Philly punks Nothing are back from the brink with a new record that draws on some really, really bad times.
London Kentish Town Forum
The magic's still there, and new songs like 'Postcards' are welcomed as feverishly as 'Larry'...
Then again, it's easy to forget that Bill Janowitz's prairie-wide yearnings and single white male angst preceded the frat-pack Americana of Hootie and Deep Blue Something. Yet now, despite a back catalogue of alluring quality, Buffalo Tom find themselves going nowhere leisurely, while appealing to an audience probably more at home, um, at home.
A point not lost on the band, who opt for a greatest hits set drawing heavily from their classic 'Let Me Come Over' album, a record that articulated cheesy sentiments like hope and love on 'Taillights Fade' and 'Velvet Roof' when all around was grunge ugly. That they never capitalised on its durable success wasn't for want of trying; everyone else had moved on. The magic's still there, and new songs like 'Postcards' are welcomed as feverishly as 'Larry' and, shucks, their first ever single 'Sunflower Suit' - brittle things with big-hearted choruses, animated by Bill's bruised Bryan Adams-isms.
If they were emerging today, they would be championed on Chris Evans FM and lauded for their passion and commitment to 'real' music. Times change, though, and now some say they're better than Del Amitri. But mainly, they're just better.
The Strokes dabble with sounds from throughout their career on a satisfying return
Once the thrill of the cast and visuals wears off, this follow-up to Tim Burton’s Alice In Wonderland is a drag
George Clooney and Julia Roberts bounce off each other like pros in this amusing take on fat cat greed
The hooks are plentiful and the energy’s palpable, but the Bottlemen still don’t have a ‘Wonderwall’