It was evident from Citizen’s debut album Youth that they had an edge. “The Night I Drove Alone” contributed to a thriving music scene predicated on the same raw emotion that it captured, but there was a timelessness to it that felt special. Since then, the staggering musical talent of Citizen has become more and more apparent with each album they have released, and Halcyon Blues is no exception.

“She said her life was like a motorway… dull, grey, and long.” The lyrics of “Like a Motorway,” from Saint Etienne’s February 1994 album Tiger Bay see the titular highway negatively, signifying a life defined by a prolonged drabness.

The only break in the flow comes just before the last song, “Toppling.” There’s a need to tune the guitar, so what – until this point – is an uninterrupted, pell-mell rush through what seems to be seven other songs is briefly halted.

You can tell what a festival believes in by where the crowds crush the hardest. At Latitude, it's in the forest for the up-and-coming acts, the Listening Post for the poetry and the Waterfront Stage for the ballet – as much as the main stages, sometimes more.

FRIDAY 24 JULY, by Guy Oddy

The reappearance of Gloria Mundi’s I, Individual is a surprise. Most of what related to UK punk – however tangentially – over 1977 and 1978 has been reissued, and has often been around the houses multiple times. But, until now, Gloria Mundi have escaped the attention of those recycling this aspect of the past.

I, Individual was Gloria Mundi's first album, originally issued on 7 July 1978. The band were live circuit regulars from late 1976 and split in 1980 after a second, very different, album which came out in October 1979.

The key track gives the album its title. “Where the Fades Meet” opens with swelling strings, which are swiftly underpinned by groovy, shuffling, percussion. The lyrics are carried by a chorale singing of a “fading signal”, “stillness” and “shadows.” It seems to about what lies in the gaps between the perceivable. The melody has a vaguely eastern Mediterranean lilt. Overall, it leans into evoking an exotica-inclined Rotary Connection – the late-Sixties/early Seventies outfit that was a core influence on acid jazz.

The title “Tone Phase 1 for 2 Guitars & 4 Oscillators” is a giveaway, clearly indicating what’s going to be heard once the LP has landed on the record player. And, indeed, the first track on the second side of Eleh’s newly reissued Floating Frequencies / Intuitive Synthesis 1 seamlessly fuses single tones generated by electric guitars and analogue oscillators. However, what’s less apparent from taking in the title is the magnetic power exerted by the track during its translucent progress over ten minutes. Hypnotic.

It is never a great sign when a local authority is forced to comment on a music festival. The opening night of the In The Park series of shows at Newcastle's Exhibition Park forced such a reaction from the city council, after claims of overcrowding to see headliner Lewis Capaldi perform, on a day of sweltering heat. Nothing amiss was found according to the council, and by this night, the final one in the series of shows, there were thankfully no issues to cause concern. 

Reviewing The Clash’s 27 October 1976 appearance at Birmingham’s Barbarella’s, UK music weekly Sounds detected a particular, unique, characteristic of the band. Jonh (sic) Ingham identified “a Clash trick of everything dropping out except for Mick Jones' guitar, dropping back in two bars later behind a thundering crack from Terry Chimes' baseball bat sized drumsticks.”