One to watch out for... No Hot Ashes

Manchester's very own funk extraordinaire's should be something to keep your ears peeled for in 2016. 

Sometimes music does the talking for you. This is most certainly one of those times and if you haven't already tasted a bit of NHA you need to get with the proverbial program. Flying round the local scene (and further a field) with such bands as Kashmere and Plastic House, NHA are building a sound of their own and new fan base to match. This is definitely one of those "get into them before they get big" moments.

Lets talk about the tracks...

We're going to focus in on two tracks that we feel exemplify their funk/rock sound. November 2014 brought to us Goose. A floor filler if there ever was one, something to bust some shapes to whilst keeping your Gazelles in check. A proper funky tune full of aspiration and only a seed of what they have to offer.

Smooth (no bits) is lyrically gritty and another one to enjoy whilst bopping around the tiles with your mates. It's a bouncy, head twister with some lovely funk lead guitar. The anti-establishment/conflict retoric that young boys and girls can relate to ("munchin' on a salad cos' the man on tele told you to") make them a progressive group with attitude and a sound unique to themselves.

Where can you find them?

Best place to find out news on these are their twitter page (@_NoHotAshes) and they're regularly promoted through @MrPeepsSays.
In terms of gigs, their next gig is on Sunday 20th December at The Grove in Hazel Grove (across from The Rising Sun)
, Stockport. Should be a cracking night and I believe there will be some media attention down there.


They're really ones to watch out for in the new year so get on board before it gets cool and you'll be able to tell your mates "No Hot Ashes.. yeah I knew them before they were big"...

Peace x

Radio Ga Ga? The death of Xfm has left many feeling in dispair, but fear not. As always, the Stiff Upper Lip is here.

About a month ago I dropped my girlfriend off at the University of Salford. As she skipped into class I flicked on the radio nonchalantly expecting to hear a few tracks that will brighten my morning beyond the tedious schlep home. I started with my go-to station, 97.7 Radio X (although we all know we call it Xfm). With it being early enough, Chris Moyles and his cohort were on the air nattering away. This time it was something to do with Bono coming into the studio for a guest appearance the following week. As if anyone under the age of 30 still gives a shiny turd about U2. Hey ho, get on with it and just enjoy the music.

Week day traffic being what it is between 8 and 9am around Salford and Manchester, I'm sure you can imagine the clutch thumping stop start journey I had ahead. Be that as it may, eventually I got onto the Mancunian way and I had noticed something. I hadn't started tapping my fingers yet. I hadn't said "tune" smugly under my breath yet. I hadn't even heard an intro and switched it over to see what was on Smooth yet! In fact, nothing had happened at all. I had been in the car for 30 minutes and all there was for my hungry ears to feast upon was the narcisstic sounds of Chris Moyles celeb-name dropping his way through a wednesday morning. The new slogan for Radio X is "get into the music"... what music?

By this point I should have turned it off, but then it happened and I was reminded of why I hadn't been listening to Radio X much these days. "The Wheel of Inappropriate Songs". What the actual fuck is that all about? Somebody please tell me who thought it was a good idea to allow Chris Moyles, who cannot be seen as anymore than a hedonistic clown, to take over what was once a station with genuine relevance and character. Nowadays, instead of driving to work listening to the latest tracks from up and coming bands we're getting lots and lots of Moyles, dashed with a bit of what he calls "indie" music. The last time anyone used the word "Indie" Stuart Pearce was still City manager and Razorlight were considered "up and coming" (not by me though).

The point is, Radio X has lost its way. When I asked around Manchester what people thought about Xfm's make-over, I wasn't at all surprised at the responses.

"Xfm was local, underground and you felt like you were part of it. Low key, but in a good way. Now it's filled with tosspots, for want of a better word. High paid celebrities who you listen to and think 'what the fuck do you know about music?'. Chris Moyles is an egotistical, name dropping bellend, Vernon Kay slightly better but clearly only in it for the money. Compare that to Clint Boon, Dave Rowntree, knew the music business inside out and you related to them"
James Green, Stockport

This pretty much summed up the retoric I was hearing throughout the day. People miss what Xfm stood for and see it largely as just another station these days. You had a station that debuted bands like The Charlatans, a station hosted by cultural icons like Ricky Gervais and Steven Merchant. Now you've got them playing The Killers and in between having to listen to Johnny Vaughn. A man who was even uncool in the 90s. Lets not forget the sycophantic lead singer of The Kaiser Cheifs: Ricky Wilson. Says it all.

Where to find real music on the waves...
 
 1. 94.4fm Salford City Radio. A community radio station with a myriad of different offerings but we at The Stiff Upper Lip get our kicks from Daz Earle's Music Files Show on Wednesday nights between 7-8

2. University radio is making a come back with Hive Radio - this one is purely online, but have a listen out on Tuesdays for the M23Days which showcases live music. Linked with Manchester Met University, you'll get a variety of new music on here at any given time!

3. Under the Pavement - Manchester's Radical Radio Show 96.9 on ALLFM. Proper underground music from the depths of South Manchester.

So fear not, if you're like many of us disillusioned by the corporate fat cats at Global Radio, there are a few alternatives for you.

Keep that Stiff Upper Lip.

Peace x

An Open Letter to Matt and Phreds, 64 Tib Street, Northern Quarter, Manchester

Dear Matt and Phred

I write this letter sat on my tod on a rainy monday night coming to terms with the morose fact that I won't be heading down to the Northern Quarter to indulge in, what can only be described as, the most authentic blues experience this side of the Atlantic. Alas, the day job is what it is and it dictates that I give tonight a swerve. But as I sit here begrudgingly quaffing this evenings Horlicks, I cast my mind back to the last two mondays of pure life that I have revelled in. And yes, I mean "life". Imagine a place crawling with such genuine contentment, of such overt freshness, that when you have a moment to take in your surroundings you are overwhelmed with the visions of what music can be and what music can represent...and what the music scene should be more often.

A room filled with people, young and old, not knowing who is coming on stage or what they are going to hear, but whatever it is, they're not one bit arsed. They're there to be there and to enjoy everything that the night has to offer. In my minds eye, I look and see the group of young ones sat talking, gossiping, not a care in the world while the old chap in the corner with a cowboy hat and mad beard is fixated on the show. His eyes breaking from the stage only to ensure his cold beer hits his lips. Engrossed. Monday night in Matt and Phred's is a place of wonderment and pure class. Trust me, it just is. I don't even need to tell you about the quality of music. It's an open session blues night for fucks sake, what more do you want to know?

Seriously though, the music has been, and will continue to be, 1st class. People of all backgrounds, social classes, gender, ethnicity and physical ablement have got up on that stage and it has made no odds to anyone involved. All that matters is the music. No politics, no agenda, no reason.When the guitar starts playing we're all equals again and it doesn't matter where you come from; you either get the blues or you don't, its as simple as that.
This is a social experience like no other in Manchester and you might be able to tell that I am somewhat enthused by it. So as I draw the curtains and get ready for a long day of paper pushing, I'll rest my eyes and think of Matt and Phred's. What a night, can't wait until next week. Cheers.

Yours impatiently 

James
The Stiff Upper Lip

Tangible Sounds: Stiff Upper Lip asks the public - why vinyl?

Here at The SUL we have, for the past few months, been discussing the culture, and more importantly the consumer behaviour, of the post modern (and we say postmodern with a purpose!) music fan base. Now, we're not talking about those who draw their musical nourishment from the top 40 charts, as these musical civilians are mere bystanders on the wider scene. No, we are talking about those who actively take an interest in sourcing new artists, outside the humdrum outposts of Radio 1. It would be an easy mistake to make to suggest that the way in which we buy (or not buy) our favourite artist's latest tunes hasn't changed in recent years. If you were to ask about the busy streets of Manchester you'd still hear people talking about downloads and download charts, and downloading and download sites. But are downloads as relevant as they were, say 10 years ago?

Speaking with a couple of comrades in Manchester's Idle Hands Coffee Shop we discussed the nature of consumerism in the alternative market. We all agreed that music was for the vast majority of people seen as a byproduct of their day, simply giving their commute to work or evening work-out a sound track or distraction from silence. However, one thing that has certainly come into prominence in recent years is the success of the vinyl industry. Vinyl sales have shot up to an 18 year high and has risen from a market value of just £3million to £20million in 3 years.  Now if that doesn't suggest a dramatic change in the way in which people are approaching music in 2015, I don't know what can.

Around the UK you have new bars, coffee shops and record stores that symbolise this diversion in trend. Take The Jacaranda on Liverpool's Slater Street, where patrons are encouraged to enjoy their favourite vinyl tracks over a hot drink, or something stronger, in individual booths. Nice idea. One can definitely envision arguing with friends over which tunes to go with over a few jars. You've got the 3 story Rough Trade outlet in Nottingham, showing that people still do want to take the time to purchase music, even three years after HMV filed for bankruptcy. There are a myriad of examples, stretching as far as Belfast's Good Vibrations, still owned by the (in)famous Terry Hooley, but no matter whether its North West, Midlands or North of Ireland... the point remains the same. People want more from their music than just an electronic piece of metal and some white headphones. People want to feel engaged... part of a movement. The vinyl revival shows us that young people still yearn for the excitement of finding something rare, taking it home, dusting it off and actually enjoying it beyond more than background noise.

I can remember coming across Elephant Stone 7" original press in Double Four Records in Stockport's Underbank with a price tag of just £3. I thought all my Hanukkah's had come at once, I was made up. The feeling of rushing home, opening the sleeve, feeling the record, banging the kettle on and relaxing to the sounds of the Roses; You just don't get that with an iPod, apologies Steve Jobs (god rest his soul), but you just don't. Vinyl isn't just apropos to the golden oldies, there are examples today of contemporary bands using the newly formed vinyl chart to launch their careers. Take Blossoms for example, who spring boarded their first track Blow from vinyl chart, to BBC Radio 6's Alternative countdown. It's not a necessity for up-and-coming groups to adhere to the ways of vinyl records, but when they do it gives them a broader base to go at, besides just hoping that people download their material.

What The SUL is trying to get at here is not how much we love all things vinyl (but we do love it though, its ever-so-retro); its more important to note what the increase in vinyl sales represents. Everyone knows that downloads and streaming will always come up trumps when talking about convenience, but for the music that you want to own and listen in the comfort of your own home, vinyl is rapidly becoming the choice format. Symbolism is important here, especially when discussing the younger generation who haven't had the same type of movements and subcultures that previous ages would have experienced. Being part of a vinyl revival gives us a chance to be part of something and it gives us a tangible memory that we can look back on in years to come, unlike those iPods that break every couple of years, or downloads that get lost over time. To summarise I will draw reference from The Courteener's front man who, during the launch of their 3rd album Anna, spoke of how "music shouldn't be convenient ... it should be a pain to go and get it", and that's just it. Music should be something that means enough to us to take time out of our day to think about, be awe struck by and feel. That's the vinyl experience.

Can the "New Era" NME Breath Life Into The Independent Scene?

With the ever-changing way in which music is consumed in the click-tap, instant gratification society of today, how relevant can a magazine with articles spanning more than 140 characters be? The truth is, and this is coming from a blogger who speaks from experience, today's youth/young adults are not an easy demographic to pin down for a 15 minute read, and getting them to pay for the experience is becoming a nigh on impossible task. So to the recent news of NME's decision to distribute their long running magazine for free, which I'm sure 99.99% of those reading this article will already know about. What will this do for, not only the magazine, but for music across the UK?

Now, it goes without saying that the NME is an iconic and powerful institution, but trying to stem the rising tide of download culture, twitter, facebook, pintrest, Tumblr, SoundCloud, Skinny Fraps, Granola and Youtube is a tall order in anyones books. People will simple scoff at the concept of paying for anything music related these days; yet will happily fork out £4.60 for a pint of Birra Moretti in West Didsbury, so long as they can tint their filter to ensure their grueling battle to grow Fagan-esque face pubes looks uber-hipster on social media. It's what we have to contend with these days and unfortunately brands like NME have to evolve as youth culture does.

We at the Stiff Upper Lip are enthused by this new chapter and feel it can get more young people involved and part of what is a growing underground culture of independent music. For decades NME has been the pioneering representative of the British Alternative scene and with this new switch and increase circulation we will surely see this continue for years to come. So whether you're waiting patiently at a train station or in a coffee shop, pick up a free NME and gaze at the parchment that the words are printed upon. Yes, young pilgrim. This is paper, its what they used before Iphones where invented. And you never know, you might find that you learn something that Facebook couldn't teach you.


Peace x

10/9/15 - Sip Tap @Bakers Vaults with Leaf Productions: Tracey Browne Steals the Show

Stockport's Bakers Vaults gets back to its roots with Thursday night acoustic set Sip Tap, courtesy of Leaf Promotions. The Stopfordian bar was serenaded by the soulful sounds of Tracey Browne, who took us on a journey from the wistful to the down right dirty (or as she put it "Cock Rock").  

It's not often you turn up to a night like this and one of the acts have simply not bothered to turn up. But when it appeared that Daniel Liptrott had better things to be doing on a Thursday night, the stage was left to the obliging Tracey Browne. Admittedly I had never heard of Tracey before and was all the more intrigued when one of the Leaf Promotions staff mentioned she was one of their most experienced and rousing acts. 

She began her set with an excellent homage to Tracy Chapman's Revolution to wet the whistles of the ardent crowd, before taking us straight into Under the Radar. Here she unveiled what has to be the cream of her eclectic repertoire. Lyrically and structurally this was the best song of the night and is a perfect platform for Tracey's fervent and soulful pipes.

Her Influences are clear and out there for everyone to see, with dashes of Janis Joplin and Sheryl Crow pitter-pattering their way into her narrative & sound. Not only can she take your eyes and ears to places of nostalgia and occasionally melancholy, there was a clear and distinct feeling of fun. Fun, love and passion for what she was doing, feeling and saying. Another highlight of the night was another cover, this time of the aforementioned Joplin. Piece of My Heart put to bed any doubt (not that there was any in the first place!) of her ability as a vocalist. It was a bonafide face melter of the highest order. My whole boat race was melted and my jaw was somewhere between my knees and my shoe laces. What a voice. 

She has the full package: she can write, hold a stage with humility and ease, sing and her guitar was well up there with any acoustic performer you're likely to see on the circuit. We look forward to hearing more from the Tracey and others who Leaf represent. 

If you like what you've read so far check out Tracey's Sound Cloud page.

Leaf Promotion's big night to attend lies on the first Friday of every month at The Magnet, Stockport. The next date is set for the 2nd of October. Make sure you're there and there early if you value your buttocks; finding a seat ain't gonna be easy. 

Till next time

Peace x

Should We Be Getting Our Kicks From Rock n' Roll Relics?

Shake that postman's hand. The day has arrived.

On the 11th of April 2011 we all got the news. After 15 years of speculation, The Stone Roses were back together and soon to be announcing dates for a world tour. First stop Heaton Park, Manchester. It's not easy to describe the elation that was felt for ordinary people across the city. Better to describe the feeling of panic and scramble for tickets. You heard stories of  lads deserting Military posts and getting themselves back to Blighty in time for the occasion. I dare say the subsequent Court Marshall's were a small price to pay for what was viewed as a once-in-a-lifetime experience. The point being is that The Roses homecoming meant something, not only to the people of Manchester, but to a great many in the UK. This was to be our Spike Island.

As you can see, we had a belter

Tram links across the city were packed full of ages young and old, sporting bucket hats, welly's and parkas on our pilgrimage to the holy land. We, the Mancunians, were reclaiming what was taken from us unwillingly in 1996. By the time the yearning masses got a glimpse of The Roses the initial reaction was nothing less than you'd expect. A wave of raw emotion came from the crowd; you saw tears, raised fists, hugging, kissing, gurning, you name it. However, and I'm aware there may only be a few who share my thoughts on this, the whole scenario seemed sadly disingenuous.

Don't get me wrong, I sang a long with everyone else. However I couldn't shake the niggling feeling that The Roses were never meant for my eyes.They were now old men. Old men singing songs from the point of view of young boys. I mean, was there any need for Reni to dig out the exact same attire he would have donned during the early days? The man's in his forties, he doesn't need to wear a floppy hat and baggy yellow top. I don't doubt for one minute the bands eagerness to be on stage, but it slowly dawned on me that the whole event was a facade. A Mancunian pantomime created to rinse dry the sentiment and love that people have for The Stone Roses. Now I'm not wet behind the ears, I know that every man has to make his bread someway or another and music is still a business, but is this what they stood for back in the 80s and 90s? They made music for young people, because they were young people and those old songs encapsulated a moment in time. They were songs of hope, of love, of anger, of freedom that were all relevant to a particular juncture. Since then we'd had Blair, the war in Iraq, Facebook, mobile phones, tamagotchi's, Man City had even won a trophy by then. Times had changed. The kids at Heaton Park in 2012 could not be more detached from those who stood at Spike Island 22 years earlier.

Four Old Roses

We see the same everywhere today. Fleetwood Mac headlining The Isle of Wight festival this year, not to mention having the cheek to to demand over 100 of the queens notes for a one off gig in Manchester. The same goes for Eagles, Bob Dylan, Elton John and of course the well oiled profiteers that are The Rolling Stones. One cannot begrudge a couple in their mid forties shelling out a few quid to have a wistful walk down memory lane. But for young people to be to utilising nostalgia as their sole intake of live music is madness. The question is why? Have we given up seeking our own equivalent to The Stone Roses? Have we left it in the hands of Cowell and "The Voice" to find something that speaks to us on a level that no other cohort will ever truly appreciate. The next best thing could be out there, in some bar or club in the Northern Quarter strumming away to the bar staff because people would rather fritter away their earnings on an all too precise 90 minutes of sentimentality and listen to songs that relate to a bygone era? Ludicrous. Audiences during 60s, 70s, 80s and 90s followed bands because the artists endeavoured to progress and do something different to captivate their listeners. Pink Floyd never produced Shine On You Crazy Diamond  and Brain Damage with the an eye on the past. That's why they called it "Progressive Rock".

There are, however, a handful of bands that have stayed true to themselves. Take The Smiths for example. Marr and Morrissey lay the band to rest at a time when people wanted more. Since then they have carved out careers and identities of their own, leaving the sound of The Smiths with a air of dignity and romance. Much like The Roses, The Smiths have been expected to reunite for years but have thankfully refrained. More recently we have Oasis, who have been tipped to reunite since the moment they split up. We all remember the tiring speculation surrounding the 2015 Whats the Story? reunion tour and both Gallagher's have been probed relentlessly over when and what it would take to get them on the same stage again. I for one am bored of it and would implore both Liam and Noel to leave Oasis where it ended. With their best days of collaborative artistry behind them, surely any reunion would be purely in the interest of lining their already overflowing pockets? I cringe at the thought of the 16 year old girls taking selfies in the toilets at Piccadilly Station, wearing cut off denim shorts and face paint, incorrectly miming the words to Go Let it Out. Tweeting #Oasis #Reunion #Memories #Wonderwall. Fuck off! You weren't there! The last thing I want to see is the message that Oasis resurrected during the early 90's of belief in a better future tarnished by rehashing the same old tunes for an audience of prawn sandwiches.

Again, why? Why, when there are a multitude of great unsigned acts on your doorstep playing for next to nothing. Bands that might say something that can directly relate to you because they're from a similar age to you and have lived through the same times. No more should a band from the 70's be headlining Glastonbury. No more shall "Greatest Hits" albums be bought for any other occasion than Fathers Day. From this day forward The Stiff Upper Lip declare: "Nostalgia is Dead... Long Live Rock n' Roll!"

So it comes down to you now Pilgrims. Give us your thoughts. We at The Stiff Upper Lipp are all about interaction and we want to know what you have to say. Would you want to see another Oasis gig? Or should they let sleeping dogs lie? Take part in our Poll, you'll find it at the bottom of this page, we'll announce the results next week.

Peace x

Ps Despite all this, I still cried when they played Sally Cinnamon.

Should Oasis get back together for a farewell tour?

Summer Treats, Funky Beats and Misspelled Tweets: Introducing The Larkins

This week at The Stiff Upper Lip we have been rather evangelical about The Larkins, an absolute gem of a band with all the talent and likeability to make a break through. From humble beginnings at Hulme's Loretto College and birthed from jamming sessions between Josh Noble and Jamie Spencer, the group is now all grown up and taking on the local scene with, might we add, a generous dollop of panache. Named after the late Coventry born poet, Phillip Larkin, who once claimed: "how we live measures our nature" and It's clear The Larkins are living scrupulously for the moment and naturally they're all the better for it.

So lets get onto the material. The Tale of Cassandra, their latest release, is bang on the money. Quintessentially summer from start to finish (https://soundcloud.com/thelarkins/the-tale-of-cassandra ); what a cracking track to bounce around your bedroom to. The beauty of this tune comes by striking a healthy balance between lyrical substance and being radio worthy in the present day. With descriptive writing that paints the picture of a young girl "pirouetting "out of a young mans life, leaving him wanting more. A story that sadly most pizza faced, greasy haired young gents from the 0161, and afar, can appreciate. But life goes on!

And it certainly does go on, when you're talking about tracks like Hit and Run ( https://soundcloud.com/thelarkins/hit-and-run ). The Larkins show a contrast in offering here, with a heavier, brooding and industrial sound, you feel like you're getting ready to enter a battlefield. Top track.


The Larkins have been making some great headway in and around the North West and The SUL will continue to support them, because they've had us excited from the word go. So excited in fact that when we first tweeted them, we actually contacted an 18 year old producer with a similar name, from somewhere unknown,. As you can see, we were left rather red faced. That's what you get for being too keen Stiffy!



Anyhow,iIf you've listened to their tracks and you like their stuff, then I suggest you get off your behind and see it for your self, in the flesh! You can catch them on the 28th of August at Carsons Bar in Middleton, supported by soulful rockers The Country Rats and DJ Dave Sweetmore. It'll be a great night of festivities and The SUL of course will be there, if you can spot us. We'll be the ones in the corner wearing top hats and monocles assessing the wine list.

Peace x

Introducing Mancunian Psychedelia: Control of the Going

A real differentiator on the local scene, Control of the Going (CotG) offer a progressive experience that will send your head on a journey through fields of technicolour and watermelon sunsets. These boys are on another planet and they want you to come join their  Epilepsy Bus Ride...

This being only The Stiff Upper Lip's second real post, we'd like to point out that this band don't really represent what one may describe as 'the norm' in the Manchester music scene. Put it this way: if you were planning on going shrooming this weekend with the lads, give it a swerve and allow your ears to feast on this band instead.

Their current release Wild Flower (https://soundcloud.com/cotg1/sets/wild-flower)  is merely a drop in a kaleidoscopic ocean that'll take one's mind excavating through the sounds of the 60's. CotG bring their own contemporary edge to a movement that still lives in the heart of a generation of music lovers. It's hippy, trippy and haunting at times.

Another notable track is The Message (https://soundcloud.com/cotg1/the-message1), which wouldn't find itself out of place on Revolver or The Magical Mystery Tour. The melodic and rolling drums aligned with ghost-like vocals and distorted guitar creates a floating feeling within the mind that is reminiscent of Lucy in the Sky, or Strawberry Fields. There is no criticism of CotG obvious influences from the swinging days of sexual liberty and experimental freedom, as they're more than capable of delivering an authentic experience.

Imagine a cocktail of Prog Rockers Caravan and Pink Floyd, stirred with the mind altering effects of Sargent Peppers' Being for the Benefit of Mr Kite infusing an evocative sound that is redolent of everything psychedelic. The Stiff Upper Lip would like to suggest Manchester should be extremely proud of CotG and will continue to receive our support.

To find out more you can follow them on @COTG_ and you can purchase their track at controlofthegoing.bandcamp.com.

Our advice to you pilgrims is to show your support the old fashioned way and get your lazy worthless selves over to The Yard at the Grafton Arms, just off Oxford Road in town, on the 9th of August. Free entry and CotG are on stage at 20:10 (that's ten past eight for those who can't read a 24hour clock).

Peace out and enjoy.

16/7/15 Plastic House @Zombie Shack - Oxford Road

Hello Pilgrims...

This being the second time I've had the pleasure of watching Plastic House (PH) in a matter of weeks, I rushed back again, because unlike the majority of the guitar-toting teeny boppers that I've seen over recent years, they made me think: "there's nothing out there that feels like this". For the first time in a long time, here are a band that made me excited to be on the Manchester music scene again. Energetic, anthemic and unapologetically loud, PH are definitely one to watch out for.

Getting themselves about the Manchester scene of late, they're a far cry from the omnipresent "Madchester" wannabes, who are still wheeling themselves out in pubs and clubs across the Northern Quarter and Oxford Road, scraping the Britpop barrel for all its worth, with baggy trousers and dodgy webs. Make no mistake about it, Plastic House are no "lad band"; their offering is of superior substance.

Don't get me wrong, Olly Podmore's stage presence, entrenched with a fearless belief in what he and his band are all about, certainly carries a level of Manc swagger and arrogance, but he's a million miles from a spray legged monkey walk. It's not all that easy to draw a comparison. The MEN described Podmore as sounding like the Kings of Leon... I tend to disagree, he reminds me more of of a polished Joe Strummer.

Tonight was equally as compelling as the first time I saw them, with a slick set front beginning to end, only stopping to replace Jake Perry's mangled drumstick. The band as a whole are well drilled, but not to suggest a regimented performance, far from it. Obviously putting the hours in behind the scenes has a afforded them a natural and easy going stage presence.
Tune to look out for is "Does She Matter" (https://soundcloud.com/plastichouseprofile/does-she-matter) which went down an absolute treat tonight for all involved.

You get a strong sense with PH they know what they're about and they certainly aren't lacking in direction, ability or belief. They can back up their pointy shoes and skinny jeans with whimsical and observational lyrics, well orchestrated and timely solo's (courtesy of James Lennon) and a sound that is, for all intents and purposes, unique to them.

As mentioned, I saw this band a few weeks ago at a charity event in Stockport, where bassist Robbie Murray gave me the 4 -1 -1 on the groups ambitions to take themselves to the next level. Stiff Upper Lip would like to suggest that Plastic House has exactly what it takes to get there. This calls for all you keyboard warriors out there to put the cleanex boxes away for one night, get off your sphincter and support this band, you will not regret it.

Follow them on @plastic_house

JT

Hello and Welcome!

Good evening and welcome to the Stiff Upper Lip...

We'll be updating and reviewing the best up and coming bands in the Manchester scene, giving exposure to those bands who fail to get recognition under the current cultural reign of Cowell's X-Factor/Britain's Got Talent horse-shite. We're here to show the world that Manchester is still alive, well and thriving with new music.

And for ye of little faith, those who speaketh the "end of rock n roll", for those who believe that the dark side has prevailed, Stiff Upper Lip is here to guide you poor Sheppard, and resurrect Rock n Roll into a 2nd coming. We will show you the light.

Amen.