At least two things have been unexpected for Gomez; their name and their success.

Their first gig, in 1996, saw the lads leave a sign reading ‘Gomez’ outside the venue to direct their friend, who went by the name, to the show. This led to the audience believing it to be the band’s name, a moniker that stuck. A short while after that, the quintet recorded a demo in Southport, an area that most of them could still call home, with their families still living there. With the help of Virgin-owned Hut Records, this tape evolved into their debut album, Bring It On, which instantly catapulted the band onto the stages of major festivals and earned them the 1998 Mercury Music Prize, over the likes of Robbie Williams – the UK’s most successful solo artist. It went triple platinum, selling over one million copies, a notion that vocalist, guitarist and keyboardist Tom Gray incredulously calls ‘ridiculous’. Thirteen years, five full-length releases and no replacement members later, they prepare to release Whatever’s On Your Mind.

‘People always remark at how well we did at the start and say that nothing compares to our first album,’ explains Tom, ‘But I think if people actually compare our early and recent work, they’d have a very different view of it. I don’t think it’s a question of our music being as strong, but a question of whether or not people are interested anymore.’
Their music is hard to define; sitting somewhere between indie rock sensibilities and raw blues recklessness, Gomez have always been resilient in their post-grunge innovation.
‘I certainly feel like we’ve never really deviated from experimentation.’ says Tom of this, as though speaking in oxymorons.

The band spent three weeks recording the new album in Haunted Hollow Studios in Virginia, then tied up loose ends at their own homes. Living far apart, sending songs to each other has become routine for Gomez over the last five years, but a technique that Tom reckons they have perfected for Whatever’s On Your Mind. The fact that ideas find their way to the music from different parts of the world sheds some light on the eclectic feel to the band’s records.
‘It took about a month to put together.’ reveals Tom of the new album. ‘A big factor was that we had the songs completely arranged before going into the studio, so we didn’t waste any time or money. With the last record [2009’s A New Tide], we sat around the studio scratching our arses a lot.’
And why the title?
‘We want people to get over whatever is getting them down. It’s upbeat; we want to make the listener happy and put a spring in their step.’
It would be difficult to argue that they will not succeed in this mission. From the chilled refrains of the title track (‘Please hold onto your heart of gold/While you struggle against the cold’) to the snide bounce of Options, the newest offering sounds set to be a life-affirming smorgasbord of tumultuous instrumentation and tales of space, both inner and outer. The positive qualities of the songs may be a result of the band getting along famously during the recording sessions.
‘Everyone was getting on with each other and being nice, which, in a way, made it the easiest record we’ve ever made in terms of creative input.’
Is getting on with each other rare for Gomez?
‘Well, for it to last from start to finish while recording an album is quite rare for any band!’’ he laughs.

When it comes to bands (whether they get on with each other or not), many would say that we live in a time where, due to the rise of the Internet, only the most compromising and accessible of artists will get the attention and support of the fatcats and bigwigs, leaving the rest to die out in the depths of the underground. Some would say that this has given birth to a new era of independent music where the unsigned scene is more tightly united than ever. Tom would probably agree with the latter.
‘People are lucky now; when we started making music, there weren’t a lot of bands doing interesting things with song form and sound, whereas now we’re kind of in a golden age of exciting, interesting music, whether it’s the retro idea like Fleet Foxes and Grizzly Bear, or the vibe of Caribou.’
Do these exciting new bands spur Gomez on?
‘There are definitely bands around that get me excited, but I don’t question whether or not I need their inspiration to make records. I make music as a compulsion.’ he states firmly.
And with this, he confirms that Gomez, like their varying music, are in a limbo between commercial success and integrity-fuelled independence. Whether Whatever’s On Your Mind lives up to their debut is yet to be seen, but it’s evident that, for the band, this is neither here nor there.
‘We try new things. That’s what Gomez have always been about.’

AC/DC – ‘Black Ice’
(179 words)
The most common stocking-filler for any rock fan this Christmas was undoubtedly ‘Black Ice’, the fifteenth studio album by Scoto-Australian legends AC/DC. With a completely sold-out European tour on the horizon (every ticket for a date at Glasgow’s Hampden Park being gone within an hour) and countless features in magazines, anticipation of the band’s comeback is bordering on hysterical. However, this is before one takes into account the actual quality of the album – is it worthy of such attention? The answer is yes, and no. Tracks such as lead single ‘Rock ‘N’ Roll Train’ and funk rock number ‘Money Made’ are destined to be immortalised in AC/DC’s catalogue of hits, but much of the album is typical AC/DC cannon fodder which can be a chore to listen to in longer listening sessions. It is, however, just that – typical AC/DC. Thirteen-minute epic ballads cannot be expected from this band at this stage in their career, and that the Aussies are still capable of producing their trademark fiery sound after thirty-five years is reason enough to celebrate their return.

Alestorm – ‘Captain Morgan’s Revenge’
(195 words)
Scotland has been well-noted for its continuous musical exports, from the Bay City Rollers to Franz Ferdinand, but our latest offering comes in the form of something a little bit different. Hailing from Perth are Alestorm, a four-piece who play a combination of Scottish folk melodies and heavy metal, conveniently dubbed Scottish Pirate Metal. The ten tracks on this debut album (available now) cover a range of themes all associated with the pirate life – mainly treasure – through an epic, grandiose sound that one wouldn’t think could possibly be made by four young Scotsmen. The level of musicianship is stunning, the instrumental duels between guitarist Gavin Harper and keyboard player Christopher Bowes being particularly impressive, not to mention the rich grooves present courtesy of bassist Dani Evans and thundering drumwork of sessionist Migo Wagner. It’s certainly something different, and love it, hate it or laugh at it, it’s certainly entertaining and a breath of fresh air from the recent wave of indie bands coming from the country. Tours with established acts and slots on many international festivals should ensure Alestorm keep Scotland on the map in terms of musical produce for the foreseeable future.

Gallows – ‘Staring At The Rude Bois’
(119 words)
In a world of young bands readily willing to bend over backwards for greedy record label executives, as well as popular over-indulgent musical groups taking themselves far too seriously, the soul purpose of music is easily overlooked: entertainment. This is not the case with fast-rising stars Gallows, an uncompromising punk rock quintet from Hemel Hempstead. Originally released in 1980 by The Ruts, this cover sees the traditional frenzied guitar riffs and pounding drums of punk meet the spit of singer Frank Carter, who could give John Lydon a run for his money. The band’s evident passion, sing-along hooks and guest appearance from London rap artist Lethal Bizzle will ensure the single fares well upon its release on November 19th.

Guns N’ Roses – ‘Chinese Democracy’
(218 words)
Fifteen years. It took fifteen years, but it finally happened. Guns N’ Roses’ ‘Chinese Democracy’, the self-proclaimed ‘most anticipated album ever’, hit the shelves at the end of last year. Lead singer Axl Rose – the only remaining original member – had faced criticism for quite some time due to the inexplicable amount of time it took for him to make the record, emphasized by the fact his ex-bandmates (who include bassist Duff McKagan and iconic top hat-sporting guitarist Slash) had made their own solo efforts and two entire full-length releases with their new group Velvet Revolver during the period. Sadly, it cannot be said that it was definitely worth the wait. While the album inarguably has its moments, the groove metal stomp of ‘Shackler’s Revenge’ being a particular highlight, the album all too frequently plods along, the inevitably over-produced tracks often sounding too diluted to hold attention. The whole thing is helplessly overshadowed by the fact it took from 1993 till now to make, while countless albums by Guns N’ Roses’ peers have earned more admiration and appreciation since then. Whether the album will stand the test of time and rekindle fans’ interest, or be the final nail in the coffin of a band that many have already given up on, is for the future to tell.

Iron Maiden – ‘Somewhere Back In Time’
(158 words)
Few bands can stay together for over thirty years without ever stopping, but even fewer can do so while remaining an inspiration to countless others for the whole of their professional career. One such band are British rock legends Iron Maiden, and this new release (available now) highlights the best material from their ‘golden era’ of 1980-1989. From the spine-tingling opening of Churchill’s speech and ‘Aces High’, the album is a tour de force of the songs that defined the band’s career, including live anthem ‘Run To The Hills’ and the seminal ‘The Number Of The Beast’, as well as live renditions of more obscure tracks such as ‘Phantom Of The Opera’ and ‘Wrathchild’. With rumours of the band’s metaphorical train slowly coming to a halt, this collection is a fitting tribute to arguably the world’s best heavy metal band, and will serve as a reminder of their timeless contribution to music for a long time to come.

Mötley Crüe – Saints Of Los Angeles
(206 words)
Fame is said to have its downsides, and there are few bands whose careers support this idea as much as those of the four individuals who make up Mötley Crüe. Their 27-year career has seen Vince Neil, Mick Mars, Nikki Sixx and Tommy Lee endure long-term addiction, prison sentences, troubled relationships with family and friends, and even death. Although the fearsome four are arguably known more for their substance abuse than their musical substance, they have overcome the odds and unleashed ‘Saints Of Los Angeles’ – their ninth studio album – upon the world. Reverting back to the melodic, accessible sound of their classic ‘Dr. Feelgood’ album but incorporating a more dangerous heavy metal edge, the band recall stories of their rise and fall through aptly named tracks such as ‘Chicks = Trouble’, ‘The Animal In Me’ and ‘Face Down In The Dirt’, all of which feature instantly memorable hooks and the Crüe’s trademark sassy lyrics. Glam metal is often – and probably always will be – accused of superficiality and smirked at for its attempted audacity, but there is no denying that here, Mötley Crüe have produced a heartfelt album with more integrity than many current popular bands half their age could ever hope to.

The Surrogate Pink Floyd Show
Clydebank Town Hall, December 2007
(224 words)
One could be forgiven for thinking that Clydebank had been paid a visit by rock legends Pink Floyd after witnessing the performance in the town hall on the first of the month. In actual fact it was a Glasgow-based tribute act who go by the name of The Surrogate Pink Floyd Show, and who stop at nothing to recreate the legendary live spectacle of their heroes. Strobe lights flash and dry ice fills the stage as the band power through Floyd classics such as ‘Money’, ‘Wish You Were Here’, ‘Shine On You Crazy Diamond’ (dedicated to the late Syd Barrett) and of course, ‘Another Brick In The Wall’. Lead singer Jer emulates David Gilmour’s vocals extremely well, while his bandmates prove themselves to be exceptional musicians, in particular guitarist Joe who flawlessly performs the guitar pieces of Gimour and Waters note-for-note. Each song is met with tremendous applause from the relatively small audience, which the band feed off of; ‘Are all Clydebank people this nice?’ they ask, before launching into songs from Floyd’s ‘Dark Side of the Moon’ album, also suggesting that everyone buys two copies of the Post when they are featured. The future of the real Pink Floyd is uncertain at the moment, but while tributes as authentic as The Surrogate Pink Floyd Show are around, little is left to be desired.