Dune Part 1: Revisited

Momnah Shahnaz comically revisits 2022’s Dune: Part 1, amid February’s release of Dune: Part 2, the second installation in Denis Villeneuve and Frank Herbert’s saga.

daydreamers: A Shining Synth-Pop Single

Written by Gabriel Morrissey-Limb, Edited by Millie Cain.

After several weeks of teasing their debut track all over social media, new British Indie-pop band daydreamers have released ‘Call Me Up‘ a track drenched in inspiration from the synth-pop era of The 1975’s 2016 album ‘I Like It When You Sleep For You Are So Beautiful Yet So Unaware Of It‘, however with its catchy hook and lyrics that would catch even the most cynical zoomer’s ears; daydreamers have established themselves as exciting new prospects in the competitive British music scene.

The song is essentially a plea masquerading as a suggestion to a love interest, ‘let me meet you on the dark side of your bedroom’ and the repeated cries of call me up’ echo this sentiment. The song is bathed in the dreamlike indie-pop sound that British music has slowly embraced in the past 10 years.

The track begins with the previously mentioned indie-pop sound diving headfirst into the chorus with impressive vocals provided by lead singer Hugh. The song then details being bored by city living before posing subtle questions of How you keeping? and ‘How’s your weekend’ the feigned interest in small talk is something most people dealing with modern romance can relate to, the idea of the song is helped by the dream-like sound that the band has set itself upon using.

The second verse keeps up the ideas of being tired of modern life and people, comparing other people to the person this song is about simply isn’t possible. The pleading returns here as Hugh sings the suggestion of calling this person whilst their friends are in the bathroom, before sliding back into that catchy hook.

The musical qualities of the band absolutely shine on this track, serving as a very impressive debut, they have a talent for melodies and catchy song writing, Their lyrics are something that gen z can relate to, struggling with modern love and interpersonal relationships and with this track alone they have captured that feeling of love in an uncertain future. If this track is any indication, daydreamers are a band to keep your eye on.

IDLES: Plastic Punk or Proper Passion?

Written and Edited by Millie Cain.

A spontaneous show under the white lights of Project House, IDLES returned to Leeds for a double show evening celebrating the release of their new number 1 album “TANGK”. A vibrating crowd, the excitement of the sudden announcement of the gig and bouncing off the energy of a brilliant album made for an electric atmosphere. Diving into the crowd with my lovely friend Abbie, glowing in her cherry-red IDLES t-shirt underneath a huge smile, we could feel the anticipation snaking through the crowd. 

To the roars of “Idea 01”, IDLES launched onto stage, a flurry of movement, energy and charisma, lead singer Joe Talbot rested a heavy boot atop of the speakers and leaned into his audience, wearing a colourful “Don’t Mess with Yorkshire” t-shirt that definitely warmed the crowd, especially as he later commented that Leeds was “his favourite city” and his desire to move here from London, once his kids were grown. True or not, the crowd screamed back, wanting to keep Talbot forever in their town.  

They followed up with banger track “Gift Horse” with its addictive baseline as they tiptoe the line between steely electronica and post-punk. Then straight into their ironic single “Mr Motivator” reflecting on their own place as an ‘issues band’, they treated the crowd to their big hitters and the best of the new album. “The Wheel” went down ridiculously well, with the crowd starving for the noise, in between songs the band screamed “Viva Palestine” and repeating an advocate for peace that was reflected by their crowd. New single “Grace” made waves in the room, as well as online upon its release, with the video being a deepfaked copy of Coldplay’s ‘Yellow’ we saw an eerie Chris Martin with Talbot’s falsetto. For this album the band re-engaged with studio wizard Nigel Godrich of Radiohead glory, to co-produce TANGK with hip-hop genius Kenny Beats making for a hugely interesting sound with the blend of Godrich’s beloved analog tape loops and Beats’ in-programmed drums with layered synths that are standout in “Grace”. 

Collaborations on TANGK has really elevated the band’s sound, lead single “Dancer” with LCD Soundsystem is undoubtably strong, with plosive energy pulsing throughout that Talbot describes as “ the violence that comes from the pounding heart of the dancefloor”. With inspiration of the disco scene they experienced supporting LCD Soundsystem’s US tour. 

Closing their set were classics “Never Fight A Man With A Perm”, happily bellowed by a crowd of very permed men, and ending on “Rottweiler” as Talbot dropped back for drums and Bowen, floating around in dress that would make Florence Welch jealous, lead the ending, expressing their love (a word which is mentioned no less than 29 times on TANGK) for their crowd; and their partners, and mothers.  

Now they’re back on top of their game, they’re coming back under fire for previous comments made by older ‘punk’ rockers Sleaford Mods for portraying working class problems as their own, without actually experiencing these and using them as content. Ideas surrounding ‘relatable’ lyrics and songwriting, especially in ‘Scum’. However, after doubling down on their frenzied political attacks, in previous album “Crawler”, we can tell they’ve taken a step back and returned with a different spirit. It’s easy for everyone online to jump on a negative bandwagon, before taking a moment to try to at least support the cause that is being fought over, people have always desired to tear down political bands, even a fellow posh boy lead singer Alex Rice of Sports Team was quick to criticise, yet perhaps many people like these could do some internal reflection. Not that IDLES seemed to care in the first place- loudly announcing in 2019 that they didn’t class themselves as punk at all and Bowen only commented that he was happy to “let them scrap about it themselves”. While they’ve shown sympathy, and a desire to defend the underrepresented, we do need to remember a line between public support and exploitation. They shouldn’t be shunned for discussing issues, but for profiting off them.  

For TANGK they focused on the women in their life, the uneven gender landscape and, of course, their usual tory bashing. With their more recent commitment to family life, Talbot has even recently been on CBeebies ‘Bedtime Stories’, a slightly softer approach than his usual public appearances. While any political band will face backlash, many fans seem to appreciate their consistency to their ideas, and it’s culminated in a Mercury Prize nomination and in TANGK reaching number 1. With 2 unbelievably strong first albums, IDLES made a blast of impact following the wake of Brexit, and the rise of the far right in Britain, followed up with some less impressive records, but have evidently found their touch again.  

Mother Mother’s “Grief Chapter”: An Ode To The Absurd

Written by Charlotte O’Reilly, Edited by Millie Cain

Disheartened by the acceptance of the futility of human existence? Want to find relief in the absurdity of living in this mortal plane? Looking to find solace and company in your Dostoyevsky-esque philosophies; or reject them completely? 

The Canadian indie rock band: Mother Mother, return for their ninth album- “Grief Chapter”.  After 19 years, the band’s transgressive sounds and lyricism still stand strong. I was privileged enough to see them live in February and this eclectic blend of their classic rock sound and fresh pop tone filled Leeds’ 02 Academy with a rather joie de vivre whilst grooving to lyrics pondering our very mortality- as “Nobody Escapes”. 

Nihilism, existentialism and absurdism: “Grief Chapter” rethinks previous themes and rejects them as “The Matrix” denounces “Burning Pile”. The ninth track of their new album depicts a parallel dissatisfaction with life but demonstrates how we can surpass these societal constraints- as opposed to surrendering to them as in “Burning Pile” as time continues to rule us. 

Ultimately, past their core angst which still remains prevalent throughout the album; this is a call for empowerment. Ryan Guldemond swaps his electric guitar for an acoustic as the album finishes with mellow vocals and the denouement is tranquil- perhaps how the end will be for all of us after a brief swell of “madness”: there is peace.