The Universal - Album Review

The Universal’s self titled indie/mod collection mirrors the plight not only of the individual mod, but also of the scene itself, from one of teenage angst and aggression to a more controlled and mature sensibility.

The beginning trio of ‘Revolution’ ‘Shine On’ and ‘Day in Day out’ are from the same stable and are powered with elements of 90’s Oasis as well as the usual 60’s mod suspects (Who, Small Faces etc).

Then comes ‘Volcano’ one of the only songs in a minor key, which gives a glimpse of emotional maturity more prominent late on in the record. This peaks in star track ‘Can You Feel It’ which benefits from the extra mood generated by organ and more careful use of guitars.

Similarly ‘I Believe’ benefits from the extra vocal reverb, slower pace, use of differing rhythm’s, more imaginative guitar sounds and wiser song structure.

Appreciation of these two songs is tainted, through knowing they are capable of the mature emotional content and subtlety, which appears too infrequently. The tight, raw aggression can wear a bit thin.

Having seen them live it wasn’t surprising to see/hear the same ballsy attitude and gusto make its way onto the record, especially in the impressive, startlingly Weller-esque vocals.

The record is less intense in atmosphere than they are live, a bit flat. The bass could be heavier, guitars wider, to translate the live vibe. The soul infusing female backing vocals are a plus point throughout – they are used well.

Its obvious that in song construction (mostly) the melodies have arrived first, and the nearest available cliché about either light, fire, torches, fight, shining and burning are used to pad it out. Not to mention rising up, shouting, making it, revolution against the fakers who will all fall down/away.

The energy which powers their songs and ethos is in abundance and is admirable, and is their greatest asset, but it needs to be understood and articulated more lyrically. Without thought it generates all the afore-mentioned boring clichés and bad rhymes like ‘get some revolution…shine on…everybody shine on…there’s a fire, I ain’t no liar’ etc

As an album it does flow and has depth, but a question lingers, of whether they are musically ten years late, or just being true to their undying mod principle. The irony is that when the move away from the principles they sound more accomplished.

Major Major Demo Review

Major Major

Their Ska guitar riffs and rhythm section forge an unlikely but surprisingly workable union with quirky, theatricral, at times comical lyrics and melodies. Lady Salsa is the best example of this (although they all fit this bill), and wouldn’t sound out of place as part of a musical or pantomime. It has to be said, your taste in these two cultural mediums will dictate whether or not you like the band, such is its prevalence.

They use the catchy chorus well (they stick), evident mostly in ‘Elephant in the room’ and ‘Now You’ve Gone and Done it’ the latter being of more traditional, medium paced rock mould, with impressive dry fuzz guitar soloing. All the songs display a great understanding of how to musically link numerous and very different song parts, and each member has mastery in their designated role, but for all the musical knowledge, none of the songs really hit the heights you feel they’re capable of. Perhaps more tweaking post recording could aid this. While all parts of this band (and demo) have merit, they do not become ‘more than,’ rather, they remain ‘the sum of.’

You can check their myspace here

Gig Night at The Cavern

Last week I caught up with the latest in a very long list of bands to play Liverpool's Cavern Club to see what was on offer:

Boldly Goin Nowhere

Their house is an American one made of (stadium) rock, their housemates are Adams and Springsteen. The back and front garden respectively consist of bits of grunge, and heavily polished (college) rock.Musically this band are neat and tidy, to the point of ‘Sunday Best,’ where maybe ‘casuals’ would do.

Higsbosun

A good, promising modern indie band are these lot. One can detect The Kooks and Kings of Leon as influences. Tightness is lacking, and needed with forays into jagged guitar pop, dub and dance. The solitary guitarist’s all round contribution is admirable, chipping in with harmonies, solo’s, and tying the songs together. Impressive lead vocals catch highs effortlessly, though are not mirrored by an apparent air of dis-interest (the chicks love this kind of thing though don’t they?)

Extroverts

After the first song you think ‘wow, good powerful song, good band.’ Song 2 and 3 deserve the same sentiment but by number 4 you’re hoping for something slightly different than the Bon Jovi hard rock they seem to have accomplished very well.At times Metallica creep in to say hello, a very friendly one at that. QOTSA send their regards too.

Sleeping with the Fishes

Simply put, SWTF are a marvellously cinematic, atmospheric and energy filled live band. Such was the intensity from the off, during song 3 I pondered ‘will this band ever come down?’ It did come down, eventually, in tempo only however. The intensity remained and for what they gave up in tempo they more than made up for in depth, songsmanship and emotion, and arguably result in a deeper impact on the listener. Sonically, its akin to Progs like Floyd and Genesis having lunch with Arcade Fire and Feeder while Billy Idol boozes in the corner.

'Its All About The Timing' says scouse comic Chris Cairns

“If there were 50 comedians starting, after a year there would be 20, after 2 years there would be 10, after 3 years there would be 2…”

It sounds like the beginning to one of Chris Cairns’ jokes. But the only thing in the form of a punchline, is “they literally drop out like flies.”

Chris Cairns is talking about the ultra competitive environment for comedians in Liverpool at the moment. He has survived the cull, and remains as one of Liverpool’s finest funnymen.

Chris is also well received all round the UK. He’s toured as far as Dubai, as well as Holland Spain and Ireland. His knack of being quick off the mark, a danger to hecklers, means people from far and wide trust him to compere their own nights.

He presides over his own too.

With his girlfriend he co-manages two ‘Laughterhouses’ in Liverpool, the main being Liverpool’s comedic jewel in the crown ‘The Slaughterhouse.’

Now militaristic in their regularity, due to their success, the comedy nights here offer not only the best local talent, but frequently the best in the UK, due to the links Chris has successfully forged around the country.

When I asked him what the secret was to a successful comedy club there was no hesitation in his answer; ‘One that’s well run really. I’ve been to lots of comedy clubs that are just poorly run. A lot of people assume they can just set up a stage and put a microphone next to a fruit machine in the corner and that’s a gig, and its not. It’s the timing really.’

Referring to his own success with his two Liverpool venues, Chris goes on,

‘They’re well run because they run on time. A lot of people doing comedy clubs starting out say its going to start at 8pm, it maybe starts at 9pm, or even twenty past, and by the time its finished, 12 o clock, people are already well pissed, and no one cares about the comedy.’

Chris’ speech on paper doesn’t appear funny, but in his presence you chuckle unknowingly. He has a natural, infectious enthusiasm. Its easy to see why he’s become popular. I wondered how this is translated into a structured (maybe?) live set, and asked Chris about his process.

‘I’ve wrote loads with Paddy [Chris’ writing partner] but if I’m not with Paddy I don’t write much, I just think of something funny, it may need telling a few times before it becomes funny, so I say it over and over until it is. Last week I queued up for the midnight opening of Call of Duty [a hugely popular console game] and all these people had been queuing up for ages, it was really big, it was a nightmare. By the time I got to the front of the queue about 1.25am and said ‘listen mate, have you got Mario Kart for the Wii,?’ Everyone in the queue laughed so I wrote that down, now I tell it in a lot more detail in my set.’

I wanted to know more about the competitive environment he described, how this is manifesting in Liverpool. Chris paints a picture of polarity. ‘For better, the gigs are well better run, and well better paid. For worse Its harder to make a name for yourself. When I started, there was a lot more open spots where people could try their luck, whereas a lot of clubs now, won’t really try people out. Its harder now to get into it unless you’re exceptional.’

This can only be good for Liverpool; a difficult environment which forces people to push themselves to the limit. We of course reap the benefits of their honed craft.

Adamant Anderson Refuses Other Options

Liverpool Leader Joe Anderson came under fire from the TUC at his council headquarters in Dale Street last night, as they lobbied in opposition to the £120 million of cuts due to be imposed on the city by the coalition government, and Anderson’s response to it.

The TUC have reacted strongly after Liverpool Vision leader Max Steinberg revealed the job loss figure, believed to be around 7000 in Liverpool alone and 16000 throughout Merseyside, and have asked The Labour head to consider a hard-line approach.

In light of the governments plans Councillor Anderson described it as ‘perfect torture, becoming leader of Liverpool Council under a Tory government.,’ but says he will ‘be responsible and show leadership,’ and negotiate for a better deal.

But TUC bosses state that a firm message of ‘no co-operation' should be sent to the government with regard to their propositions.

Inside the Town Hall last night Anderson outlined the 5 year plan the coalition government have for Liverpool, and said that over 5 years, the amount will be nearer to £1 billion in retracted funding for the city, including 350m for the BSF (Building Schools for the future) and 10m in area grants.

Anderson urged opposition party members to give him a vote of solidarity in whatever stance he takes. Mike Storey of the Liberal Democrats replied that until there was a clear stance outlined, no support was possible.

There will be no support from the TUC, a spokesman last night declaring that ‘the cuts are not inevitable, and were caused by the bankers, they are the ones who should be footing the bill.’

He added ‘This country has more than enough in banking reserves to cover this supposed deficit, in fact there is no deficit, it’s being used as an excuse to perpetrate a conservative ideology which peaked in the eighties.’

The TUC are not the only group offering an alternative approach to the governments proposals. Tony Mulhearn heads a group of 47 surcharged councillors (1983-87), who have written a letter to Anderson, in which is contained the steps of an alternative process they undertook 25 years ago.

Included is a proposal, amongst others, to take Liverpool Direct back in-house, as opposed to paying a company to manage it, and saving the city £29 million alone.

They point out that their strategy led to the then Thatcher government releasing funds of up to £60 million so Liverpool council could fulfil its electoral promises, and are urging the Council leader to follow their example.

The strategy is based on resistance but is seen as a more sensible measure than that taken by the TUC who are keen on ‘organised demonstrations and industrial action’ which may not receive the expected support this time around.

Councillor Anderson released his own letter in response. He described the cuts as ‘obscene’ and pointed out that ‘We have had a grant cut more than any other city and we’re the second worst affected council in the country,’ but doesn’t believe Mulhearn’s way is viable.

Anderson described the supposed gained millions from cancellation of the Liverpool Direct contract as ‘a myth’ as well as disagreeing with the vast majority of the other proposals.

Support for Anderson comes in the form of Sir Richard Leese, leader of Manchester City Council, who on behalf of both councils outlined the current approach, 'we have to expose the government when they come up with daft ideas, but we also have to find ways of working with them to benefit local people.'

Councillor Anderson states he is 'more than happy' to meet and discuss the issue with those offering alternatives.

Mann Island Divides City

Artists Impression of Mann Island Project

Plans for the massive re-development of Liverpool’s Mann Island has finally been given the go ahead by city chiefs, causing controversy with opposition groups who call the idea ‘travesty.’

The multi million pound residential and shopping complex, which comes on the back of previous failed attempts at development, including the infamous ‘Fourth Grace,’ will contain:

• 376 residential spaces (apartments)
• 483 parking spaces
• A Commercial Office building comprising of shops, cafes, bars, restaurants
• A huge public space with professional landscaping

Supporters say that further to the hundreds of jobs created, the site will boost tourism to the area, due ease of access created by the bridge from the Strand dual carriageway to the city centre, as well as the attractive retail environment it possesses

But, fierce opposition has been voiced from many groups, complaining that the World Heritage status awarded by UNESCO in 2004 will be jeopardised

Diane Goodier of The Victorian Society, who campaign for the preservation of Victorian architecture in Liverpool says that ‘it would cause serious harm to the outstanding architectural and historic significance of the historic waterfront.’

There are also concerns that the plan will cause visual impairment to the current Three Graces, increased traffic problems, an oversupply of residential apartments, and that it’s simply ‘bland’ and utilitarian in character, and ‘gives nothing to Liverpool.’

Several petitions encouraged by The Liverpool Preservation Trust have been signed, indicating that the plan is not only ‘inappropriate’ but an ‘eyesore.’ Many agree that there is unnecessary loss of open space, and that it destroys the character of the waterfront.

It seems nothing will hinder construction at this point however as all of the city’s bigwigs gave it the green light, with much support.

Experts in land and property and regenerative housing ‘English Partnerships’ have been encouraging, adding “The proposed scheme will not only support the urban renaissance, by providing homes in a sustainable city centre location, but also serve to improve the quality of the public realm in this key location for tourism.

“Important routes between the city centre, Pier Head, Albert Dock, and Kings Waterfront will be upgraded and sheltered public space can ensure year round usage.”

Council Brings Down Counterfeit Empire

Millions of pounds in counterfeit goods have been seized from an illegal website this week in a raid by the council.

After an 18 month covert operation, 5000 films, 2000 games, and 1000 music copies, along with equipment used for copying, printing and scanning discs were sniffed out.

The Federation Against Copyright Theft (FACT), led by Liverpool City Council’s Trading Standards unit, shut down Marksdomain.org which at its peak contained more than 30000 titles.

The biggest operation of its kind in the North West was concluded by issuing five warrants to individuals in Liverpool and Manchester, all of whom were arrested and bailed pending further investigation.

All of the individuals were males in their forties, two of them also suspected of committing benefit fraud.

Liverpool’s Trading Standards minister, Councillor Tim Moore said “this particulartype of website is extremely damaging to the film and music industry.

He went on, “Individuals who set up and operate this type of criminal activity have a direct impact on the local economy impacting on legitimate businesses trying to survive in these tough financial times.”

Roy Paul, Head of North West Fraud for the DWP spoke of the departments efficiency at present, "The DWP Fraud Investigation Service enjoys excellent joint working relationships with trading standards, the police and the music, film and game industry.

"We have a long tradition of working together to impact on those involved in intellectual property crime and associated benefit fraud. I am pleased that this latest operation has been successful."

Councillor Moore was keen to stress that the arrest is far from an isolated incident, and that it is a continuing work in progress, “It is not a victimless crime and we will continue to work with partners to close down these websites and prosecute offenders.”

The Cubical, Album Review

There’s no prizes for guessing which period of time The Cubical appreciate most musically - the early 60’s.

Neither is there any effort to hide this on the bands behalf.

On the contrary, their enthusiasm for indulging in the styles now only faintly heard in contemporary indie music, (blues, psych) is shouted out loud with the aid of vocals that scare young children.

It really is a risk if you’ve not acquired the taste of The Cubical. If you’re happy to indulge MASSIVELY in both their chosen genre, and time in musical history, then they will please you. If you’re looking for originality in musical ideas or a wider musical perspective, well I suppose there are plenty of other things to listen to.

Captain Beefhearts’s ‘Safe as Milk’ filters through onto most of the record, which also contains Winnie-The-Pooh-sized-smatterings of ‘Exile on Main Street’ Stones, Them, The Zombies, and similar 60’s shakers.

The intentional move on the 60’s psych pop is clear from the outset with ‘Great White Lie.’ It mixes those intentions with a furious discontent of European religious conquest. This is easily deciphered with so much talk of ‘steady Bible hands…Synagogues…Locusts…History clickin photographs’ and the need to ‘teach yourself remorse.’ It’s one of the stand out tracks, owing to its depth in subject matter. Driven by a repetitive groove, it puts the listener in the same mood as the one induced by The Stones’ ‘Turd On The Run,’ which incidentally is even more influential on the ferocious ‘Ratty,’ the album’s second to last number.

There’s no let up on track 2 ‘Edward The Confessor’ which is reminiscent of The Coral’s ‘Goodbye’ in parts, and Them’s outro to ‘Gloria’ in its peaks. A genuinely insane yet passionate vocal lifts it more raucously away from the afore-mentioned artists however.

With these vocals, musical style and sound, Its clear by this point just how much this band idolise Beefhearts ‘Safe As Milk’ (so much so I’ve written it twice) but its also the point at which you consider how close they are to the fine line which stands between influence and unashamed replication. The melancholic plod, and the piano-led, Johnny Cash cowboy ballad on ‘In The Night’ and ‘All is Well’ (respectively) come in at the nick of time on tracks 4 and 5 to keep the listener from casting it off as a Beefheart replica.

‘Everything You Touch’ sits with those as the album’s trio of slower paced efforts. Don’t be expecting love ballads though, each one has haunting feelings of uncertainty and despair.

Its back to what they like most, and do well, with ‘Like Me’ which has all the hallmarks of a classic 3 minute burst of 60’s pop, ‘Zig Zag Wanderer’ style. Lyrically, like a good few of the songs, its poetic and intelligent “How can you stop/what you cant ascertain/I’ll be your fading icon/lighting up your runway.”

In the same vein but on a lighter note is ‘Woman I Need Your Love’ but again the all too prevalent similarity with Beefheart at this point begins to grate, the main riff and melodies are more or less lifted from ‘Yellow Brick Road.’

On this showing,The Cubical are accomplished musicians, excellent technically. The rhythm section is tight and influential, the lead vocal/growl is honed, and the fingers on all guitarists are busy and neat throughout. However, them same fingers seem bogged down by 60’s guitar clichés and this is a shame as anyone can see there is real talent and skill present.

Good music well done, but maybe theme your listening experience by donning retro clothing, and locking yourself in your room eating only beans (as the Beefheart legend goes)

Blackburn v LIverpool - Match report

Liverpool’s form away from home is turning into a self fulfilling prophecy these days. With each defeat comes increased knowledge of how the next one will transpire. Its tempting to simply discard analysis of any away performance, in favour of simply concluding ‘Liverpool don’t win away from home.’

Last night the Liverpool players looked at first like they may have some say in this.

While Blackburn began with home-team vigour, Liverpool countered efficiently

The passing was crisp and incisive. Glen Johnson looked like Glen Johnson, with most of Liverpool’s threat coming from the right.

One early cross from Konchesky’s left was glanced just over by Torres’ head.

As Blackburn persisted however, Liverpool’s defence began to wilt. Holes began appearing and on 16 mins the on loan Manchester United striker Diouf should have tapped in Pedersen’s cross at the back post, only to see the ball graze off his shin and go wide.

Torres toyed with Blackburn’s offside trap numerous times. The ball was in the net at one point having thought he’d beat it, only for the linesman’s flag to overrule. Liverpool continued their counters but each time becoming more untied defensively.

A minute after a volleyed attempt from Dunn that went just over, the unmarked Olsen swept in the opener from Mame Diouf’s cross, with Johnson way out of position.

The stage was set for Blackburn to take all the initiative, as Liverpool lost all heart.

Konchesky didn’t disprove his doubters, Johnson done little to prove he can defend, and Maxi remained anonymous throughout, as did Cole, aside from his shot on goal in the closing stages.

Torres hasn’t lost his ability. That came in flashes last night. He’s lost his positive attitude. He displayed once again his annoying need to prove defenders have it in for him, instead of proving he can override this if he wishes. Why hasn’t the manager ‘managed’ this?

Liverpool’s problems doubled just before half time. Benjani created his own space with ease, shrugging off Kyrgiakos, to rifle into the roof of the net for Blackburn’s second.

Not long after the break Benjani tapped in again untroubled for the third after Hoilett waltzed with ease past Skrtel and Johnson in their own box.

Steven Gerrards near heroics at the closing stages would merely have masked another terrible showing from the rest. His missed penalty dampened a fight back minutes after thrashing in a late goal.

It seems Liverpool can play, but suffer severe mental scarring with each goal they concede, and Hodgson’s style is to blame for this. His persistence with a deep back four everywhere he goes, along with the incredible passivity of Lucas, invites the pluckiest and most threadbare of teams to grow in confidence with the space they are given in the final third. Blackburn were without 8 first team regulars, in the throes of new management, and outshone Liverpool in every department.

The Cubical Gig Review - Album Launch

First up is 5 piece band The Heyse. After a cinematic Pink Panther opening, their intentions are made clear with a run of stomping Boogie Woogie numbers. Catchy ones like ‘Magic Lemon’ incorporate early Stones beat with R ‘n’ B grooves. Middle of the set tunes contain elements of simple cowboy music, with hints of Johnny Cash and even Del Shannon. After this its back to the familiar bluesy stomp, which, does enough to keep the foot tapping but their loose-ness, personified by a raggedy Postman Pat- alike Scotch singer, detracts from this. They pack a punch, but maybe one thrown after lots of booze.

The Murmurs of Tension make a definite and lasting impact. An impressive array of instruments, which include a mandolin, harmonica, lapsteel, xylophone and organ, are utilised to perfection throughout the set, which draws heavily from current folk faves The Fleet Foxes, with their multi-harmony, Oregon trail feel.

The set is littered with beaufiful occasions of music entwining with the vocals, both lead and backing, and it happens regardless of the style. The musicianship is obvious, with time changes conquered effortlessly, always surrounded by layers of soulful and sincere melody from all instruments and vocals.

Standout track Showdown is a miscrocosm of the whole set, changing from Portishead drones to a Hoo-Haa Strip music, via Mcartney-esque key changes.

An accomplished band, with great depth, will need more listens to be appreciated fully.

Described as 'Psychobilly,' The Swingin Bricks, offer revved up 1950’s rock and roll with a twist. Fast paced, raucous, and energetic, there’s a hardly a moment to collect your thoughts as they plough through a set which is in turn meant to plough through its audience.

Its pandemonium with Walking Down the Line, and last number Manbird sounds like Rockin’ Robin on speed. It was no surprise hearing later on that the superb Double Bass player is a session musician, such was his steadfast, consistent string twanging. The novelty begins to fade however, a result of the shackles created by choosing this genre.

Headliners The Cubical are hotly anticipated by a devout following, and with a set that strengthens the atmosphere as it goes along it seems they are not let down. I guess they feel lucky, being able to revel in the sounds of the early 60’s greats The Zombies and Captain Beefheart (Safe as Milk era), up close and personal in the here and now. Maybe it’s due to seeing an unseen member of the wacko family in Tom Hanks movie ‘The Burbs,’ playing frontman.

The opening song, with its tight, fast chord progressions goes one step further than Beefheart, in actually accomplishing the sonic translation of a Victorian Madhouse.

The songs are laced with sandpapery twangs, each has punch and energy. They contain dominant and colourful Stones/Beefheart riffs, whose attacks are impossible to recoil from.

The Cubical rely heavily on the rhythm section for their sound to shine through. It was on form this evening and so said twangs, prevalent throughout, are allowed first place in queue of what reaches the listener.

The whole set is polished and hot, but you do have to force yourself back in time, with more than a spattering of musical perspective to ‘get it.’

Cast Come Back. Has All Changed?

It will be the strings of an electric, fender telecaster that receive the attentionbackstage tonight, in the hope that they stay in tune. Its player will have swapped his trusty acoustic, the aid to his 7 year solo voyage, for this amplifiable substitute, He himself will not be doing the tuning, that will be the job of his bands roadie.

Tonight at Liverpool’s O2 Academy, John Power, the singer/songwriter of 90’s Scouse indie quartet CAST, will lead his band out for a live reunion gig to celebrate the 15^th anniversary of their chartbusting debut album All Change. The sell out home crowd will be expecting an electric blast of anthemic power reminiscent of their Britpop glory days. The acoustic will now be used sparingly, for the lighter waving ballads like ‘Walkaway.’

The occasion marks the beginning of a sold out UK tour, ending back in Liverpool on Dec 9^th and is the first live Cast gig since 2002.

The word ‘reunion’ these days is enough to draw groans from avid music fans. What with the alarming recent trend of thirty, forty or even fifty something rock stars who have chosen to conjure up the now distant, but still craved adulations from an equally aging following, we may forgive their cynicism.

The Artists themselves presumably feel no shame admitting to reliving some past glories. And if people will pay (again) to see them, we have to ask ‘well, why not?’ Cynics would simply say that they’ve ran out of pocket money.

So what makes John Power, and the reformation of Cast any different?

For starters, there is new material, and genuine plans for a new album. And, far from coming out of retirement, John Power has been more than active since he last put down the telecaster to pursue his solo career. This is far from the relief of withdrawal symptoms.

Two solo albums in the form of ‘Happening For Love,’ the critically acclaimed ‘Willow She Weeps,’ and a string of solo tours have ensued since Cast split up. Power himself says he has come ‘full circle’ musically and that the extent of this reunion of sorts has taken even him by surprise.

Speaking in Citylifers, John says; “If you’d asked me if [this] would happen a few years ago, I’d have laughed. I didn’t really see it coming.”

With regards to how the rest then transpired he goes on, “I wrote a couple of new songs and I thought they sounded like they could be Cast songs. Then I got in touch with a couple of the lads and said to them that I was thinking of maybe getting together again and doing some songs. They found it a bit of a shock I suppose. But then someone suggested that we do a couple of dates and it turned out to be 15 years since All Change, so we started thinking about that.”

There is still room for cynicism however. Many fans of Cast were once fans of Power’s previous band The La’s, the latter already being members of the ‘reunion club,’ their own one having much the same detail as the current one with Cast.

The La’s consolidated briefly in 2006, John teaming up with original partner Lee Mavers, the band’s mercurial leader. This came as a surprise to their followers, the pair having had something of a war of words, and even lyrics, since Power left in frustration. Power’s second Cast single and album opener ‘Alright’ in 1995 was widely perceived to be dig at Mavers, the opening line ‘I guess I’m alright’ leaving little to the imagination, once his volatile departure had been documented. Indeed, it was Power’s boredom with doing the same songs for ten years led to the formation of Cast.

John with The La's in their heyday

The La’s reunion was bittersweet. Fans young and old had a burning thirst quenched with their live shows, yours truly seeing them for the only time. Fans also heard through the grapevine that new material would follow. A perusal through any of the La’s websites will tell you how much this is wished for, and how agonisingly close it came to happening on more than one occasion. It didn’t happen in 2006, and left some followers with the suspicion they were just cashing in with the tour.

So, having walked away nearly a decade ago, CAST have eventually come running back.

How do they convince people its far from a cashing in stunt? And do they have to? The 11 planned dates being near to total sell out says that they don’t, but the casual observer may cast a suspicious glance. So what is it that’s so different for Power and Co this time?

Well, not only will they show up with the afore-mentioned familiar enthusiasm to reminisce, and the supposed new material, but also an imaginative way of getting the wheels in motion for the new album, which suggests the material is definitely there. This then is arguably the most exciting of all the factors in their reunion, and the most persuasive argument to battle the cynics with.

The means for acquiring funds is an interesting one, a largely untried model that may serve as useful to others in this currently cash strapped, lop sided industry.

Speaking on Soccer am, Power told viewers about how the costs will be covered; ‘what it is, people who are into the band, they pledge a minimum amount of money, and when it gets to 100% on the pledge, it happens like.’

And when the making of the album is complete?

‘the album is delivered to you signed. The money doesn’t get taken until the album is made. There’s no record company involvement, you’re just dealing with us, and we’re dealing with you.’

Click here to take part in the making of the new Cast album and see what else your pledge will return for you! Exciting things on offer! Signed photo's, drumskins, VIP passes and more!

Any plans to be as successful as their defining debut All Change – it became Polydor’s fastest selling debut - may have to be put on hold using this method, and so will any chances of mirroring their previous chart success.

All the singles from All Change – Finetime, Alright, Sandstorm and Walkaway, reached the Top 20, and Flying, released between the first and second album Mother Nature Calls, was the bands best chart position at 4.

In a private gig in Liverpool’s Radio Merseyside a few weeks ago, deemed as their ‘warm up’ before the big tour, I was one of a few who got to see if the band had successfully brushed off any musical cobwebs. In close quarters, to a handful of people, the overriding feeling was one of surprise. Why had a band this good been forgotten? What happened to them? Not too long ago they played the perfect northern understudies to giants Oasis, Noel Gallagher commenting that watching them was ‘like a religious experience.’

Lesser known fans outside Radio Merseyside in 2010 gave their perspective, and it was telling of the attitude to reunions.

Nicholas Otaegui, 30, from Anfield said, “even when Cast were in their heyday, I never really understood how good skin’s (the lead guitarist) playing was, but seeing it so close up tonight I can really see he’s one of the best in the world, I’m really surprised I didn’t realise that at the time”

Tim Tierney, 28, Kensington added “from the looks of it the tours gonna be amazing on that showing, but more importantly, I want to hear what the new stuff is like.’

When I asked if it was a cashing in stunt he replied ‘I don’t know, I don’t really care, it was brilliant watching them again, especially the songs from All Change which didn’t get much of a look in once Mother Nature [Calls] took off. It made me feel like I was in the 90’s again.’

When it comes to band reunions then, it seems people’s willingness to reminisce will always be the ace card. The fact that Cast have genuine claims to a new start with fresh produce does enough to quell any generalised judgements which in most cases are not far from the mark.

Stealing Sheep demo review

Stealing Sheep Demo Review - When The Lights Go Out

There was probably someone somewhere who naively attempted to make stripey paint. Stealing Sheep have done this in musical terms.
I imagine the paint didnt turn out too well, and at times you feel this band are perilously close to muddying their intended stripeyness, using such an array of instruments (guitars, bass, drums, pianos, violins, synths, accordions, harps etc),especially in closing track 'Theres Only One', which has made use of an intrinsic, centuries old gypsy/sailor accordion riff for its thrust.
But, several things rally in their favour to prevent this happening. Firstly, the subtlety of this musical genre itself, the contemporary feminine folk pervaded by the likes of fellow songstresses in The Blue Roses, leaves adequate space for the 3/4 female foursome to engage in instrumental eclecticism. I could imagine watching spring slowly arrive listening to opener 'Shoot The Ducks To Win' with its mild, meadow-like melodies. Secondly, the harmonies and vocals (all female) per se are are at times so beautifully layered that it feels like eating a Japanese box of chocolates, such is the intricacy, and again the opening track is where this is prevalent most.
Thirdly, there is depth, owing to an emotional duality. Initial impressions are of a positive and youthful vibrancy in the music. However, there is undeniable, underlying melancholy to it all, and this is perfectly encapsulated in 'Hole In The Water' which swings violently from chirpy plinky plunkiness to gorgeous swarms of synth and violin backed melancholy. The record on the whole is a demonstration on how to access a peaceful state through indulgence in said melancholy. Ode to music
'Love You Are A Record' is the tune you'll be humming most, again, a gentle musical manifestation of the self explanatory five words in the title, (it sounds like the title supposes it would,) while 'Sleep' has quite obviously been recorded at the funeral of a pixie or fairy, in a pixie/fairy world seemingly accommodating of Leonard Cohen music.
Lyrically poetically abstract, again implying depth. Their meaning seems clear and definitive to them, even if not to us. They're also personal, direct and in the moment, always appearing to be in conversation with someone or something.
On the downside, its the 'in the moment' nature of their music which prevents a fuller, lasting indentation on its listener. It leaves a soon-to-heal scratch on the consciousness, albeit a very pleasurable one. I suppose that leaves me with a seemingly bizarre request for them to look after their nails, in the hope they keep scratching.