If there was ever a time to be proud of Manchester and reflect on its musical heritage then the time would be now. With so many new musicians on the horizon, it kind of reminds you of the musical creativity which continues to thrive in the city of Manchester and its surrounding areas. Without going on too much about how great the Madchester scene was or question whether God really did create Manchester on the sixth day, one thing’s for sure, Manchester is a city of great solidarity and strong musical ties.
However if you aren’t familiar with the rolling progress of Manchester music, then I strongly recommend that you check out the “Distant Drums” album, which gives a snapshot of some of the old and new underground sounds. Released on March 4th 2013 “Distant Drums” is a compilation album, made in honour of the Paris Angels drummer Simon ‘Big Si’ Worrall, who sadly died in 2011.
Appropriately and poignantly named, “Distant Drums” is a vibrant and eclectic album, digging out old musical relics, whilst reminding us of new gems. Whether you are a fan of the Manchester scene or not, this album is for anyone who appreciates post-punk, baggy, retro dance, 60s nostalgia and poppy avant-garde. Not only is it for a good cause, and generously priced, you really get your money’s worth. It’s not often you can download 41 quality and diverse songs for a mere £4.49. All money raised goes towards “Hector’s Charity”, set up at St Mary’s Hospital/Central Manchester University Hospitals NHS Foundation Trust.
Kick starting with “Sleeping With The Radio On” by Paris Angels, you instantly realise the significance of this album. The sheer triumph and celebration of those psychedelic, garage-infused songs, with an infectious chorus which makes you want to dust down your baggy flares and dance the night away. Through its tinny, reverberating riffs and digital synths, you also get to remember the retro late 80s and early 90s sounds against the trippy vocals of Rikki Turner and Jane Gill.
Again with “Time to Lose it” by Laugh, you take a trip down nostalgia avenue, with its shouty vocals and mesh of garage and scribble riffs and prominent bass. With its metalic and spiky rifts, “Time to lose it” is one of those murky baggy songs which rolls with a raucous rattle of understated swagger.
“Better Move Over” by Best, is one of those obscure songs whose effeminate vocals is the antithesis of the raw, baggy vocals of the likes of Happy Monday’s Shaun Ryder and Northsides Warren “Dermo” Dermody creating a more polished vocal presentation. It’s an infectious song whose soaring vocals immaculately contrast with the crashing riffs and pounding beats.
Sounding like it’s straight out of a John Hughes soundtrack, “Sitting On a Biscuit In the Rain” by Music For Aborigines captures that classic post-punk, new-wave sound, whilst remaining an original track. With its oily vocals, brooding bass, curving riffs, Arabic synths, and pounding drums, “Sitting On a Biscuit” slithers in suspense and bridges the gap between old school Psychedelic Furs, The Cure and contemporary bands such as The Horrors.
Likewise “Girls in Colour” by Tony Ogden uproots the classic sounds of yesteryear and gives it a modern day make-over. With remnants of 60s psychedelia, “Girls in Colour” does what it says on the tin, creating a spectrum of lolly-pop and zany, space synths that embellish the bluesy, swaggering and preening riffs. Along with its sleepy vocals, dual vocals and cool bass, “Girls in Colour” prowls in a haze of digital mayhem, creating an excitable range of sounds.
With a definitive likeness to The Jesus and Mary Chains’ “Just like Honey”, “Strong as You” by Orange Skies revels in bluesy, noise pop and post-punk riffs whilst creating a frenzied assault of crashing riffs. Along with its distinctive bass and drums, “Strong as You” shuffles and saunters through the nonchalant vocals, creating an understated cool, which blends with ease along the textured tones.
“I Went to the Mirror” by Super is one of this album’s most original post-punk songs, whose idiosyncratic and unhinged vocals sound like a goth Mark E Smith on his way back from a booze-fuelled dracula convention. It’s a brilliant track, whose descending riffs and pounding drums create a trend of trepidation which is intensified through the intoxicated “naaaaaaaaaaaaahh” and synchronised riffs. Along with the macabre lyrics and foggy drones, “I Went to the Mirror” emits an offbeat theatrical humour, which lingers throughout the nebulous corners of the song.
Sounding like a “baggy” Joy Division song “Swerve” by Dub Sex pulsates with a polished industrial clatter through its choppy, creeping and droning riffs. Along with its flickers and suspended screeches, “Swerve” delves deep into a post-punk darkness, whilst being pulled out through its bellowing vocals.
“Death of an Imagination” by The Sun and The Moon sways and smooches with a dreamy, jangly post-punk, new -wave vagueness likened to Siouxsie and the Banshees and The Cocteau Twins . Along with the sombre vocals , “Death of an Imagination”s melancholy is reinforced through the extended out-tro, allowing the pensive lyrics, rolling drums and swirling riffs to resonate and the sentiments to linger.
“Way Down” by The Rainkings is like an affable post-punk, Brit-rock song which has been subdued by the nonchalant vocals and laid-back beats. It’s a catchy song whose fuzzy and curling riffs robustly shape the song into an indie cool 90s sound likened to Marion and Suede.
Through its opening Hammond drones, “Give a Little Love” by Proud Mary builds up its intensity, which is soon filtered through the reflective lyrics. It’s a bluesy, country western catharsis, whose casual beats, curling riffs and undertow of Hammond fuzz, creates a sprightly and nostalgic set of sounds.
In keeping with the alternative country western boundaries, “June Has Gone” by the Cornelius Crane is characterised by the distinctive vocals, which sound like they are straight out of the railroad, cementing a gritty stake in this otherwise gentle and laidback song. Along with quivering, chunky riffs, “June Has Gone” also spreads its wings through the jangly riffs and pounding riffs that take the song towards a more sunshiny horizon.
“Somewhere In Time” by The Clint Boon Experience is a wonderfully emotive song, whose tribal drums direct the it towards an aloof and synth-pop horizon. Through the backdrop of wavy synths and electric currents of riffs, you can feel the sorrowful tides drawing in. With Boon’s signature Farfisa organ, “Somewhere In Time” evokes timeless melancholy which is crystallised by the powerful and emotional lyrics. Notably, it’s the rich vocals of Boon and the customised child’s voice, which shout the sentiments from the rooftops, leaving a bottled emotion, through the vocal-free out-tro. It’s also during the out-tro you hear the subtle streams of synths that sound almost like shooting stars and that, along with the semi- triumphant trumpets and synths, creates a poignant, but slightly utopian aftermath.
It’s through the opening mesh of Eastern blur, that “Walt’s 15th Dream” is awakened, whilst giving hints of its quirky mutations. At second glance, the song has all the makings of a well-rounded folk song, before it jump-leads through to the faster dirtier, scrapy riffs. Along with the curling riffs, choppy riffs and bold bass, “Walt’s 15th Dream” moves with a free and easy chaos, which effortlessly embraces the offbeat space-sound effects, which glide across the frontier of the song.
“Hedge Witch” by Eliza P is a delightful song, whose acoustic riffs, folky flutes and pounding beats swirl and flutter against the enchanting vocals. Through the spacious intervals and echoing vocal effects, Eliza captures the psychedelic charm of the 60s, whilst embracing a folk innocence likened to Mary Hopkins, Judith Durham and the less known Lisa Ballentine. Lyrically prolific “Hedge Witch” narrates an escapist journey from the mundane, capturing the paradoxical essence of the song through the lines: “… A solidarity creature, surrounded by paper work… and then she turns into her world”.
“I Believe in Changes” by Intastella, is a hauntingly beautiful and uplifting song, caught between the sun and the moon, which evokes a strong sense of nostalgia and breezy sentimentalism. Through its funky beats, subtle riffs and the sassy laid back vocals, “I Believe in Changes” chills out in an acid-jazz arena, whilst floating in a trippy, chimerical bubble. Through the lucid piano clangs, ice-cream van-esque synths and zany synths, “I Believe in Changes” is gripped by the customised film narrative, adding a more intense ambience.
“Television” by Plastic Gun Alliance tinkers with gentle ease, jazzed-up with its cool percussions whilst swirling in a roll of flickering chaos. Through the repetitive lyrics and rotating zany synths, “Television” projects a stream of contemporary bliss that is sedated by the sweeping violins, creating a diverse and engaging sound.
With its jagged synths, rolling piano synths, bongo drums and tight sonic beats, “Strawberry Sunshine” by Motion Incorporated takes you on a trip down memory lane. It’s retro Acid House music personified, whose soulful vocals and whistle synths dance around those Hardcastle-esque synths.
With its funky riffs, gyrating bass and soulful vocals, “True Colours” by Loopzilla pulsates with a vibrant and celebratory wave. Along with the gospel-esque backing vocals and animated synths and wah riffs, “True Colours” gets you in the groove for those summer, chilled out nights.
Again gliding down the old skool path, “Storming Heaven (Sasha’s 1991 Broken Table Remix)” by Together pulsates with a dramatic abandoned care across a strobe light and cinematic soundscape. With its flickering, wonky synths and digital beats, “Storming Heaven” charges against the packaged female vocals.With its sheets of thunderstorm sound effects and pitter-patter synths, “Storming Heaven” paves the way for the menacing male customised vocals. It’s definitely a blast of the past, pulsating with a chunky bass and classic piano synths, which were so popular back in ‘91.
“Rudi” by Supajamma is an infectious track, whose chilled-out tones resonate against the urban, heavy, shuffle beats and acoustic and subtle jangly riffs. Along with its distant, industrial shrieks, “Rudi”s ambience is also defined by the heavenly backing vocals and harmonica, creating an uplifting, happy-go lucky, reflective vibe.
“The Rolling” by Foilface exudes a brotherhood which is dispatched through the tribal bongo drums, campfire acoustics and harmonising vocals. Lyrically poetic, “The Rolling”s charm lies in the vocal narrative, which synchronises with the quirky synths and sound effects, which are intrinsically crafted.
With its vortex of reverberating synths, echo effects and frenzy of riffs, “Kill Em All” by Bad Man Wagon bobs and glides in a flirty, light-hearted and sultry haven. It’s a funked-up track, whose token rap and seductive vocals slither against the shaky and hammering beats. Along with its animated voice effects, spacebeat and slated riffs, “Kill Em All” dabbles with an underground dance sound, whilst stretching its wings with its urban vibes.
“There Ain’t no Sound in Space” by Echo Devils is characterised by the seductive vocals that oozes a raw sensuality and grips against the dirty, slurpy riffs and smudgy beats. It’s a post-punk, fast mover, whose spinning Hammond and digital synths, provide a funky release for this essentially intense song.
“Tart/Bint” by Thrush Puppies is an original burst of energy, which pulsates in a violent frenzy of unhinged sounds. Through the metallic shrieks, spinning drones and raucous riffs, “Tart/Bint” creates a post-punk platform for the ragingly insane vocals.
“I love the Rock n Roll”, by Ed Banger and The Nose Bleeds rolls in one take and whose quivering, descending and distorted riffs,steady bass and bashing beats drift the song towards a quasi-rockabilly highway. It’s also a song whose brash vocals, goth infused lyrics and undertow of Farfisa tones add a bit of funky madcap flavour along the way.
With its testosterone filled riffs, hammering beats and charged up vocals, “Saturday Night” by MC Tunes, Mani & Spen reeks of hedonistic indulgence and sweaty nights. Along with the distorted riffs and predatory swagger, “Saturday Night” prowls with a formidable force and its graphic lyrics synchronise with the animalistic, rock, rap infused soundscape.
With Boon’s smooth Farfisa tones and interlude of unbolted scribbles, “You’re So Good for Me” sees The Inspiral Carpets retain their psychedelic, garage whizz, whilst projecting an effortless cool amongst the gliding drone and scrapey/choppy riffs. Along with the elongated vocals and backing vocals, “You’re So Good For Me” emits the sentiments of the song, whilst building to a charged up crescendo.
“Let’s Go Get Em” by Spartak forcibly grips you by the jugular with its direct and robotic vocals. Lyrically a stream of urban mantra, “Let Go Get Em” single-mindedly comes at you and makes you tighten your seatbelts for a mere 4 minutes. It’s a catchy track, whose circuit board beeps and smudges against the ambient waves and menacing synths.
“Sometimes to Sometimes” by B.O.N.G. races with all guns blazing in a smog of new wave, synth pop in a rush of jangly rock. With its dual vocals, pulsating bass and bullet beats, “Sometimes to Sometimes” dashes through a windswept road, with its 80s nostalgia firmly intact.
“Hoochy Coochy Girl” by BUBBLEGUM is a great synth-pop song and one of the most original songs on the album. It’s a dream-pop excursion, which sees the trippy vocals roller-coast through the euphoric and cartoon-pop synths. Along with the canned clapping and alien-esque sound effects, “Hoochy Coochy Girl” happily skips into a 3D world, celebrating its sugar-coated love.
“Strange Blues” by The Second Floor is the bone fide blues, rock song which swaggers and preens with understated cool. It’s a swanky operator, which sees the smooth vocals nestle on the Hammond fuzz and harmonica fused riffs. Along with the swirling and zig riffs, “Strange Blues” rattle and rolls the help of the piano clanks and the stomping riffs.
“Murder In the Flat” by The Vincent Valmera Show is a phantom dark song, which is characterised by the striking lyrics and animated vocals. It’s a theatrical, post-punk song, whose choppy and angular riffs curve around the macabre artistry of the song. Along with the pounding bass and staggered drums, it’s also the subtle vintage piano which adds to the drama and intensity of the song.
With its jangly riffs and hissing synths, “Dreaming” by Happier Than Us evokes a new wave ambience which is intensified by the backdrop of floating synths. With its prominent beats and shimmering/curving riffs, “Dreaming” is like Voice of The Beehive meets Siouxsie and the Banshees wallowing and residing in an ethereal haven.
With the oily and rich vocals, “Out and Down” by Weaveworld slithers and seethes in an underworld of intrigue and mystery amongst the jangly, jittery riffs and rumbling beats. It’s a great song, whose pensive lyrics and subtle synths reinforce the songs intangible aloofness.
With its stuttering synths, Funky wah riffs and sleek bass, “Howulikeme (feat. Chris Jam)” by Truant is urban funk personified. It’s a smooth operator, which is spruced up through the cool, calm and collected vocals. It’s the kind of song which you half expect to hear in some swanky bar, where the lights are low and the champagne is bubbling.
“Creo Que Te Amo” by Suddi Raval is an atmospheric dance corker, whose eclectic stream of sounds make it an individualistic and compelling song. With its cricket synths, chilling Spanish-esque riffs, bongo drums and smudgey saxs, “Creo Que Te Amo” resides in some far away place, which is eclipsed by the lingering darkness. Vocally free, it’s through the gliding violins, brooding bass and menacing synths, that “Creo Que Te Amo” resides in a thriller ambience, cloaked in intrigue and suspense.
“The Devil Is in The Detail” by Bone-box is a dark- folk song which is defined by the distinctive gravelly vocals and smoochy & brooding soundscape. With its pounding celtic drums, jangly riffs, lingering Farfisa and wavering bass, “The Devil Is in The Detail” brims with a percolating passion that swings and curves through the Spanish tinged riffs and locomotive flutes. It’s also a song which, through the brimming ardent violins, Spanish Trumpet and brimming cellos, helps build the song to a reflective and moonlight crescendo.
“When I was Young” by Rod Smith unravels an instant drama through its slamming, acoustic, Spanish riffs, pensive humming and heartfelt crooning vocals. It’s a slow burner, which builds up its power and releases its sorrow through the melancholic riffs and soaring vocals.
“Miles Away” by Martin Stephenson is an uplifting, sunshiny and foot-tapping song, which is strongly steeped in the Merseybeats and rockabilly of yesterday. With its infectious, jangly and slamming riffs, “Miles Away” oozes a nostalgic optimism which is romantically wrapped through the affable vocals. Along with the pounding and rolling drums, “Miles Away” pulsates with a sturdy and sprightly energy that keeps you on your toes.
With its extended intro “Stars” by Andy Whitaker exudes a dreamy, reflective motif, whose acoustic strumming swirls and spins around the faint percussions and pensive pianos. Along with the more new wave shimmery riffs, spacious vocals and contemplative lyrics, “Stars” evokes a strong sense of vivid emotions, that intermingle creating an alluring soundscape.