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My Football Season (Part 2)

Chelsea 1 vs Brighton 1 - 29th December 2021

I was in the East Stand for this one and the atmosphere was very flat indeed with most fan expecting the 'home banker' that Chelsea needed to keep pace with Liverpool & Man City. I was impressed with the 3,000 travelling Brighton fans though, who were noisy throughout.  

Things started well from Chelsea perspective, with Lukaku giving them the lead with a header from a corner in the 28th minute, but the performance looked laboured off the back of a tough game at Aston Villa a couple of days prior. 

In the second half Brighton took control and went close on several occasions, before a 91st minute header from Danny Wellbeck gave them the point they thoroughly deserved. All in all, a disappointing evening. 

Sutton Utd 2 vs Colchester 1 - 4th January 2022

Say what you want about the Papa John's Trophy, but the games are excellent for socially distancing - only 977 at this one. Gander Green Lane is a 'proper' little ground, with porta-cabin loos and a lovely old lady selling cups of tea; it really is what football is all about, even if the quality on the pitch left a little to be desired at times. 

Colchester went behind early when a speculative long range shot hit the post and cannoned into the net off the back of on-loan keeper Jake Turner. The U's then started to play a little better, with Skuse & Weredu running the midfield, and found a deserved equaliser when Tom Eastman headed in from a corner. 

Sutton took the lead again in the 55th minute though and despite a lot of huffing a puffing, and some squandered chances, Colchester couldn't force themselves level for a second time and take the game to penalties. With my completely feet frozen through, I was grateful for the short journey home to Wimbledon after the game, and have to applaud the 114 that travelled from Essex on a bitterly-cold Tuesday night so close to Christmas.    

Manchester City 1 - 0 Chelsea - 15th January 2022

The 12.30 kick-off time meant a very early start for this one; heading up North for what was always going to be a tough game for Chelsea, but a must-win one if they were stay in the title-race. After a couple of sleepy scotch eggs and a cursory flick through Total Film magazine on the train, I was ready.  This was my first time at The Etihad; the stadium is impressive, if a little soulless, but I like Manchester as a city, so always good to have the chance to go there.   

The Blues defended well on the whole, with City monopolising the ball and pressing hard, as you'd expect at home. The only goal of the game in the 70th minute when Kevin De Bruyne curled in a fine 25-yard shot past the despairing reach of Kepa. 

Was left thinking on the train home that, while the scoreline could have been worse, Chelsea also could have made much more of the ball when they had it, with Ziyech and Lukaku especially being poor, and Mount curiously relegated to just 10 minutes off the bench. Oh well, can concentrate on the cup now (as no one ever says).  

Sutton Utd 3 vs Colchester 2 - 18th January 2022

Seemingly a glutton for punishment, I made the short trip to Sutton again for the league game, with Colchester in desperate need of points to keep themselves out of the relegation zone. The game got off to a great start with debutant Owura Edwards firing his first goal for the club after just 3 minutes. But Sutton soon equalised and took charge of the game.  

Against the run of play though the U's were awarded a penalty when a Sutton defender handled on the line (only the referee will know why he didn't send him off!), which Freddie Sears confidently dispatched. Unfortunately, the way that The U's are defending currently, few were confident that they'd hold on to all three points, and Sutton duly equalised in the 64th minute. 

The U's looked to be heading for a extremely valuable point, until they were sunk by a gutting 92nd minute winner. A great away turn out for this one on a cold Tuesday night, the fans deserve better (sigh).  

Chelsea 2 - 0 Spurs - 23rd January 2022

Got a last-minute ticket in the Matthew Harding Lower for this one. After a swift couple in the Old Fields pub in Southfields, we jumped on the District Line and made it up the steps just in time for the teams to see the teams come out.  

A good atmosphere, as you'd expect from a London derby. A tight first-half with not many chances. Harry Kane had a goal ruled out for a push on Thiago Silva, before Chelsea took control in the second half. A brilliant curler from Hakim Ziyech and a header from Silva giving The Blues the win over Spurs for the third time in a couple of weeks.    

AFC Wimbledon 0 - 2 Ipswich Town - 25th January 2022

Got a work crew of people curious to check out the new stadium together for this one. After some pale ales and sausage & mash in The Wandle pub, we made the short (but cold) walk to the ground.  

As Ipswich are local rivals with Colchester, this had a bit of extra spice for me, but the first half was one of few chances, with Ipswich having the lion's share of possession, but not creating too much. Wimbledon hit the post in a goal mouth scramble early in the second half, before two goals from Welsh Winger Wes Burns gave Ipswich the win.  

The Tractor Boys brought an impressive 1,200 people, on a cold Tuesday night, and I'll begrudgingly say that they deserved the victory. I'm still yet to see The Wombles win at the new stadium, in five attempts, maybe I'll stay away :)

AFC Wimbledon 1 - 1 Sunderland - 12th February 2022

My wait to see Wimbledon wins continues after a heard fought draw against a decent Sunderland side going for promotion. 

After a catch up with an old friend, and an excellent Wagu beef burger, at the nearby Pig & Whistle pub, we made the 25 minutes stroll to the station, in time for a couple of 'Crazy Gang' ales before kick-off. 

The Wombles took the lead in the 20th minute, Luke McCormick confidently dispatching a penalty after Man City Loanee Callum Doyle was somewhat harshly adjudged to have handled in the area. But the lead didn't last long with Pritchard equalising for the Black Cats with a fine 25 yard free-kick. 

Despite a lot huffing and puffing in the second half neither team could find a winner, and the Wombles, winless in 11 games, remain perilously close to the drop!    

Liverpool 0 (p) - 0 Chelsea - 27th February 2022 - Carabao Cup Final 

A trip to Wembley on a surprisingly warm February evening for this one. After a couple of Budweisers in the fan zone outside, we made our way into the stadium. After a mediocre steak and ale pie on the concourse (I feel there's potential to do so much better with the food there) we made our way to ours seats. To our surprise we found we were sitting in front of Paul Weller (I found myself using his flowing grey locks as a marker to find my way back to my seat throughout the afternoon). 

After a slow start the game, the game sprung into life with chances for both sides. Mendy making a great double save, and Pulisic and Mount both missing decent chances for Chelsea. Liverpool thought they'd taken the lead through Joel Matip only for it to be overturned by VAR. Lukaku and Havertz also had goals disallowed for marginal offsides for Chelsea.

The game headed to penalties (annoyingly down the other end). An excellent standard of spot kicks meant it went down to the keepers, and after Kelleher scored his it fell to Kepa (who had come on for Mendy especially for penalties) to keep the Blues in it. Unfortunately he ballooned it high into the Liverpool fans behind the goal, handing Liverpool the trophy. 

A very entertaining 0-0, that could have gone either way, meant I wasn't too despondent leaving the stadium. Probably the swiftest journey out of Wembley i've ever had too which also helped ease the pain somewhat.  

Chelsea Women 1 - 3 Man City Women - 5th March 2022 - Continental Tyres Cup Final 

The short trip to Plough Lane in Wimbledon for this one. A strange wail of feedback and white noise proceeded the National Anthems (the PA sounded extremely ropey thereafter) on what was an unnecessary cold March afternoon. Chelsea took the lead in the first half against the run of play after Sam Kerr mopped up a spilt ball by the City keeper. Manchester City took control in the second half though, with goals by Caroline Weir (2) and Ellen White landing them the trophy. 

A good turn out of 8,004, and great to see so many kids and families experiencing the stadium for the first time. Highlight of the day for me was probably the post-match fish & chips from nearby Vintage after the game though.   

Bristol Rover 1 - 0 Colchester United - 15th March 2022 

After a stroll through Bristol, I had a pre-match IPA and vegan pizza (how hipster) at the Lefthanded Giant in the city centre, before catching a bus out to the Memorial Stadium. 

The vibe outside the ground (a live band and stands selling beer & food), was enjoyable, but the stadium itself was pretty no thrills, with the main stand looking more like a cricket pravilion than a stand. The 200 or so U's fans (a good effort for a cold Tuesday night) were housed in an open terrace to the side of the goal. 

After a pretty even first-half, with Noah Chilvers and Owura Edwards looking especially lively, Newcastle loanee Elliot Anderson won the game for Bristol Rovers with the only moment of real quality, curing a shot past Shamal George in goal. Colchester put in a valiant effort and had the chances to equalize, but alas it wasn't to be. With just nine games to go, they ended play just 8 points above the relegation zone. 

After a tense race against time across Bristol to catch the last train back to London, I eventually got home very sleepy at 1.30am. 

Colchester United 0 - 1 Forrest Green Rovers - 21st March 2022 

A fantastic gesture by the club to put all the tickets down to a tenner and donate all the money to the Ukraine appeal for this one.

Sadly the U's faltered in front of a bumper crowd and the Sky cameras. 

Top of the league Forrest Green took the lead in the 9th minute and had the majority of possession throughout, with the U's lacking the aggression and urgency to win it back. Shamal George made some smart stops to keep the score at one, and although Colchester had some decent spells, they never truly looked like equalizing.    

Due to Covid (and living in London) this was my first time at the Jobserve Community Stadium in two and a half years, and it was reminder of what a pain in the ass it is to get to. The free program is a nice touch, but as an overall football experience, it is still sorely lacking.   

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My Football Season (Part 1)

Chelsea 3 vs 0 Crystal Palace - 14th August 2021

After almost 18 months, it felt good to be back in a football stadium again! Due to the pandemic, this was the longest period i'd not been to a game for since I was about 9 or 10 years old. But thankfully the muscle memory kicked in, and after a £6.85(!) pint in the nearby Aragon House pub I got to Stamford Bridge just in time to hear the familiar strains of The Liquidator.

With Palace happy to defend with everyone behind the ball, and Werner’s touch alluding him, it looked like it was going to be a frustrating sunny afternoon, until Alonso curled in a peach of a free-kick and Pulisic added a scrappy second.

There was a new Kai Havertz chant (to the tune of Belinda Carlisle’s Heaven is a Place on Earth) that failed to really get off the ground, but the highlight of the game for me was seeing young Trevoh Chalobah score his first goal for the club with a 25-yard drive.

AFC Wimbledon 1 vs 1 Gillingham – 17th August 2021

I took Liz to this one, our first trip to the new stadium - only 10-15 mins walk from our house. I was impressed with it, maybe a little bit smaller than I’d imagined (9,200 capacity) but much plusher than the battered old Greyhound Track it replaced!

The first half wasn't great to be honest, with very little quality shown by either team and Wimbledon especially struggling to string many passes together. The atmosphere remained very good though. Liz enjoyed the beery-lads singing about how much they loved Wombles and how they were ‘Wombles ‘til they die’ (as if it was an ongoing rivalry with The Flumps or something).

We missed the first 5 minutes of the second-half queuing for an underwhelming hot chocolate, but it was much better. Wimbledon, shooting towards us now, were piling on the pressure and Gillingham were resorting to chopping down any player who broke through the lines.

Around the 70th minute they brought on striker Ollie Palmer who I commented was a ‘big lad’ and ‘good on Fifa’. Sure enough he crept in at the back-post to head what we thought was an 85th minute winner.

Sadly, Gillingham (who were down to 10-men by this point) grabbed a 97th minute equaliser with a heavily deflected shot, sending their 400 or so fans up the other end into rapture. Still, it was an enjoyable first visit to my new local team and the novelty of being able to just walk home at the end of the game will surely never wear off.

Liverpool 1 vs 1 Chelsea – 28th August 2021

I’d never been to Anfield before, so when two last-minute tickets in the away end became available, I jumped at the chance! The only problem with last-minute tickets is that trains in the UK are absurdly expensive unless you book them in advance, which meant my brother and I opted to travel up to Liverpool by coach instead.

Leaving Stamford Bridge at 10am (for a 5.30pm kick off) and with an estimated return time of 1am, it was clear it was going to be a long day! Still, having been subsidised by the club, the coach cost just £10 return and I kidded myself that I’d get plenty of reading and life admin done on it (I actually just scrolled through my phone the whole time).

Chelsea took the lead in the 22nd minute with a fine looping header from a corner by Kai Havertz (and this time his chant did take off) and were playing well, albeit Liverpool were still a real threat when they went forward. The game turned on its head though just before half time when Liverpool were awarded a penalty and Reece James was sent-off for handball. I’ve no problem with the penalty, but the red card was harsh and effectively killed the game as an end-to-end contest. What followed was a tremendous backs-to-the-wall defensive display from Chelsea, with everyone in the away end more than happy to take the draw.

Anfield on the whole was impressive, with some parts noticeably a lot newer and less run-down than others, but I was honestly a bit underwhelmed by the atmosphere at times. The Liverpool fans were loud for the rendition of ‘You’ll Never Walk Alone’ just before kick-off and directly after they equalised, but there were periods when they were very flat indeed and all of the noise was coming from the away end. It was also odd to see quite a few Liverpool fans leaving with 3 minutes to go, when the game was still very much in the balance.

After a quick stop for the obligatory Ginsters from a service station on the way home, I eventually got back around 1.30 am, very sleepy, but satisfied with a point and another stadium ticked off the bucket list.

AFC Wimbledon 0 vs 1 Plymouth  - 18th September 2021

Not too much to say about this one - warm day, good attendance, but the game never really caught light. Wimbledon were the better side, and playing some good stuff, for the first 15-20 minutes but created very little there after.

Plymouth, flying high in the league, hit them with a sucker punch just after half-time, and despite plenty of possession in the second half Wimbledon never really looked like equalising.

The highlight of the afternoon was seeing Haydon the Womble dragging a bin around behind him (doing the recycling?), and getting a bag of chip-shop-quality chips from one of the kiosks at half-time.

Swindon 0 vs 0 Colchester  - 25th September 2021

A better game than the scoreline suggests, with a decent pace to it and quite a few chances, but ultimately goaless. I’d not seen Colchester play since pre-pandemic days and was impressed with the defence and midfield, and the fact the team tried to play ‘the right way’. They were fairly toothless going forward however with Sears and Nouble pretty poor throughout. The U’s had keeper Shamal George to thank for a hard-earned point in the end, producing a string of decent saves late-on.

In terms of the matchday experience, the stadium had an away-supporters bar, which was a nice touch (even if it did remind me why I don’t drink Carling or Fosters anymore) and it was good to catch up with some people I hadn't seen in quite a while. Desperately disappointing burger from the van outside the stadium though, especially at £5.50 a pop!

Chelsea 3 vs 1 Southampton - 2nd October 2021

Pre-match beers and pizza in the excellent Samsbrook Brewery in Wandsworth before hot-footing it in the rain across to Stamford Bridge. The story of two VAR decisions this one,  Werner had a goal ruled out (for a debatable foul by Azpilicueta) which would have made it 2-0, and probably sealed the three points, before Ward-Prowse equalised with a penalty.

The game seemed to be heading for a draw when Ward-Prowse was then sent off for a dangerous tackle on Jorginho (the referee going over to look at the screen before upgrading it from a yellow card), before Werner scored a well-worked second and Chilwell got redemption for the penalty incident with a 3rd late on.

Good to see Loftus-Cheek back looking sharp and Barkley did well too when he came on. Was absolutely sheeting it down all afternoon and I was wetter than an otter’s pocket by the time I got home.

England 1 vs 1 Hungary -  12th October 2021

My first England game since a school trip to a game against Luxembourg at the old Wembley in 1999 (England won 6-0 that day). Not a great performance, or result, this one though. Hungary took a shock lead with a penalty in the 24th minute, before John Stones prodded home a Phil Foden free-kick to equalise around ten minutes later.  

There were some unsavoury scenes involving Hungary fans and the police for the first 5/10 minutes of the game (thankfully the other side of the pitch from us) which left a bit of a sour taste. The atmosphere was pretty flat throughout (the players not giving the fans much to shout about in fairness) as the game drifted to a draw. It all felt a bit like a case of ‘after the lord mayors show’ compared to the euphoria of the Euros.

The highlight of the evening for me was probably before kick off when they turned the lights off and played Angel by Massive Attack dead loud over the PA, that was a nice production touch.

AFC Wimbledon 2 vs 2 Sheffield Wed - 16th October 2021

When Sheffield Wednesday made it 2-0 with a dubious penalty in the 61st minute I thought it was game over, but credit to The Wombles who fought back to earn a point with two well-taken goals, sending the locals delirious.

A healthy crowd (for League One) of over 8,000 for this one. Respect to the thousand or so who travelled down from Sheffield for it too (I forgot what a big club Wednesday still are).

I got to the ground earlier this time and had a chance to sample a couple of ales from the Wimbledon Brewery pop-up there. The match day experience is generally a good one, Colchester could learn a few things from it!

Chelsea 7 vs 0 Norwich - 23rd October 2021

A 12.30 kick-off on a Saturday is not 'the one', especially when you were doing karaoke at a colleague's leaving do until 1am the night before! Thankfully, the game was an easy one to stomach. Norwich were awful, but, coffee in hand, it was good to see Chelsea playing some good stuff and putting them to the sword.

There was a minute's applause before the game to mark the 25th anniversary of the death of Matthew Harding - a man who's contribution to where Chelsea are now should never be forgotten. Mason Mount opened the scoring with a well placed shot from the edge of the box, followed by well-taken goals by Hudson-Odoi and Reece James. Ben Chilwell added a 4th with his 3rd goal in 3 games (from left-back), before an own goal, and Mason Mount completed his hatrick.

On a personal note, I caught up with my cousins who I hadn't seen since before the pandemic, and it is the biggest win I've ever seen at Stamford Bridge (eclipsing Chelsea 6-0 Arsenal in 2014).

AFC Wimbledon 2 vs 2 Fleetwood Town - 27th November 2021

A scrappy, but entertaining game this one. The Movers End was so cold and windy that I was actually envious of the person wearing the giant furry Womble suit as he strutted around trying to drum up support.

Fleetwood Town were the better side in the first half and duly went in one ahead at the interval. But a much better second half display from The Wombles and two neatly-taken goals from Assal and McCormick put them 2-1 ahead. Sadly, Fleetwood equalised with a few minutes to go, much to the delight of the 117 hardy souls behind the goal who'd made the long trip down from Fleetwood.

My favourite chant of the day was 'You're gonna burn in the summer' to Fleetwood's lanky ginger striker who'd put his fingers to his lips after scoring early on, only for it be disallowed for offside, to much hilarity. Notable as the first time I've ever had a gingerbread latte at the football (well it is Wimbledon!).

Women's FA Cup Final (Wembley Stadium) - Chelsea 3 vs 0 Arsenal - 5th December 2021

Another bitterly-cold afternoon was made more palatable by a totally dominant performance by Chelsea as they lifted the Cup. The Blues took the lead within 3 minutes through Fran Kirby, before squandering several chances to increase their lead before half time.

Having had a wholly unsatisfying hot dog before the game (£6.30), I tried to get a cup of tea at half time to warm the old hands, but the queue was massive and not moving at all, so I tried to get some pick 'n' mix instead, but having carefully curated the bag (cola bottles, flying saucers, fudge - the whole works) again the queue was not budging and I gave up when I heard the second half kicking off. Wembley pride themselves on having the most toilets per-person of any venue in the world, but they could do with a few more food outlets, or at least a few more people serving! cos getting food and drink there is always a frustrating experience.

In the second half, Sam Kerr ensured the trophy was coming to West London with two goals - the second a delicious chip from the edge of the box. A decent attendance of 40,942, and a good family-friendly atmosphere, for this one. The free flag on each seat was a nice touch, as were the pyrotechnics as they lifted the trophy.

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So you want to be in a band? Here's 15 things they don't tell you

1.  You will be put on a bill with an act whose name is so cringe-worthily bad that you feel embarrassed circulating the flyers just in case people think you are endorsing them in any way. Gyrating Eddie, Hunky Rockers, The Spunky Backpacks – you know who you are.

2. You will at some point play with a band who turn up ten minutes before doors open, with no equipment of their own what’s so ever, borrow yours and then break most of it before your set. Yes, it’s common to share drum kits and bass amps, but guitars, pedals, drum sticks… plectrums? come on guys.

3. Your drummer will helpfully have a go at writing some lyrics - why thank you, we’ll keep them in this safe metal receptacle in the corner of the room. 

4. You will be offered (and accept) the chance to play a gig at a local youth club, Cub Scout hall or school fete, convincing yourself that this is where your ‘next generation’ of fans will come from (it won’t). Furthermore, you’ll get told off by the organisers for swearing in one of your songs. There will also be no alcohol served, but you will be buzzing anyway from a potent mix of Coca-Cola and refreshers.

5. During the gig you will spot a man in a suit propping up the bar, convinced he is from a major record label you will play your socks off. Turns out he is just a punter that came straight from work.

6. The band on before for you will play for what seems like forever, doing un-requested encore after encore, whilst you stand there with gritted teeth watching the crowd shrink and shrink.

7. Every so often you will be given a dressing room (cleared out store room) and a ryder (multi-pack of crisps) and feel like you’ve made it. There will be strict control about who goes back stage mind, after all, you’ve earned this privilege. Band member’s girlfriends will also be treated with Yoko-like suspicion.          

8. You will play on the bill with a thoroughly average band with rich parents, they will strut around with wireless mics, leadless guitars and have laminated set-lists. They will also (try and) sell a range of merchandise that would put One Direction to shame, key-rings, tea towels, signed photos, chord & lyrics books, hair conditioner….

9. In your rehearsal room you will find the setlist of another band and deride all the song titles - ‘Keep Dreaming’, ‘Falling from Heaven’ ,‘Summer Rain’ – ha, what a bunch of wankers.    

10. At the posher venues you will be given a laminated ‘access all areas’ badge to wear, or better still one of those fabric ones you can stick to your jeans, you’ll flash it nonchalantly at security / apathetic girls.

11. You will announce to the audience that ‘this is a new song’ despite them not knowing any of your other songs anyway.   

12. You bass player/drummer will get confused by song titles and briefly kick into the wrong song, for 3 seconds, until they sort themselves out, you will want to die.

13. You will be ‘cheated out' of winning a battle of the bands competition (by virtue of the other band bringing more people along) and be dragged kicking and screaming from the venue shouting "it’s a fix!"

14. You will write a new song and be convinced your first hit is on the cards, until someone points out you have borrowed the melody / lyrics / beat (or quite possible all three) from another song.

15. One night, everything will click, and you will feel awesome!

   Richard Williams

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Album Review: Damage – Jimmy Eat World

Arizona’s Jimmy Eat World burst into the public conscience back in 2001 with their third album ‘Bleed American’. For me, like thousands of others, it was the soundtrack to my college years - it was pop-punk with extra heart, emo without the melodrama, and always stayed just the right side of being cheesy.

With ‘Bleed American’ (which became self-titled after the September 11 terrorist attacks) they added a well-judged slickness to their early ramshackle promise, but subsequent records - the rather good ‘Futures’, the so-so ‘Chase this Light’ and the slightly-disappointing ‘Invented’ - suffered somewhat from clinical over-production; heartbreak had never sounded so calculated.

In the lead up to Damage, the band promised it to be an ‘adult break up album’ with a rawer, more acoustic feel, of which I was glad. Whilst that proclamation is true to an extent, it isn’t that much of a departure all told - lead single ‘I Will Steal You Back’ for example, could sit happily anywhere on their last three records.   

Elsewhere, it’s all pleasant enough - there are trademark soaring choruses, chugging guitars, wirey solos and a couple of customary ballads. You’ll find various melodies from the record floating around your head after just a couple of listens, however there’s precious little of the excitement or vitality present on ‘Bleed American’ and ‘Clarity’ that keeps you returning to the record for years to come.  

Frontman Jim Adkins’ voice is in fine form and can still stir those familiar emotions. His lyrics have never really held up to close scrutiny, but there is a refreshing lack of pretence to his sixth-form poetry and Damage treads the familiar path of relationships, pain and self-assessment – “I hate the way I feel, but I don’t think I can change, I just breath through every day” he hollers on the album’s title track.    

Ultimately, ‘Damage’ is the sound of a hugely likeable band with an established fanbase, who remain an excellent live-act, but are happy to tread water on record rather than push themselves towards real inspiration or invention. It could be worse though, they could be soiling their legacy completely with embarrassing additions to their back catalogue – I’m looking at you Weezer. 

7/10

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Album Review: The National - Trouble Will Find Me

Like their English counterparts Elbow, The National’s story is one of slow-burning success - a band growing naturally with each album, and now finding themselves in the upper echelons of festival main stages, as perennial sound-trackers to numerous Television dramas, and with the ‘critics’ favourites’ stamp on their heads.    

Trouble Will Find Me is their sixth studio album and very much picks up where breakthrough album The Boxer and 2010’s excellent High Violet left off in bringing miserabilia to the masses.  Swelling orchestration, pounding percussion and reverb-drenched backing vocals augment singer Matt Berninger’s unmistakeable baritone and lyrics which once again where his heart firmly on their sleeve.

 “I should live in salt for leaving you behind” he croons on the albums opener in just one of the many characteristically self-loathing moments. But like High Violet it is Berninger’s unique turn of phrase and delivery that keeps the listener engaged and willing to wallow with him -“When I walk into the room I do not light it up….. fuck” he sings on lead single ‘Demons’, in an almost comically-genius moment of realisation.     

However, unlike its predecessors, moments of real captivation are counterbalanced by the pedestrian, such as the overly maudlin ‘Fireproof’ and frankly dull ‘Slipped’, and anyone looking for the savage guitars and raw emotion of old favourites such ‘Mistaken for Strangers’ or ‘Mr October’, will be sadly disappointed.   

Ultimately, Trouble Will Find Me is a solid, but unspectacular, extension of the band’s sound, and at 13 tracks - most of which clock in at over four minutes - it verges on a bit of an ordeal to listen to in one sitting, but if you’re willing to embrace the sadness then it may be a record you find yourself returning to for some time to come.  

7/10

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Album Review: Two Door Cinema Club – Beacon

Beacon is the second offering from Northern Irish guitar-popsters Two Door Cinema Club. Their debut – 2010’s Tourist History - was a slow burner of a record, released to very little expectation or fanfare, over the subsequent next 18 months of touring, the band began to turn the heads of cardigan wearing kids everywhere.

Further aided by the single releases of the excellent ‘What You Know’, ‘Undercover Martyn’, ‘I Can Talk’ and the infuriately catching ‘Something Good Can Work’ they become the ubiquitous sound of University campuses across the country - a coming-of-age Glastonbury set and their use on several video games and commercials, helping to further cement their place as part of the indie-furniture.

Despite Jacknife Lee (the man responsible for salvaging Snow Patrol’s career) replacing Eliot James on production duties, Beacon finds the band operating from the familiar palette of their debut – shimmering guitars lines, processed beats, tonal synths, overdriven bass lines – creating a record which is a natural, if unspectacular, extension of Tourist History.     

Lead single ‘Sleep Alone’ opens with the same drum pattern as The Bravery’s ‘Honest Mistake’ which will no doubt wrong-foot indie disco goers everywhere, but is otherwise as infectious as anything they’ve done previously. As are the calypso stomp of ‘Sun’ and glistening vocals of ‘The World is Watching’. But elsewhere, some tracks fall a bit short of the killer hook or earworm melody one craves, despite the additional augmentation of trumpets and strings etc.    

 Like Tourist History (and it seems churlish to keep comparing it to their debut, but in terms of context, that’s all we have) frontman Alex Trimble’s voice is full of warmth and clarity, but his lyrics remain a little too nondescript to make TDCC a band to really cling too - although I’m not doubting thousands of teenaged girls do – in the same way you might The Smiths or Manic Street Preachers. Trimble’s inoffensive couplets and tired imagery continuing the shtick of the hopeless romantic you wouldn’t mind taking home to meet your parents.

Over all, Beacon is a decent but not ball-grabbing record - one which is melodic, pleasant, and doesn’t outstay its 40 minute duration. However its clinical production renders an endearingly-young band charmless at times. Expect to hear anyone of these crisp sonic-nuggets on a Ford Mondeo advert soon though.

                                                                                                                   7/10

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Album Review: Passion Pit - Gossamer

Three years in the making, Gossamer is the second album by Boston electro-popsters Passion Pit. 2009’s Manners was an astonishing, and critically acclaimed, debut album with minor hits like ‘The Reeling’ and ‘Sleepyhead’ nudging them away from the underground and into the realms of indie-disco mainstays. But it was only with repeated listens, that one began to see past the sugary bluster and infectious melodies and realise the depth of singer Michael Angelakos’ song-writing at the heart of it.    

Diagnosed as bipolar aged 18, Angelakos’ personal problems throughout the making of Gossamer have been well-documented, not least of all, cancelling several recent tour dates whilst he “concentrates on improving his mental health”. Like Manners, it is the juxtaposition of dance-floor euphoria and melancholic lyrics that provide the spine of the record. 

Musically, it’s an aural overload - bombastic synths, stuttering beats, an arsenal of keyboards, a “uh-oh-uh-oh” here, a “woah-oh-woah” there -– and absolutely crammed with hooks, to the extent that disseminating the sheer quantity of information is tricky at first.

“Then my partner called to say the pension funds were gone / he made some bad investments and the account’s now overdrawn” Angelakos laments on economically-weary opener ‘Take a Walk’. His ultra-falsetto voice, which threatened to define Manners, is toned down a touch, but still has the potential to grate as the album progresses: “You should go if you want to / Yeah go if you want to, I’ll be alright” he chirps  – somehow, we don’t quite believe him.

This is a hugely enjoyable record, but not a flawless one by any means. It could definitely benefit from some tighter editing (the 45-second skit ‘Two Veils to Hide My Face’ seeming particularly redundant). But along with the likes of Hot Chip, Friendly Fires and Metronomy, Passion Pit continue to assert the notion that electronic music doesn’t have to be devoid of warmth and substance. In fact, quite the opposite, there is unlikely to be a record with its heart worn more tenderly on its sleeve than Gossamer released all year.   

8 / 10 

Standout Tracks: ‘I’ll Be Alright’, ‘Carried Away’, ‘Constant Conversations’

Richard Williams

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Footballer / Band Name Puns

On the train back from Latitude Festival, to kill time, we started to think of as many footballer / band name puns as possible.  

This post requires a bit of knowledge of both football and music, but if you've got that, then you are in for a treat. They are as follows:

Shaka Hislop & Pliers

The Colin Cooper Temple Clause

Marlon Kings of Leonhardsen 

Everything But Keith Curle

Igor Tudor Cinema Club

Linkin Ji Sung Park

David Wheat-er Scientists 

Robert Green Day

Limp BizKit Symons

Queens of the Steve-Stone Age

Noel and the Whelan

The Paulo Futreheads 

Ian CulverHouse of Pain

…And You Will Know Us by the Trail of Jon Stead

Rio Franz Ferdinand

Juan-Direction Mata

Chris De Henning Berg

Death Cab for Shefki Kuqi

Placebo West 

Jimmy Pink Floyd Hasslebaink

Ben Foster the People

The Stone Victor Moses

Eric Black Sabbath

Tears for Freddie Sears

Didier Drog-Blur

Kingsley Black Rebel Motorcycle Club

Reverend Van De Meyde

Jermaine De-Foe Fighters

Mark Bright Eyes

Neil Lennon and George McCartney

Belle and Sebastian Larrson

The Louis Saha Men

Dogs Die in Hot LineKars

The Alan Smiths

Torresey

Steve McManamanfred Mann

Ruel Foxy Music

Badly Drawn Brian Roy

Emmerson, Paul Lake and Carlton Palmer

Bassment Jaxx Wilshere

Ash-ley Cole

Brand Neuer

The Pains of Being Pure at Joe Hart

REMi Moses

Adele Taarabt 

The Phil Jonestown Masacre

The Lee Catermole Historical Society 

Thanks to Gary Coates, Jon Foley, Sean Rigby, Martin Williams and Chris McKeown for their contributions. Feel free to post your own!

Richard

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Live Review - Bright Eyes

Bright Eyes @ The Royal Albert Hall, London. Thursday 23rd June 2011.

Bright Eyes’ last gig in London, back in February, was at the decidedly more modest venue of the Scala. But tonight, for one night only, Conor Oberst and his merry men are given the keys to the Royal Albert Hall – 19th century listed-building that’s played host to everyone from Bob Dylan to the Royal Philharmonic Orchestra in the past. Indeed, there’s been a healthy mix of intrigue and excitement growing about this one since it was announced last year.   

First on though are Jenny & Johnny - Jenny Lewis of Rilo Kiley fame and her partner (in every sense) Jonathan Rice - performing songs from their debut album ‘I’m Having Fun Now’. The sparse crowd of early-birds gives them due respect, but are largely under-whelmed by their country-tinged indie, until an acoustic version of Rilo Kiley’s ‘Silver Lining’ closes their set wonderfully, and showcases the full range and radiance of Lewis’s voice.       

Further warming up the crowd is Welsh solo artist Gruff Rhys. The Super Furry Animals lynchpin, and his ramshackle band, rattling through the best of his recent ‘Hotel Shampoo’ LP with a charming naivety probably better suited to smaller venues, but proving to be a lot of fun none-the-less.  

Bright Eyes announce their arrival to the now full auditorium with a dramatic dipping of the lights, and one of the familiar spoken word musings of Danny Brewer wafting through the formidable PA. The Cobain-esque riff of ‘Firewall is followed swiftly by ‘Haile Selassie’ and ‘Four Winds’ – the enigmatic Oberst clearly enjoying himself, but speaking only minimally between songs.    

Save from a noticeable fumble during ‘Shell Games’, this is a slick production throughout, and one befitting of both the size and prestige of the venue. Two drummers, pedal steel, plentiful keyboards and synths, a brass section and an exquisite display of lighting, all helping to augment Oberst’s fragile but cutting voice.  

The two hour set is fairly People’s Key-orientated, but it’s the country-stylings of old favourites such as ‘Poison Oak’ and ‘Another Travillin’ Song’ that really hit the mark and get the best reception from a transfixed audience. All rounded off by a solitary piano performance of the hauntingly brilliant ‘Ladder Song’.     

During a three-song encore, Oberst introduces us to the members of his band, allowing them each a jaunty little dance in the spotlight, before closing with “One For You, One For Me”. Free from the shackles of his guitar, he clambers down the front to high-five the audience, looking unusually comfortable as he basks in their adulation. And so he should, because tonight, the boy from Nebraska has had them hanging on his every word. 

Richard Williams

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Album Review: Foster the People - Torches

It’s amazing how fast things can move these days, LA’s Foster the People have only been together since October 2009, but a little over a year and a half later their debut album Torches hits the shelves. But despite being, to all intents and purposes, a new band, somewhat unusually for the industry these days, its member are already in their mid to late twenties - something that’s apparent in the sumptuous craft with which the ten songs here have been put together.

Before getting his band off the ground, lynchpin Mark Foster originally paid the bills by writing jingles for television commercials, and it shows, because at the heart of each song is a bite-sized melody that’s pure and infectious. There’s no attempt to subvert anyone, or anything, here, just a warm and accessible album, full of heart and promise. The harmonised falsetto vocals evoke MGMT and Empire of the Sun at their best, whilst the keyboard and synth codas recall Cold War Kids, Ben Folds and Phoenix.

As an album, Torches is all about nimble bass-lines, minimal guitars, throbbing percussion, and sing along choruses. Single ‘Pumped Up Kicks’ is a deceptively sinister pop-song about an outcast school kid, who’s finally had enough –  the breezy melody containing the lyrics “All the other kids, with their pumped up kicks, better run, better run, faster than my bullet”. Elsewhere, ‘Houdini’ is effortlessly bombastic, and a sure-fire dance-floor hit in the making, think Dizee Rascal meets Modest Mouse.   

Clocking in at just over 40 minutes, this is a more-than-solid collection of three minuters keen to impress. Lyrically, it might not always be overly challenging: “Oooh la la, I’m falling in love /and it’s better this time, than ever before” for example. Some of the album-tracks float dangerously close to Maroon 5 territory too. Ultimately though, it’s an album sure to get the obligatory ‘soundtrack of the summer’ stamp from critics, and signals big things ahead for the band. Expect them to be a big hit at this year’s festivals too. 

Richard Williams  7/10

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We Have the Album, and We're Voting Yes!

Album Review: Death Cab for Cutie - Codes and Keys

Seattle’s Death Cab for Cutie are a genuine success story – a band from humble beginnings, who have grown with each album in terms of both popularity and critical acclaim, but yet thankfully have not forgotten what made them so great in the first place. This, Codes and Keys, is the band’s seventh long-player, and builds naturally on its predecessors, without the stadium-sized posturing you might forgive from a band at this stage in their career.

Setting out in 1997, they are a band that have, by their own admission, surpassed all expectation, and now continue to make great music, the way they want to. Sure, signing to a major label, and being used on the soundtrack for every American teen drama going, will make some indie kids will feel that they aren’t ‘their band’ anymore. But increased popularity and richer production, doesn’t necessarily mean a band have ‘sold out’, more often that they now have access to better studios, and have advanced as musicians over the years.       

Led by chief songwriter Ben Gibbard and guitarist (and sought-after producer) Chris Walla, they had hinted that Codes and Keys would be a much less guitar-centric affair than previous records. While this is true to an extent, they haven’t quite converged with The Postal Service (Gibbard’s acclaimed electronic side-project) yet. Instead, processed beats, chopped-up vocals, synths and atmospherics augment the slender, but potent, guitar lines, as illustrated best on lead single ‘You are a Tourist’. Elsewhere, there’s piano-driven melancholy and shades of Low, Band of Horses, My Morning Jacket and Flaming Lips.

Gibbard is one of the great storytelling lyricists, focusing on minute details that make a big difference. But while there are trademark moments of darkness, there is also an overwhelming sense of positively – I guess being married to Zooey Deschanel is enough to put a smile on anyone’s face!. Song titles such as ‘Monday Morning’, ‘Portable Television’ and ‘Underneath the Sycamore’ are a bit trite by Death Cab standards though, and ‘Some Boys’ - a tirade about how uncouth other boys can be sometimes - is a bit annoying in its air of superiority.  

Overall, this is the sound of a band totally at ease with what they're doing, resulting in a slow-burner of a record, one that reveals more of itself with every listen, seeping into the consciousness gradually, but it ultimately well worth the time. 

             8/10

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Bang Bang Rock & Dull

Album Review: Art Brut – Brilliant! Tragic!             

Recorded with former Pixies singer Frank Black at the helm, this is the fourth (yes fourth!) album from English/German new-wave funsters Art Brut. The band became somewhat of a cult hit back in 2005 with their debut album –  the refreshingly quirky Bang Bang Rock & Roll – a record that spawned minor hits such as ‘Emily Kane’ and ‘Formed a Band’. But Brilliant! Tragic! is perhaps a joke too far.  

Frontman Eddie Argos is an assuming figure, part Jarvis Cocker and part Darren Hayman, and at times a genuinely humourous and touching lyricist. He’s effortlessly made a career from, you know, ‘speaking to the kids’ about things they can relate to – futile crushes, getting drunk, group texting, problems between the sheets, dancing awkwardly, making mix-tapes etc – and never quite taking himself seriously. But there’s a nagging feeling he’s repeating himself these days.  

Musically, the band’s lo-fi, but palatable, riff-rock hasn’t really evolved at all since their debut. Which isn’t really a problem as the music was always served as a backdrop for Argos’ ponderings anyway. But although his trademark spoken yelp is still present and correct, he’s now also got a creepy half-whisper thing going on, and due to the encouragement of producer Frank Black, even attempts to sing properly at times too – a failed experiment I’m afraid.     

Lines such as “he dresses like he came free with the NME” are pure Argos, and ‘Lost Weekend’ is up there with ‘Good Weekend’ and ‘Bad Weekend’ in completing the trilogy nicely. But elsewhere the six minute centre-piece ‘Is Dog Eared’ has already made its point after the first thirty seconds, and while ‘Martin Kemp-Welch Five A-Side Football Rules’ is a great title, it’s a fairly unremarkable song. On penultimate track ‘Ice Hockey’, he sings about going into space – David Bowie’s ‘Space Oddity’ it is not.   

Argos’ ambitions have lessened over the years too, on their debut, he talked about writing a song ‘as universal as Happy Birthday’ and one that would unite Israel andPalestine. He also shouted excitedly about Art Brut rocking Top of the Pops for several weeks running (who would have thought they’d outlive the show?). Now he whispers wearily “I wanna be played in the background while couples drink their wine / that would be a triumph with a voice like mine”. Sadly, I don’t think this record will make even that modest dream come true. 

                                                                                                                      5/10

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Album Review: The Pains of Being Pure at Heart - Belong

'Belong' is the second album from New York indie-popsters The Pains of Being Pure at Heart. Describing it as ‘hotly anticipated’ might be a stretch, but there was a definite undercurrent of excitement approaching the release, from those who, like myself, enjoyed the adolescent charm of their debut back in 2009. Sadly, it seems to have (almost-unanimously) fallen short of those expectations.

Preceding single 'Heart in your Heartbreak' was a corker, and having also recruited Alan Moulder and ‘Flood’ (of Smashing Pumpkins fame) for productions duties, the signs were that their likeable, but slightly wimpy, melodic rock would be given extra balls, the live show certainly suggested this too. But save from the speaker-blasting opener, it sounds more like a photo-copier-running-out-of-ink version of their debut, than the progression many had hoped for.

Nice, as an adjective, is the scourge of primary school English teachers everywhere, but really is the only word to describe much of this record. The mix of jangly three-minuters and shoegazey nod-outs, like their eponymous debut, sound curiously British in their conception, recalling The Cure and The Stone Roses among others. Singer Kip Berman is an unassuming presence with an understated voice, which is fine when it works, but not so clever when offering lyrical banalities such as: 'Everyone is pretty and fun / everyone is lovely and young'. There is a fine-line between dreamy and dreary.

Lo-fi guitars fuzz, synth lines bounce and boy-girl harmonies evoke a the romance, albeit a slightly asexual one. This is a coming-of-age record searching for its film to soundtrack - competent, inoffensive, but ultimately a wasted opportunity. 

7/10

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Album Review: Gruff Rhys - Hotel Shampoo

Most people don’t think twice about slipping hotel shampoo bottles into their suitcases, but fewer could see it as inspiration for a new album. But that’s Gruff Rhys all over, the Super Furry Animals frontman has always had a knack of taking the peculiar or mundane, and turning it into something quite touching.

Following the Welsh language Yr Atal Genhedlaeth and the pleasant, but perhaps overly-twee, Candylion, this is Rhys’ third solo album and comes with no real expectations at all, especially as day-jobbers SFA’s recent output as been un-even at best. They are rightly treasured as one of Britain’s most inventive bands however, and also one of the few to successfully ride the Brit-Pop wave with mature grace. Hotel Shampoo is everything their last record Dark Days/Light Years should have been.    

This is a cosy affair, full of Beach Boys warmth, samba percussion, 60’s salvaged loops and Burt Bacharach-style romance. Rhys shows that for all the wackiness of SFA, he is an undeniably fine musician. The arrangements on each song are all lovingly crafted, with piano, trumpets, strings, harmonies and synths adding to the rich palette. “I didn’t know you / but you felt like a friend” he sings on the opener, unwittingly mirroring the feeling you get towards this album.    

At 40 years-old, he also shows Weezer etc that you can still write about girls and sex without making the listener cringe their way to the nearest paedophile hotline. The wonderful ‘Space Dust #2’, a duet with Swedish singer El Perro Del Mar, tells the tale of two strangers meeting at a Science conference and indulging in a night of passion, which soon turns into entertaining awkwardness. 'You upped and left without warning / I had to work in the morning' they bicker. 'You couldn’t even look me in the eye' Del Mar accuses. 'You had your sunglasses on' Rhys responds.

Hotel Shampoo is not without its flaws (some of it borders on the pastiche), and at thirteen tracks could definitely have benefited from some tighter editing. But lyrically and musically Rhys is in fine fettle, which bodes well for forthcoming SFA albums. 'I’d never claim you were mine / Just if we were words we would rhyme' he shrugs in one of the many understated, but magical, moments. 

8/10

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Album Review: Yuck - Yuck

Like the ghost of 90s past, Yuck bring their nerdy slacker-rock to the feast, without a hint of irony. In a music scene seemingly obsessed with 80’s retrospect at the moment though, that’s not necessarily a bad thing. So much so, their self-titled debut some how manages to be overtly derivative, yet strangely refreshing at the same time.

The London based four-piece formed from the embers of indie –also-rans Cajun Dance Party. Realising their kooksy guitar pop was getting on their own tits as much as everyone else’s, they sloped away without trace. Three years later, and still aged just twenty, they are back with Yuck, and they've obviously been listening to a bit of Dinosaur Jnr, My Bloody Valentine, Sonic Youth and The Lemonheads in the meantime. 

In a nice change from the current trend to produce albums to the radio-friendly hilt, grungy guitars and distorted vocals give the whole thing a nice Lo-Fi feel, but the melodies that are good enough to float to the surface. The acoustic guitars are dusted off too for some Teenage Fanclub-esque lighter moments (not befitting of their unappealing name) and the saccharine bluster of single ‘Georgia’recallscontemporaries The Pains of Being Pure at Heart.

Lyrically, it’s so sixth-form it could make Tim Wheeler from Ash blush, but the lack of pretence is quite endearing at times. Such charming naivety doesn’t make lines like "I tried to make it through the wall / You can see me if your tall" or "You could be my destiny" any easier to swallow mind.

This is a record where influences are worn fully on sleeves, like the battered Converses that surely adorn their feet. But even if it does makes for a who’s who of the early 90s at times, it’s still a more than decent listen. Ultimately Yuck is the sound of a band searching for its own identity, like a badger rustling through a dustbin for some out-of-date milk. But it’s a promising start no less, and they could yet be a big hit on the cider stained dance-floors for years to come. 

7/10

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Album Review: Bright Eyes - The People's Key

Recorded back in his home state of Nebraska, Conor Oberst has hinted that this is to be his last album under the Bright Eyes moniker, and at only ten tracks long, ‘The People’s Key’ is, short, sharp and straight to the point, but certainly has an air of reflection about it.

Abandoning the country-folk feel of previous records, the acoustic guitars, strings and peddle-steels have been replaced with chugging guitars, keyboards and synths, to create an indie-pop sound, with more conventional choruses and tunes that shimmer.

Opening with the universal ponderings of a deranged preacher (a spoken-word element that runs throughout the album) the meandering ‘Firewall’, is followed by lead single ‘Shell Games’ which ups the pace with it’s jaunty rhythms and tune that’ll be lodged in your head for weeks. “Distorted sounds on oscilloscopes, distorted facts I could never cope, my private life is an inside joke, no one will explain it to me” Oberst laments.

 Elsewhere, highlights include the creepy waltz ‘Approximate Sunlight’, ‘Triple Spiral’ - a guitar-stomper reminiscent of Guided by Voices, and ‘Ladder Song’, a nicely understated piano ballad. Before ‘One for You, One for Me’ wraps up the album with stuttering grace, and more spoken word tomfoolery - this time deliberating idea of mercy.    

Lyrically, Oberst sounds older and wiser than before, as he covers his favourite subjects – himself, relationships, loneliness and isolation. But also now touches on the mystic, apocalyptic, religious, and the idea of mortality. Ultimately, for all the evocative imagery, he fails to articulate much at all though. But there are still enough unique gems here to reaffirm him as one of the songwriters of his generation. For example “Walking through the land of tomorrow, martian trinkets, plastic apollos, in the sunshine I try to act normal. My veins are full of flat cherry-cola, slept on a bench by the rollercoaster” he warbles on ‘Firewall’. 

As an album, 'The People's Key' isn't quite as consistently seminal as earlier efforts 'Lifted...' or 'I'm Wide Awake It's Morning', but after the so-so 'Cassadaga' it's not only a change of direction, but a return to form. Having created an album so warm and accessible, it is a real shame if it is to be their last.  

8/10

[wutv]

Album Review: Cold War Kids - Mine is Yours

In the two and half years since their last album ‘Loyalty to Loyalty’, Cold War Kids have seemingly cleaned up their act. Bursting onto the scene with the ubiquitous single ‘Hang Me Up to Dry’ back in 2006, the California-quartet were a compelling, caged-animal of a band. Their ragged, bluesy-indie, certainly wasn’t short on impact. Third long-player ‘Mine is Yours’ however, is a much more considered affair.    

Produced by Jacquire King - whose previous credits include Modest Mouse, Tom Waits and most tellingly, the last two Kings of Leon albums - ‘Mine is Yours’ is much bigger and bolder than their previous efforts. In the same way Rilo Kiley did with ‘Under the Blacklight’, all the grit and clutter is gone, replaced with shimmering guitars, more conventional percussion and plentiful harmonies. But while the added shine makes for a less abrasive listen, it comes at the cost of some of the charm that made them so good in the first place.   

Singer Nathan Willett’s distinctive vocals are as soulful as ever, and remain one of the band’s real strong points. But are now also drenched in stadium-sized reverb, as if he’s swapped the bottle of bourbon on the piano for a glass of fine wine.

Eponymous opener, ‘Mine is Yours’ is followed by barnstorming lead single ‘Louder than Ever’. Clocking in at under-three minutes, it’s a real cracker. ‘Royal Blue’ and ‘Out of the Wilderness’ are as good as anything they’ve ever done, elsewhere 'Sensitive Kid', built on beats and spliced piano samples, is a soaring gem. But the album seems to trail off in the second half, as if they didn’t quite have the songs to see their dreamt of transition to arena rockers through. 

Lyrically, the familiar themes of bruised relationships and broken promises run throughout, but gone are the storytelling elements usually synonymous with Willett, instead, it’s all much more personal and insular. At it’s best it works, but at times it relies too heavily on clichés and trite metaphors (rising water, being run over by bulldozers, skipping charades for example) and with his voice pushed right to forefront there really is no hiding place.

Ultimately, it’s a more enjoyable listen than ‘Loyalty to Loyalty’, but doesn’t always hit the heights of debut ‘Robbers and Cowards’ either. With ‘Mine is Yours’ the band said that they wanted to make a "richer and classier" record than previously, something they’ve definitely achieved, unfortunately it may alienate as many original fans, as it does gain them new ones.                                                                                        7/10