‘Ghost’ is my favourite, this could easily be a David Gray song. ‘Loneliness’ is a sad acoustic number, sung at the top of his vocal range. Another story of immigration, and a revelation that even hope can be a facade: “I bought the last ticket, and found out it was fake.” Where to from here? So, this is a recalibration of his life, laid out and dressed in the staunch treatment of 60’s Brit pop. You can’t help noticing the nod to McCartney’s trademark descending basslines, which sound just like they’ve been lifted straight of one of the fab-four’s popular platters.In fact, with the ‘Doo Doo’ chorus and Allen’s slightly husky, working class accent you can almost imagine Sir Paul himself playing this one. While the album as a whole may be quite ‘poppy’, the single ‘Won’t Let You Win’ has a real fight song attitude about it. It’s a revelation, of sorts – Allen was recently diagnosed with adult ADHD. He bookends this, literally, with clear references to his own Northern Soul and a potential return to Blighty – should it all go end up – in the last chorus of ‘Get Out Clause’. This is an album that grew on me pretty quickly, being packed with evidence of life experiences – from the poignant, sweet but aching account of the loss of a lover: ‘Joan Don’t Go’ to the spikey, anxious feeling of displacement he creates on ‘Different Shore’. It’s about maturing and the shedding of self-confidence, admitting we aren’t bulletproof, and a loss of youthful swagger. His music reminds us of Oasis, Blur, David Gray and other troubadours of that period. I’m told from the liner notes that ‘it’s an album title that notes an easing up on the wild life, putting one’s larrikin ways to bed, growing up.’ And it’s a bit of a nod back to a time when it was ok to be a ‘bit of a lad’. Given our recent #MeToo environment you would have thought it was best to to avoid any reference to the despicable ‘lad culture’ of the late 1990’s and early 2000’s… but Allen can’t ignore his Brit pop roots or his earlier misdemeanours, made in the name of the cause. Pairing up with Andrew Moreyellow (ART THIEVES) for the first time since DIRTY WATER’s sole EP in 2003 made this project go to the next level.Originally from Lancashire, now based in Auckland, moonlighting carpenter Tim Allen (not the ‘Tool Man’) is a diamond in the rough. He loves a bit of irony, shown in the title of his sophomore album ‘Last Bastion Of A Lad’ – just released last week. Fans of all of LIND’s bands will find something they can enjoy here. Heights and places they wouldn't have gone otherwise. This band nails it on every level and takes the songs to new This is a new take on THE UNLOVED with fresh players making their mark on a set Paul Christian and Steve Neary of FAR FROM FINISHED resurfaced to lend a helping hand. Jeff Morris of THE BRUISERS lends his impeccable lead guitar skills to more than a handful of the songs. Most of these songs were rehearsed a handful of times and then recorded live in studio in one to two takes. New listeners might be interested in the Appetite for Destruction-style feel the band was able to capture.Īs the owner and proprietor of State Line Records, Lind has assembled a bandĬomprised of members of label bands ART THIEVES, DIABLOGATO, MICHAEL KANE & THE MORNING AFTERS and even THE BRUISERS. Existing fans can expect another solid album of catchy punk rock n’ roll songs. Long-time Boston punk institution and DUCKY BOYS front-man, MARK LIND, returns with his first album of new music since 2013 and the first with THE UNLOVED in a decade. The Last Bastion by Mark Lind and the Unloved
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |