The Moonlandingz
‘No Rocket Required’
‘The Sign of a Man’ ‘Roustabout’ &
‘It’s Where I’m From’
Preview of ‘The Moonlandingz’ Up and Coming New Record – ‘No Rocket Required’ Singles ‘The Sign of a Man’ ‘Roustabout’ ‘It’s Where I’m From’
Ive always been a fan of ‘Fat White Family’ and their other incarnations such as ‘Insecure Men’ and ’Warmduscher’ so when I read ‘The Moonlandingz’ were releasing new record ‘No Rocket Required’ their first in 8 years as a follow up from debut ‘Interplanetary Class Classics‘ I was eager to find out what they had to offer.
So far ‘The Moonlandingz’ currently consisting of frontman Lias Saoudi, Adrian Flanagan and Dean Honer have released three tracks from their new record ‘The Sign of a Man’ ‘Roustabout’ and ‘It’s Where I’m From’
‘The Sign of a Man’ is an avant-garde pastiche of different eras. Heavy synth and electronic beats. And is evident with its 1920s art deco video directed by Jeanie Crystal.
Lias maintains his lyrical excellence which has always been edgy and meaningful but without taking it all too seriously. The single is more pop in tone and is far removed from ‘Fat White Family’ but why shouldn’t it be, its not the same outfit.
‘Roustabout’ is darker in tone, think gothic, Nick Cave. With Robert Smith style vocals. The track features Nadine Shah and makes for a great juxtaposition on both sets of vocals and makes for a great duet. I’ve listened to this track on a number of occasions and have enjoyed it more each time.
‘It’s Where I’m From’ is my favourite release so far from this record. Iggy Pop is on vocals and its a superb performance. In all honesty its effectively Iggy’s ‘Hurt’. “Won’t some one put their arms around me, I cannot take the pain of those who have gone”
I saw an interview from the beginnings of ‘Fat White Family’ and Lias Saoudi stated that “When people were moving in one direction, he was going the opposite way’ and its true to say that he still maintains that philosophy.
We’ll back with the rest of the new record. ‘No Rocket Required’ due out on ‘Transgressive Records’ 25th April 2025.
Richard Mcgreal
Pulp – “Spike Island”
and the Return We Didn’t Know We Needed
It’s been a long time coming, but here we are – new Pulp music in 2025. Not just a greatest hits tour or another Glastonbury slot (though we’ve lapped those up too), but actual, proper new stuff. And “Spike Island,” the first single from the upcoming album More, makes the wait feel worth it.
It’s unmistakably Pulp – cool, clever, a little melancholic, but not without humour. Jarvis does what only Jarvis can: paints a scene that’s oddly specific yet totally universal. There’s a haze of nostalgia in the lyrics, referencing the legendary Stone Roses gig and the strange myth-making of British music culture. But rather than leaning too hard into the past, it feels more like he’s holding it up to the light, checking for cracks, smiling a little at the absurdity of it all.
Musically, “Spike Island” isn’t trying to reinvent the wheel – it doesn’t have to. The mood simmers, the delivery is sharp, and it all builds with a kind of quiet confidence. Like they know they’ve still got it, and they know we know it too.
The album More is out in June – their first in 24 years. They’ve been on and off the stage in that time, sure, but this is the first time we’ve had new songs to sit with since We Love Life. And it feels right. It’s dedicated to Steve Mackey, whose loss still hangs heavy, but there’s real energy behind this return – a band still moving forward even as they glance back.
Go check them out. Go see them live if you can. Got to love Pulp. Got to love Jarvis.
Nathan James
The Skinner Brothers – “BITCH LETS RIDE”
The Skinner Brothers have dropped another no-nonsense banger with their latest track.
The Skinner Brothers have dropped another no-nonsense banger with their latest track “BITCH LETS RIDE” – and it’s exactly what you’d hope for from a band that never seems to pull any punches. Loud, raw, and buzzing with energy, it’s the sort of tune that makes you want to stick your collar up and stomp through the city like you own it.
Zac Skinner is in his element here. His vocal delivery walks that fine line between cocky and completely fed up, which is kind of what makes this band work so well. There’s a grit to this tune – the guitars have that classic British indie snarl, the rhythm section is tight, and it all just moves with a swagger. It’s got a punk edge but still feels built for big nights and dodgy dancefloors.
“BITCH LETS RIDE” follows hot on the heels of recent releases like “GOLD TEEF” and “LONELY HEAD,” and if anything, it feels like they’re picking up speed. There’s no filter, no polish – just honest, full-throttle music from a band that seems to thrive on chaos.
If you’ve ever seen The Skinner Brothers live, you’ll know what this tune will sound like on stage – loud, loose, and totally alive. Definitely one to catch if they’re playing near you.
Nathan James
Pete Doherty has mentioned that these tracks didn’t quite fit into The Libertines’ latest release, All Quiet on the Eastern Esplanade. From various interviews, it’s clear that Pete felt these songs were more personal to him, so he’s decided to release them as part of his latest solo project, Felt Better Alive.
The title track, Felt Better Alive, is the first single off the new album. It begins with the sound of waves coming ashore, accompanied by a distinct country guitar vibe. Pete is in top lyrical form, evoking a very British sense of emotion, much like Morrissey’s lyrics do. The line, “I dredged the mouth of the Humber,” stands out. Also, I particularly like the line, “I tiptoed around gravestones, digging up old songs”—it makes me wonder if he’s referencing a past job as a gravedigger, where he apparently wrote a lot of songs and poetry… though perhaps that’s just speculation!
The song is beautifully crafted, and the use of violins really adds depth. It has a timeless quality, reminiscent of a time before industrialization and mass production. The individuality of the work is what makes it unique. It even reminds me a bit of Cattle and Cane’s Infant Hercules, in tone, and the chord progression of Johnny, I Hardly Knew Ye. But as with all of Pete’s work, it transforms into something entirely his own, as the best music often does.
Calvados is classic Babyshambles. I’d be surprised if it wasn’t originally written around 2013 for Sequel to the Prequel, as it would fit perfectly on that album—or at least serves as a continuation of that sound. There are elements of Farmer’s Daughter here as well. The drum beat is great and helps keep the track moving forward, while Pete’s vocal melody complements the song’s structure beautifully.
The Day the Baron Died opens with a raw minute of just guitar and Pete’s poetic vocals: “Heads poking around the terraced door, made of silver, gold, and bits of iron ore.” Great stuff! When the drums kick in, the track really picks up, and the trumpet brings a classic jazz party winding-down vibe. There’s clearly a story here, with the title character, the Baron, but I’m not entirely sure of the meaning. I’ll probably come up with my own interpretation later and accept it as fact. But that’s what I’ve always loved about storytelling in Pete’s music—it leaves room for personal interpretation.
I’m looking forward to hearing the full album and will be doing a complete feature on Felt Better Alive once it’s released, which I believe is on May 16th, 2025.
Richard Mcgreal
Get Down Services – ‘Crisps’
Bristol duo Ben Sadler and Josh Lawler – Authentic Rock and Roll.
I imagine a conversation in the not too distant past “I bet you can’t put Ian Drury, Black Grape, synth pop, satirical wit, catchy melodies, dog dribble, the Geordie copper from Dick and Dom, Jamie Olivers 15 minute meals, Abba, and a packet of crisps into one musical outfit?” Asked some one in a bar. “Of course you can” replied Get Down Services. And they did and it turns out you can because these guys are brilliant.
2023 debut album “Crisps” starts with album titled record “Crisps” and immediately sets the tempo, with a fabulous disco drum beat and lines such as “Ive got chocy in my pocket”. Hinting at the band not taking themselves too seriously.
Next track “Come On” I’d swear they’d taken the analogue sound from one of the water levels in Sega Mega Drives, Sonic, and this three minute track continues where “Crisps” left off..
“Get back Jamie” is catchy as fuck as and you can’t fail with lines like “Jamie says dinner takes 15 minutes, get back Jamie I’ve only got 5” its almost as if they are saying throw a Chicago Town into your microwave and do something else, but who knows. It’s my favourite track on the album, but there are others up there.
“The Vortex” is clearly the interlude of the album.
Evil on Tap, takes the album in a slightly different direction is more punk in attitude and goes on the lyrical attack, the heavy guitar fuzz helps push into this. Showing the band can play in different ways.
“I wish I Didn’t Bother” Is more traditional with its guitars and drums and harks back to the independent rock and roll of yesterday, I can see it being a festival dance along with its hooky melodies.
“Helen Back” well you know what to do if you’ve ever been on one of those nights out.
Biscuit Tin – reminds me very much of something Mike Skinner might have come up with, and is a barrage of abuse on some every man named Rod.
Their debut album finishes up with six minute track “Loosen Your Belt” which brings you back to earth with a softer approach and sounds like its taken influence from the 60s Psychedelic rock scene and show they have a wide range of influences.
If manatees move idea balls across a fish tank then these lads have thrown in a bunch of fireworks exploded it into a million pieces and then thoughtfully went about rebuilding it. It’s a talented Wesley Willis Fiasco… It’s…. I don’t know. For all the lack of sense its makes perfect sense. And its brilliant.
Seriously check them out, go and see them live, support them in any way you can, and keep them going because it really feels like the modern age need this band.
Richard Mcgreal
The Horrors Unveil Their Sixth Studio Album, Night Life Fiction Records.
“We wanted to capture a feeling of both melancholy and euphoria”
The album opens with “Ariel,” a captivating fusion of the band’s signature gothic sound and haunting melodies, complemented by bright synth arrangements and hopeful lyrical hooks delivered by frontman Faris Badwan. Rhythmic percussion elevates the track, creating a progressive sound with great backing vocals which I believe is the work of newly joined Amelia Kidd
“The Silence That Remains,” features deep baritone vocals reminiscent of Ian Curtis adding to the album’s atmospheric depth. Is this a track I’d listen to on Friday night before I go out? I’m not sure but I was laid on my bed with the headphones and it sounded fucking great.
“Trial by Fire” emerges as a compelling favourite but then as I listen to “Lotus Eater,” it evokes nostalgic echoes of early 2000s Ian Brown and I can’t decide. The band have said it was their intention on Lotus Eater “to capture a feeling of both melancholy and euphoria”, and I think this track exemplifies that the most across the album.
“More Than Life” stands out as the album’s most accessible track and I imagine it being popular with the more casual listeners of The Horrors suggesting it will be a staple on playlists and across festivals this summer.
As I said earlier I couldn’t decide on my favourite track between “Trial By Fire” and “Lotus Eater” but Ive come to a conclusion and its…. “LA Runaway” I will 100% be listening to this before I head out this Friday. Great track to finish up on.
Richard Mcgreal
WHY? The Return of an Indie Cult Favourite
WHY?, the Cincinnati-based band known for their eclectic fusion of indie rock and alternative hip-hop, have cultivated a devoted following since their formation in 2004. Fronted by Yoni Wolf, whose introspective lyrics and distinctive delivery have become a hallmark of their sound, the band has consistently pushed musical boundaries, blending genres in innovative ways.
Their 2008 album, Alopecia, is often hailed as a seminal work, showcasing the band’s ability to intertwine poetic lyricism with experimental melodies. Tracks like “The Vowels Pt. 2” and “Fatalist Palmistry” exemplify their knack for crafting songs that are both intellectually stimulating and sonically engaging.
In August 2024, WHY? released their eighth studio album, The Well I Fell Into, marking their first full-length project in five years. The album received positive reviews, with critics praising its intricate production and the band’s continued evolution. Marcy Donelson of AllMusic described it as “disconsolate, intricately produced, and surprisingly varied,” appealing to both long-time fans and new listeners.
Following this release, WHY? have announced a much-anticipated return with a UK and European tour scheduled for March and April 2025. This marks their first tour in the region in several years, reigniting excitement among their European fanbase.
Tickets for the upcoming shows are available through www.whywithaquestionmark.com or via the various websites of the venues, and given the band’s cult following and the extended hiatus from touring in the UK and Europe, it’s advisable for fans to secure their tickets promptly to avoid disappointment.
As WHY? prepare to embark on this tour, both long-time followers and new listeners have the opportunity to experience the band’s unique blend of genres and thought-provoking performances live once again.
Nathan James
