and media are in increasingly bending perceptions to their own narrative and it is just happening all the bloody time isn’t it! This gaslighting and brainwashing distorts reality for many people and causes anger, hurt, pain, division and distrust.“
To drive home their message, Amongst Liars unleash a furious barrage of raging guitars, chugging bass and smashing drumbeats, laying waste to the airwaves like a rampaging sonic beast. Leo shreds his guitar to the breaking point, while Ross and Adam keep the thunderous rhythms blasting forward with a breathtaking intensity, fully channeling the strong sense of frustration and anger expressed in the biting lyrics. Ian has a commanding vocal style that turns downright fearsome when he needs to get his point across: “As the violence drags me through, I’m at peace with you. Gonna cut me down the easy way. As the shamers stand in line, sing it one last time. Gonna make me a believer. Talk is cheap anyway – get to know your enemy!” As he savagely wails the final words “As the shamers stand in line, sing it one last time. Just let it go!“, I’m left covered with goosebumps.
“The Shameful” is their hardest-hitting and most ferocious single since “Black Days”. I’m happy Amongst Liars continue to create outstanding music, and if you’re a fan of explosive and melodic hard rock, you will enjoy this single.
Like for all their singles, the terrific surreal artwork for “The Shameful” was created by the brilliant artist Pierre Engelbrecht. A young woman is shown lying on her bed, sunlight streaming into the room while she blissfully watches what I’m guessing is her TV. Her brain, which has been disengaged from her skull, hovers above her head in a locked cage that’s connected by a chain to her ankles. Pierre’s works are beautiful, bizarre and sometimes disturbing, but always amazing, and you can see them by checking out his Instagram account.
Amongst Liars will be opening for Canadian hard rock band Theory of a Deadman on their The Dinosaur Tour later this month, beginning Friday, September 22nd at the Electric Ballroom in London.
Wild Horse is a talented, hard-working and charismatic indie pop-rock trio based in East Sussex, England, and comprised of brothers Henry and Jack Baldwin and Ed Barnes, their long-time friend since primary school. Now in their early 20s, the guys are seasoned musicians who’ve been writing and recording songs since forming in 2013, when they were barely teenagers. Both Henry and Jack are multi-instrumentalists who play guitar, bass and keyboards, as well as sing vocals, while Ed plays drums and percussion, sings backing vocals and plays guitar on a few tracks.
The Baldwin brothers are also prolific songwriters who’ve penned hundreds of songs over the years, and since 2017, Wild Horse has released five albums, three EPs and scores of singles. On the strength of their music and energetic live performances across England, they’ve built an ever-expanding fan base and garnered praise by music writers (including yours truly) and broadcasters, with their songs being regularly played on numerous FM & internet stations around the world, as well as mainstream radio programs BBC Introducing and BBC Sussex, Surrey & Kent. In June, they were even mentioned during a hearing in the British Parliament on funding to support struggling music venues.
I’ve been following them for over five years, and it’s been a pleasure watching them mature and grow as both musicians and gentlemen. I’ve reviewed two of their albums, DANCE!! Like An Animal, in 2019, and When the Pool Is Occupied, in late 2021, as well as their singles “Bitter” (which spent two months on my weekly top 30 in the fall of 2021) and “Cougar” this past January. Those two songs have been among a string of singles they’ve been dropping at the rate of roughly one every two months beginning in June 2022. Their seventh and latest single is “Do You Wanna Talk“, a song they describe as “a summer anthem about an on-off relationship and all that comes with it.”
Released through Animal Farm Songs, “Do You Wanna Talk” was written by Jack and produced by Mat Leppanen. Over a bouncy, toe-tapping groove, courtesy of Jack’s warm bassline and Ed’s thumping drumbeats, Jack layers beautiful jangly guitars, accompanied by his and Mat’s sparkling keyboard synths. It all serves as a sunny backdrop for Jack’s endearing vocals as he earnestly sings to a romantic partner with whom he has a precarious hot and cold relationship, neither of them wanting to fully commit nor break things off: “I don’t wanna see you no more, but stay by my side. And ooh, I don’t think about you, but my head shines you in a spotlight.Do you wanna talk? Do you wanna talk about it?/ I don’t wanna know, but I can’t stop thinking of it. I think we’re both as bad, we’re going round in circles.”
“Do You Wanna Talk” is another strong link in an unbroken chain of wonderful songs from this talented young band.
Now I turn my attention back to England to shine a spotlight on Native Tongue, an alt-rock band from Bournemouth. Fronted by the prolific singer-songwriter and producer Nathan Evans on lead vocals and guitar, Native Tongue also includes Arron Bennett on drums and Jake Waters on bass. Nathan also writes and records music as a solo artist under the moniker NAVE, and this past February he released his monumental 31-track album God’s Waiting Room (which I reviewed.)
Native Tongue’s sound is darkly beautiful, edgy and melodic, with thought-provoking lyrics delivered by Nathan’s captivating tenor vocals. They began dropping singles in early 2022, which culminated in the release of their debut five-track EP Hiding In White Light. That September, they released a beautiful short film with the same title which they wrote and directed. Hiding In White Light features four of the tracks from the EP, and tells a dark story of mental illness, hallucinations, loneliness and depression. The film is available for viewing on YouTube.
Now they’re back with a powerful new single “Dark Green Eyes“, accompanied by an unusual video that would make David Lynch proud. The song is the first single from their forthcoming second EP Sodium. When Nathan first sent me the song and video, I was immediately blown away by the song’s complex and jarring music that starts off with a melancholy acoustic guitar, then evolves into an explosive maelstrom of grungy and screaming riffs, smashing drums and crushing bass. There’s beauty to be found too, particularly in the melodic gnarly guitar solo in the bridge. Nathan’s vocals also start off with his signature plaintive tenor croon, but turn emotionally-wrenching and raw with the music, until he’s literally frightening us with his impassioned wails, leaving us drained by song’s end.
Nathan told me he originally intended for “Dark Green Eyes” to be a Nave song, but decided to turn it into a full band song with live drums and bass to creating a more powerful dynamic. About the song’s meaning, he explains: “I wanted to create a character that seems so desperate to be in the spotlight and wants to know what it feels like to be adored. I love the line ‘I wanna know what it feels like to be yours’ because it twists it as you expect it to say ‘I wanna know what its like to be you’. To me, this implies the character doesn’t even feel worthy enough to imagine himself as this successful person and instead he wants to know what it would be like in their shadow. It is tragic to see someone wishing they were anything but themselves and needing validation from others to make them feel good. He is a victim of society who is encouraged to compete and compare himself with others constantly.”
Both song and video are simple yet profound, beautiful yet disturbing. In the video, Nathan portrays a man performing the song on stage, baring both himself and his soul in front of everyone in a raw, unflinching manner.
I’ve previously commented many times on this blog about the enormous amount of musical talent coming out of the UK, and today I have yet another shining example of this in the form of Hardwicke Circus, an insanely good five-piece from Carlisle, England. Though they’ve been around since 2015, I only learned about them last week when their PR rep reached out to me about them and their recently-released album Fly the Flag. I liked it at first listen, and as I customarily do for all artists and bands I’m writing about for the first time, I listened to as much of their back music catalog as I could get my hands on. I love all of it, and am now a committed fan! Hardwicke Circus is a brilliant band, and I strongly urge my readers to take the time to check out at least some of their music.
They’re also clever and funny, and their bio so colorful and amusing, I’m just going to quote from it rather than try and paraphrase. “Just in case you’re wondering, Hardwicke Circus is from Carlisle, and “Where the fuck is Carlisle!” greets us gig after gig. You only end up in Carlisle by accident. It’s on the boundary of England but not Scotland, on the edge of the Lake District but not the countryside: we don’t fit. This storm centre of English drunkenness is home to an arms depot and an economy reliant on biscuits & the Blues, with a business icon in Eddie Stobart whose sole purpose is to take things away from Carlisle via the city’s best known roundabout, allegedly named after this gang of travelling brothers. Carlisle does not suffer fools; we export them.
Hardwicke Circus was formed by brothers Jonny and Tommy Foster, who had a passion for making music from an early age. They developed a reputation on their street for making a racket but they were not to be deterred. Throughout their school years they surrounded themselves with the best musicians Carlisle had to offer, more than once poaching them from other school bands. When their friends began the university treadmill, Hardwicke Circus jumped in a van, hit the road and didn’t look back. They earned their stripes in Hells Angels pubs, clubs, theaters and prisons, soaking up long journeys to the rebel rousing music of Dylan, Springsteen, Philadelphia soul, Motown, the Stray Cats, The Clash and more.“
Their dynamic live shows and skillful songwriting so impressed renowned music veteran Dave Robinson, he came out of retirement to become their manager. Robinson’s professional resume is both extensive and impressive. He started out as road manager for Jimi Hendrix, also handling major tours in the U.S. for Eric Burden & The Animals, the Young Rascals and Vanilla Fudge. He then returned to London and managed Brinsley Schwarz, Graham Parker, Nick Lowe, Dave Edmunds, Ian Dury and Elvis Costello. He also built a recording studio above the legendary Hope & Anchor pub in Islington, and with Jake Riviera, started his label Stiff Records, signing such acts as The Damned, Motorhead, Elvis Costello, Nick Lowe, Tracey Ullman, the Plasmatics, Jona Lewie, Ian Dury and the Blockheads, Kirsty MacColl, The Box Tops, The Adverts, Lene Lovich, Shane MacGowan and the Pogues, Madness and more. Robinson was also installed by Chris Blackwell as president of Island Records where he oversaw the careers of U2, Robert Palmer, Steve Winwood, Grace Jones, Aswad and Frankie Goes To Hollywood. He personally compiled and marketed Bob Marley’s Legend, the biggest selling reggae album in the world. The list of his accomplishments goes on, but I’ll stop here, as this review is supposed to be about Hardwicke Circus!
The band became a six-piece early on, but now consists of five members: Jonny Foster (lead vocals, guitar), Tom Foster (drums, backing vocals), Joe Hurst (bass, backing vocals), Lewis Bewley-Taylor (keyboards) and Jack Pearce (saxophones). They released their debut single “Please Don’t Try This At Home” in 2017, then followed a month later with a four-song EP Hot Moves. After playing hundreds of gigs in pubs and parties throughout Britain and even some European countries, the band secured a coveted spot at the 2020 SXSW. We all know what happened next, and it was curtains for both SXSW and the 165 gigs they had scheduled after that festival.
Forced to regroup, Hardwicke Circus switched gears and focused their attention and energy on recording their first album. They rented a farmhouse in Yorkshire, where they wrote and recorded their debut album The Borderland, an outstanding work that pays homage to the land they love, as well as touching on then-current topics like the pandemic on the wonderful track “Lockdown”, and racial inequality and social injustice on “Hands Up Don’t Shoot”. One of the highlights on the album is their rousing anthem “Walking On Broken Glass”.
In November 2021, Hardwicke Circus played a series of gigs at 15 prisons throughout England. Inspired by Johnny Cash’s legendary 1968 album Johnny Cash at Folsom Prison, the guys decided to memorialize those gigs with their 13-track album At Her Majesty’s Pleasure, released in May 2022. (In the UK, prisons are known as HMPs, which stands for His or Her Majesty’s Prisons, depending on the gender of the reigning monarch, followed by the location or city in which they’re located.)
On June 9th, they dropped their third album Fly the Flag, a delightful romp featuring 12 head-bopping bangers fashioned from an eclectic mix of influences, including rock’n’roll, punk, Motown, Philadelphia soul, ska, blues and even Gypsy folk. The album opens strong with the buoyant “Every Day I Find the Luck“, an uplifting track with an exuberant, toe-tapping groove, colorful instrumentation and soaring choruses as Jonny and company sing of keeping positive and always aiming high: “Is this what I’m looking for? I can tell that I’m getting close, closer to the prize at the end of the rope. / Show me a sign, is it all I’ve got? I’ve given it my best shot. Every day I find the luck. If only I could reach it.”
The wonderful “Bang My Head (To the Rhythm of Life)” reminds me of some of the great 70s songs by Sound of Philadelphia acts like the O’Jays, Harold Melvin & the Blue Notes, T.S.O.P., McFadden & Whitehead and the Trammps, grabbing us by the hips and compelling us to move! And “True Love & Near Misses” is downright fabulous, with an infectious, fast-paced groove and achingly beautiful hook, highlighted by Lewis Bewley-Taylor’s gorgeous keyboards and Jack Pearce’s exuberant saxophone. And I cannot emphasize enough how much I adore Jonny Foster’s raspy but beautiful, heavily-accented vocals that occupy a sweet spot between Joe Strummer and Eddie Money here.
The anthemic “Can You Hear Me Now?” has an early Springsteen folk-rock vibe, with Jack’s soulful sax seemingly paying homage to the great Clarence Clemons. “Rejection Is Better Than Regret” – one of the my favorites on an album full of them – is a delightful take on the old adage ‘it’s better to have love and lost than to have never loved at all’: “Rejection is better than regret my love. I guess that’s why you’re my ex. You’re so sweet and lovely though, but I don’t like the way you look with him.” I love the fun, retro 70s vibe that calls to mind songs by ABBA, The Sweet and Bay City Rollers.
The guys slow things down on the introspective and melancholy “Battlefield“, a song about a love affair that now lies in ruins: “I live on a battlefield, where love has turned to rust./ You feel abandoned, who’s to blame. Courage is not what you keep, it’s what you give away.” Musical highlight for me are the expressive percussion, bold piano keys, moody sax, soulful organ, and what sounds like a vibraphone. With it’s lively, piano-driven groove, “A Johnny Come Lately” has a catchy ABBA vibe, nicely augmented with Jack’s rousing sax and Tom’s spirited drums. The album’s title comes from the lyrics “I’m flying the flag for you.”
“The Colour In Everything” has a strong Motown vibe, and in fact features a piano riff that sounds a bit like the one in the Four Tops’ classic “I Can’t Help Myself”. Also, what I’m guessing is Jack’s baritone sax gives the such a distinctive Motown sound. The colorful, synth-dominant “Our Town” is a brutally honest homage to the contradictions of the band’s home town, with cheeky lyrics like “Runny noses and ripped wedding gowns, that’s romance in our town. A compliment is a good putdown with a smile in our town.” The song starts off with a pleasing melody, but gradually transitions to a full-blown rocker with edgy guitars, heavy organ riff, aggressive percussion and bold sax, abruptly ending with rapped verses in the final 20 seconds.
The terrific songs just keep on coming. The rousing ska-infused gem “Night Train To London“, with its exuberant Gypsy folk vibe, fortified by Jack’s wailing sax, is pure delight. The guys let loose on the high-energy banger “It’s Not Over Till It’s Over“, unleashing a torrent of driving riffs, stomping rhythms, colorful keyboards, soaring choruses, and more of those great saxophone flourishes. Saving the best for last, the guys channel late 50s rock’n’roll with the wonderfully bluesy “No More Doggin’“. Holy shit, these guys can play just about anything! The combination of bluesy guitars and bass, sultry sax, and that phenomenal honky tonk piano create a dramatic and colorful backdrop for Jonny’s raw vocals oozing with unabashed swagger.
I’m not sure what more I can say about Fly the Flag, other than to keep gushing about how wonderful it is. Just about everything I can think of – the songwriting and lyrics, arrangements, instrumentation, vocals and production values – are perfection, and it’s easily one of the best albums of 2023 so far. Every song is first-rate, with no filler tracks or ones I would even consider skipping over. I love this album and love this band.
Here’s the album on YouTube:
Those fortunate enough to be in the UK can catch Hardwicke Circus at one of their upcoming shows:
This June seems to be shaping up as “United Kingdom Artists Month”, as the last three artists I’ve written about are British, with several more in the coming weeks. Today I bring you a fourth – Chief Springs, a fine indie rock band based in Leicester and London. Originally formed in 2018 as a two-piece by Josh Coyne and Scott Dillon, they eventually grew to become a five-piece with the addition of Sam Crosby-Browne, Dale Bradfield and Tommy Jordan. Together, they make a pleasing style of melodic rock fashioned with elements of alternative, post-rock, and dream pop, and featuring lush guitars, beautiful arrangements, intelligent lyrics and Josh’s vibrant baritone vocals.
They’ve been releasing music since 2020, beginning with their lovely single “Tupelo”, which they followed a year later with a three-song EP 00. In February 2022, they dropped a single “Long Game (Agave)”, followed two weeks later with “La Cienega”, named after the famous boulevard running through western L.A. and West Hollywood. I first learned about Chief Springs through my being a guest moderator of the British online music program Fresh on the Net, in which “La Cienega” was an entry that week. The beautiful song was one of my top five picks out of 170 entries, and I liked it so much, it spent three months on my Weekly Top 30, and ranks #76 on my 100 Best Songs of 2022 list.
Now they return with a marvelous new EP Time to Take Time, featuring four excellent songs they wrote and recorded between this past winter and early spring. Produced and mixed by their frequent collaborator Jamie Ward, the EP features accompanying vocals from singer-songwriter and musician Courtney Askey on selected tracks. Josh told me the songs on the EP “explore people’s experiences of being lied to, being told what to do with their body, accepting what’s gone is gone and moving home.”
Opening track “Elastic” touches on all the conflicting and sometimes incorrect news we’re fed, leaving us confused, disoriented, and not knowing what’s truth or fiction: “All of the things you ought to know, are no longer showing / Because the posters in the window, they serve as proof of how far they can stretch this elastic truth. All of the stories rearrange you / How far can they stretch this elastic truth?A time to take time to take time.” The instrumentation is impeccable and honest, with gorgeous jangly guitars bathed in shimmer, accompanied by a deep bass groove and real drums that lend rich textures to the track.
“House Money” speaks to accepting the hand you’ve been dealt and realizing you can move forward: “Things have changed. Somehow strangely liberating. And the house, it always wins, and everything that was, now can end. The house, it always wind, and everything to be can now begin.” A vibrant mix of intricate guitars are layered over a lush bassline and thumping groove.
And on the lovely and sweet “Upping“, Josh croons to a loved one of his devotion and willingness to go anywhere, so long as it’s with her: “Well I could move off this rock with you, build a house on the moon. Make a state upon that star too, wait for the space plants to bloom. Well I could fill a new home with you down on the bed of the sea. Forge a life under ocean blue, cheap but it’s harder to breath.If I’m to do nothing, it’ll be with you. Don’t see it as running, but a thing to do.” As always, the lush guitar work and Josh’s vocals are both achingly beautiful.
The topically relevant “Saddened Sick” calls out those who aim to control or interfere with our bodily autonomy, telling us what we can or cannot do with our lives: “Who makes the call for someone else? Now how am I supposed to believe that these are your decisions to make? And where do we begin, the hope is where it lives. Original sin, but you couldn’t write it if you tried.” The crisp percussion and jangly guitars are simply wonderful, and Josh and Courtney’s harmonies sublime.
Chief Springs have really outdone themselves with the creation of this exquisite little EP. Time to Take Time is not only a beautiful feast for the ears, it’s meaningful lyrics give us lots to think about. Great work guys!
Calling themselves a “half decent band from the sonic wastelands of Warrington“, British indie rock trio 32 tens are an assault on the senses, but in a good way! Named after the classic 90’s Nokia phone, and influenced by such acts as Jack White, Jamie T and The Arctic Monkeys, 32 tens play a fierce and gritty brand of indie post-punk that’ll immediately shake away whatever ennui that might be plaguing you. Making this awesome noise are Max Vickers on vocals and guitar, Sam Glancy on lead guitar and Danny Hall on drums, with Ed Dowling of alt-rock band The Zangwills (another terrific band with a lead singer also having the surname Vickers but no relation, who I’ve also featured on this blog) as guest bassist.
I recently learned about 32 tens when their manager Jackie (who also manages The Zangwills) reached out to me about their latest single “This Just Ain’t My Year“, and it knocked me for a loop. I was so intrigued, I had to go check out their back catalog of songs, and immediately became hooked on their high-octane edgy sound and Max’s unusual vocals. I love their music, and have been listening to them nearly on repeat the last few days.
From what I can tell, they’ve been releasing only singles since 2017, and have garnered some very impressive streaming stats. Their 2017 single “Lost” has racked up over 2.1 million streams on Spotify alone, with six other singles earning over 100,000. “This Just Ain’t My Year” is their 15th single, and has already been named Record of the Week on XS Radio, and last week, it garnered the top spot on Tom Robinson’s Fresh on the Net.
The song’s a rip-roaring banger, storming out of the gates with a torrent of shredded guitars, hard-driving basslines and explosive drums. The pace is fast and relentless as 32 tens blow our minds and ears for two minutes and 51 seconds. It’s the kind of song you want playing when you feel like breaking some shit. The one brief moment we’re able to catch our breath comes in the bridge at 1.37, where we hear only the wonderful thumping rhythm of Ed’s bass and Danny’s drumbeats. Max’s warbly vocals are a thing of wonder, at once both sweet and raw, a winning combination that’s perfectly suited to their dynamic and gnarly sound.
The lyrics touch on the struggles of the everyday person trying to make it through a difficult time: “Hard to see what’s real when you’ve been living by sin and I know you’re tired. People only really give in when there’s no fight left. Everytime you’re getting close, just enough fear to face my ghost. I swear, this just ain’t my year.”
“This Just Ain’t My Year” is another fantastic single by this amazing band, and I can’t wait to hear what they come up with next!
Pylon Poets are an alternative indie rock band from the southwestern England town of Torquay, Devon. Consisting of Dan Hughes (lead vocals, guitars & synths) Nathan Hughes (bass, backing vocals) and Sam McIver (drums), Pylon Poets have been putting out high-energy melodic rock for several years, with relatable lyrics touching on such issues as pop culture, love and politics. They’ve toured extensively and have played several music festivals throughout the UK, sharing the stage with such artists as Reef, Fun Lovin’ Criminals, Scouting For Girls, Republica and ASH.
Photo of Sam, Dan & Nathan by Amy Stanford
Beginning with their debut album Spirit, Love & Higher Meanings in 2016, they followed two years later with a five-track self-titled EP, and since then have dropped many more singles, including a second EP Lucid Hallucinations in late 2020. Today, they release their latest single “In The End“, about which they say “focuseson the battles of mental health, and the feelings and thoughts that accompany it whilst keeping an optimistic outlook on the future.” The track was engineered, recorded and produced by Sugar House at Catalyst Studios, and mastered by Fluid Mastering.
Pylon Poets get right down to business, opening “In The End” with a blast of reverb-drenched guitars and shimmery synths. The music then settles into a strong thumping groove, accompanied by some nice guitar noodling in the verses as Dan calmly sings “In the end, there is a new beginning. There is a time for living. In the end, there’s something beautiful. A godsend or something cynical. In the end, it’s all collateral. In the end.” As the song continues, the gentler verses alternate with exuberant choruses, in which Dan’s vocals turn more impassioned as he sings of struggling with his conflicting emotions: “Losing control, taking the reigns, fighting the tide inside my mind. Burning alive, breaking the chains, one by one nothing remains.” It all serves to create a contrasting sense of excitement and tension, making this a terrific rock song.
Pylon Poets have lots of tour dates planned, so click here for details.
Another favorite act of mine, who I’ve written about numerous times over the past five years, is British electro-funk/soul collective WINACHI. Based in and around Manchester, they originally formed in 2015 as The Winachi Tribe, and now consist of founding members Liam Croker (lyrics and vocals), Antony Egerton (keyboards, programming) and Inder Goldfinger (percussion), along with Andy McKay (lead guitar), Richard Ritchie (bass) and Paul Lawrence (drums), all accomplished musicians with diverse musical backgrounds. With their love of funky beats and for having a good time, their infectious sexy grooves – which they describe as “swaggering Mancunian tenacity spliced with smooth Californian G Funk soul” – are guaranteed to have you shaking your ass with a smile on your face.
Three years ago, in March 2020, WINACHI teamed up with iconic Italian fashion brand Pantofola d’Oro for a marketing collaboration involving the company’s handsome and sporty Pantofola d’Oro Winachi Collection Trainers, which were released alongside WINACHI’s single and video “Funky But Chic” (which I featured). Now, they’ve once again collaborated with Pantofola d’Oro for the exclusive release of a new Winachi Collection Trainer shoe, along with their latest single “FOR YOU I’D KILL“, featuring additonal vocals by L.A.-based singer-songwriter Natalie Wilde. Co-produced by the band’s frequent collaborator, the legendary John X (David Bowie, U2, The Rollings Stones) at Earthstar Creation Centre in Venice, California, the song is the second single from WINACHI’s upcoming album Sympathy For The Future, as well as the lead single from the FOR YOU I’D KILL EP, which also features three outstanding remixes.
Like many of WINACHI’s songs, “FOR YOU I’D KILL” is a deliciously-upbeat dance track with a message of positivity, love and support. Starting with an infectious thumping bass groove, they add an exuberant kaleidoscope of soulful swirling synths and snappy percussion, and top it off with a glorious blend of funky and gnarly guitars. Liam’s always distinctive vocals, which occupy a sweet spot between sultry and raspy, are perfectly complemented by Natalie’s backing harmonies as he croons his words of love and encouragement “Remember I love you, I always will. For you I’d take a bullet, shit, for you I’d kill. I believe in you.” The song is flawlessly crafted and produced, and I love it!
All three remixes are superb too. The first is by Atari Safari (British DJ/producers and brothers Keef and Ben Booker), who speed up the tempo and inject a sensuous Latin flavor to the track, dialing up the energy with a force that compels us to get up and dance!
Next up is the remix by Warriors Of The Dystotheque (DJ/Producers/Engineers/Musicians Jonny Mac-Sean Graham [France] and Mike & Nick Rufolo [Ireland & NYC] who make electronic downtempo house music). The longest track of the four, running 6:13 minutes, it’s a terrific electro-funk song featuring a dominant bass groove that sounds a bit like the one used in No Doubt’s “Hella Good”. The guys incorporate lots of trippy sounds and musical effects, and Natalie’s vocals are much more prominent here.
The final remix, by Julian Shah-Tayler (England-born and now L.A.-based electro-pop artist who recently released his album Elysium), has a more sophisticated, cinematic and soulful feel. While not a true ‘disco’ song, it nevertheless features some of the beautiful orchestral touches I loved in many of the great disco hits of the 70s.
While they were in Los Angeles last year to record music with John X and film a video, WINACHI also played a gig at the landmark club The Mint, which, other than for a couple of brief closures, has been in almost continuous operation since 1937. I had the pleasure of finally meeting Liam, Antony and Inder, and seeing them perform some of their songs that I love.
British electro-funk/soul collective WINACHI are all about fun and having a good time. Their infectious sexy grooves – which they describe as “swaggering Mancunian tenacity spliced with smooth Californian G Funk soul” – are guaranteed to have you shaking your ass with a smile on your face.
Based in and around Manchester, WINACHI originally formed in 2015 as The Winachi Tribe, and have undergone a few personnel changes over the years. They’re now comprised of founding members Liam Croker (lyrics and vocals), Antony Egerton (keyboards, programming) and Inder Goldfinger (percussion), along with Andy McKay (lead guitar), Richard Ritchie (bass) and Paul Lawrence (drums), all accomplished musicians with diverse musical backgrounds.
I first learned about them in Spring of 2018, around the time they released their funky dance single “Transition”. I instantly loved it, as well as all their subsequent releases, and have featured them on this blog more times than I can remember (you can find links to some of those reviews under “Related” at the end of this post.)
WINACHI has collaborated over the years with musicians and producers in both the UK and Southern California, and this past March, Liam, Antony and Inder returned to Los Angeles to work with producers John X (who’s worked with such artists as David Bowie, the Rolling Stones & Reeves Gabrels) and Joe Hirst (Ian Brown, Bloc Party). Together they recorded the single “Heaven In Hell.A“, which they released along with an entertaining video on Halloween. The song is the lead single from their forthcoming full length debut album Sympathy For The Future, due for release next year. The song and video were recorded and produced at the Earthstar Creation Centre in the L.A. community of Venice.
Musically, the features a delicious signature WINACHI dance groove, over which they layer thick drum-bass beats, spooky psychedelic synths, and lots of funky guitar. Liam’s distinctive vocals, which sit in a sweet spot between sultry and raspy, perfectly complement the music’s mysterious, yet lighthearted, vibe.
As to the song’s meaning, my take is that it speaks to the seductive nature of Los Angeles (Liam loves the city) and how, despite its many shortcomings, it’s also a magical place that can really get under your skin. (I lived there for eight years in the 1980s, and have a conflicted love/hate feeling for it myself.) He uses a demonic she-devil woman as a metaphor for L.A.’s seductive, intoxicating power: “The city’s heart is burning, hotter than the sun, The life you taste upon your breath is the proof you’ve had your fun. The city’s pulse it’s beating to the rhythm of her drum. You know she’s gonna love you, as long as you keep breathing. Once you’re in hell and under her spell, then you know that you won’t be leaving.”
The video, written and directed by Tom Muhl, shows the three members of WINACHI arriving at a party, whereupon they meet a man played by John X and a woman played by Frankie Clarke of L.A. band Frankie + The Studs. They give the guys little black pills that appear to be in the shape of a devil’s head, and soon after ingesting them they start tripping out, with the other party attendees appearing to be zombies with skeletal faces. The guys escape in a car, roaming the nighttime streets of L.A., where they continue to encounter more skeletal demons, and eventually, Antony becomes a zombie himself. The next morning, Liam is shown chilling on a beach, seemingly relieved that last night’s events appear to have been just a nightmare. But then, he sees the she-devil standing nearby, holding an hourglass and shrieking with macabre laughter.
Here’s just the track itself:
While in Los Angeles last March, WINACHI played a gig at the landmark club The Mint, which, other than for a couple of brief closures, has been in almost continuous operation since 1937. I had the pleasure of finally meeting Liam, Antony and Inder, and seeing them perform some of their songs that I love.
Hailing from East Sussex, England is the talented and charismatic young pop-rock band Wild Horse, consisting of brothers Henry and Jack Baldwin and long-time friend Ed Barnes. Now in their early 20s, the guys are seasoned musicians who’ve been writing and recording songs since forming in 2013, when they were barely teenagers. Both Henry and Jack are multi-instrumentalists who play guitar, bass and keyboards, as well as sing vocals, while Ed plays drums and percussion, sings backing vocals and plays guitar on a few tracks. The Baldwin brothers are also prolific songwriters who’ve penned hundreds of songs over the years, with five albums, three EPs and numerous singles to their credit. I’ve been following them on social media for nearly five years, and have reviewed two of their albums, DANCE!! Like An Animal in 2019, and When the Pool Is Occupied this past December, which you can read here.
Always keeping busy and productive, Wild Horse has recorded a number of new singles which they plan on releasing this year, starting with “Joy Ride” this past June. They now follow up with a second single “Bitter“, which drops today. The song explores the emotional minefield of casual romantic relationships, in which one partner desires a ‘no strings’ arrangement with the freedom to see other people, leaving the other partner feeling dissatisfied, insecure and generally unhappy.
I really like the song’s breezy, guitar-driven melody, which nicely contrasts with the poignant, rather ‘bitter’ lyrics. As always, the guitar work is first-rate, accompanied by a lively rhythm section that keeps the toe-tapping groove going, while allowing the guitars and vocals to shine. Jack’s endearing, heartfelt vocals sound better than ever here, and we feel his sad resignation as he plaintively laments “A little bit of feeling’s what I need. And just a little bit of pleasure’s all you want. And now I’m stuck here in the middle, playing games. I really thought we could have talked this out by now. I’m just a little bitter.”
“Bitter” is a wonderful track, nicely showcasing Wild Horse’s continuing growth and maturity as a band.
ECLECTIC MUSIC LOVER 