Reviews
in soundbite form:
some print and assorted other bits:
A carousel of quotes:
"the stuff of magic – or is it sonic alchemy? With a measured pace, a sense of spaciousness and Crowley’s unique vocals, we arrive at a sound recalling a more chilled-out Jefferson Airplane. Taking into consideration all three singles previewed to date, it’s clear that the sonic kaleidoscope presented on The Speed of Sound’s new album is worth the wait – a musical compass in a direction we should all explore"
"It is fast, it is angry, and it will be cherished by serious music fans"
"if you like The Byrds, Blondie or Television, you just might love this band"
"Bo Diddley boogie, Velvet Underground swagger, and 60s melodious beat – and that’s just the first three cuts. Straightforward poprock efficiency like a punked-up Monkees, I love the multiple guitar hooks as well as the spot-on lyrical sentiment"
"an otherwordly, romantic and nostalgic, state-of-the-art indie-rock song...a strange warmth, a beautiful melancholy, a rare grace, which conquer the listener’s psyche"
"The music bursts with experimentation whilst retaining hooks and melodic sensibility, plus the sharp barbed wit, lyrical depth and all-pervading sense of joy that form the irrepressible, uplifting hallmarks of this band."
“its punk inclinations embroiled in indie pop knavery, a cosmically lit but earthily connected passage of global observation proved the eclectic prowess and strength of the band’s sound and imagination, stretching the fascination and creative character of the release, another striking outing with The Speed Of Sound”
Another carousel of quotes:
"A 3-record set available only in physical form? Man, it’s like the seventies all over again. But before you run off to check to see if your purple, crushed velvet, loon pants still fit, let me stop you there. For now, at least, we are faced only with one album, namely Minerva, the first third of the deluxe box set to follow (which will be joined by Victory and Bounty (bonus points for those who have made the connection.) The band in question is Manchester’s The Speed of Sound so the music leans more towards pop-infused sophistication and punky energy than anything proggy or paisley patterned. And if I have suggested that the music is anything but the product of the here-and-now, then I must apologize.
And so it is that across fourteen tracks, The Speed of Sound works its eclectic magic. “The West Wind” is a Hendrix-vocal drawl leading a punk-blues groove whilst a horn section performs a sonic, shamanic ritual in the near-distance and “SS-100-X” is Lou Reed gone folk. “The Harvest” is the sort of song that Nick Cave might have come up with if he worked as chief troubadour at the court of Henry V, whilst “Bodysnatchers” tips its hat to the likes of Elvis…make that Costello rather than Presley. And if “Clickbait” is the sort of sound that punk should have been about had it been less sneering and aloof and taken a leaf out of the Pop Pickers Playbook, then “So Faux” is just…odd. And I mean that in the very best of ways.
Although digital versions of the three albums that will make up the box set will be available down the line, this is a physical-only release for now. This release coincides with the band’s 35th anniversary, but more than that, the songs, based on Minerva at least, are going to be some of the most fun and frantic, optimistic and lyrical, deft and dexterous songs you have heard in a while. Any balanced, respectable and discerning music fan worth their salt will want to add these to their physical record collection. Music fans like you!"
"Born in the late 80s, The Speed Of Sound are celebrating their 35th Anniversary with not one but THREE albums - 'Minerva', 'Victory' and 'Bounty' - under the banner 'A Cornucopia'. Just as they released their previous album "Museum Of Tomorrow" chief singer, songwriter and guitarist John Armstrong had already begun planning the band's next album when Covid kicked in. providing much more time to write. Thirty Eight songs later, the results see the light of day on this collection which, unlike some epic albums maintains the listeners interest throughout. This could be in part due to Armstrong sharing the vocal duties with co-singer/guitarist Ann-Marie Crowley, alighting on the influences of Floyd, the Velvets and The Only Ones during this long strange trip."
"always with a keen sense of the melodic in their experimentation. The new single 'The Great Acceleration' is reminiscent of R.E.M. at their height with its twisting guitar riff and syncopated drums all leading to a very ear-wormy chorus"
"With visions of textbook illustrations like dinosaurs cavorting with humans using binoculars, marching armies, and war slogans like “Make Do and Mend,” the 'Impossible Past' video supports the lyrics, which point to how history is rewritten through the ages. Depending on the agenda, propaganda reinforces through the teaching of youth through textbooks–and who is left to argue to facts? Winners become losers, and atrocities are soft-pedaled. We’ve seen it all before. And the Speed of Sound are not afraid to be bitingly critical through catchy melodies and choruses. They are probably my favorite “protest band”–and they do it whilst whistling a happy tune."
"...a post-punk, new wave and prog-rock band from Manchester, whose individualistic, unique and distinctive sound, reworks the rule book of DIY punk. A force of nature whose music evokes a sense of spontaneity, improvised creativity that is ever evolving, expanding and mutating to create original and compelling music. With the duality of vocals, The Speed Of Sound fuel the fires of authenticity and raw energy that stays true to themselves, that adds a dose of noncomformity..."
"Inspired by the timeless creations of Charlotte Bronte and a true-life story from her life in the 1850s, Manchester’s The Speed Of Sound bring Charlotte the song. The music begins with sound effects, we sit close and listen. Drums then begin with a tribal feel as tom-toms bash a rhythmic dirge. A vocal begins to snake over the beats, melody without words begins to draw in the mists as the music rises to meet the pattern. Another voice adds yet more momentum to the flux as guitars begin to fall into place. Then, a burst of gain and drums unveils a powerful vibrancy that pushes everything forward. A gloomy and ghostly atmosphere builds within the track, odd harmonies and sombre elocution reveal tentative sensations in the river of sound. A smash of chorus once more brings a frantic moment before more mysterious and ethereal vibes continue the build. Charlotte ends on an uplifting bash of dream and rock n roll that spirals with ever-moving vapours of a cherished history."
“...evocatively firm in its individuality the double A-sided 12" adventure brings new depths and provocative shades to tracks originally found within the band’s widely acclaimed 2021 album Museum of Tomorrow, the new record is a celebration of the full-length’s anniversary but equally a venture into deeper and alternative realms. ... The Speed Of Sound has forged a sound which is keenly varied in its character, voice and imagination as proven impressively within Museum Of Tomorrow. It is music and a creative prowess which cannot be firmly or truly tagged... this new record brings forth a fresh aspect, dilemma and shadows emerge yet there is a joyous intimation, a sense of an alternative and emotively darker menacing at the heart of its haunting and transiently shadowed being..."
"It has been roughly a year since brazen & quirky Manchester alternative power-pop collective The Speed Of Sound released their latest & perhaps greatest album ‘Museum Of Tomorrow’ & already now they are back with two fresh tracks in the digital extended single ‘Virtual Reality 123 / Charlotte 12″ Version‘. Modelled on the traditional 12” single – only digital…. After all, we are dealing with virtual reality here. Fans of Lene Lovich, Manic Street Preachers, Pylon, The B-52s, Blondie, Throwing Muses, Television should take note here. However, these two tracks may not be as straightforward as you might think before listening straight through. It would be fair to call this music ‘art rock’ due to the fact that it reflects a challenging or avant-garde approach to rock. More so than the tracks featured on their latest album, for instance, these tracks lean more towards what we can call modernist or experimental"
“A double A-side? Whatever next? It might not fit with the modern modus operandi but it means the world to me. 'Virtual Reality 123' comes first, it doesn’t feel like an obvious single, at least not to begin with. Again, a touch of subversion that gets my approval, I’ll give a thumbs up to their lifting of two fingers to pop song convention. The song proper then coalesces out of dramatic soundscapes, cavernous & doom-laden musical troughs, & thunderous sonic punctuation. And then, something more conventional springs like Odysseus from his Wooden Horse, musical geeks bearing gifts perhaps, & what results is a subdued but fascinating song. For my money, “Charlotte” is the real gem here, taking the band’s more usual jauntiness & jangle & seemingly running it through a Bauhausian filter. It rumbles on relentless & gothic urges, is dark & delicious & occasionlly explodes in salvos of spiraling guitars & shimmering sonics before dropping back into nothing but beguiling vocals.”
“Despite the pointed social commentary, The Speed Of Sound are not - as you might expect - content to plough the pathos misrerabilist proselytising. Museum Of Tomorrow employs a dynamic approach with a brighter, elated series of compositions that suggests something that falls between Jefferson Airplane and The Byrds. Museum Of Tomorrow is a smartly realised collection of songs that also offer up some smartly observed commentary on modern culture. It also suggests that The Speed Of Sound are an outfit that should have enjoyed a much higher profile over the past three decades.”
Another quote carousel:
“Museum Of Tomorrow's dystopian dreamscape echoes concept albums of the early 70's. Such beasts have certainly been missed; the sleeve, the sound, the feel and the bulbous beat which punches through a futuristic Neverland in which the listener is invited to wander freely. It's the product of Speed Of Sound main man John Armstrong, his fevered muse delivering this illuminating theatrical blast of an album where Jeff Lynn might meet The Ramones. As unlikely as that may sound, this does make for a surprisingly entertaining trip through a cityscape that could be the band's native Manchester unfolding, as it is into the nightmare of today's "Manctopia". Ann-Marie Cowley's haunting vocals act as a welcome tour guide”
“The spirit of the English quintet is neo-futureist-retro, an air that has the same ingenuity as the first rock'n'roll and the nihilistic nature of punk. Taking in the mythical CBGB, the pop-psych geometries of Television, with surf/rockabilly irreverence and the perverse side of power-pop. Beat/hippie lightness worthy of Buzzcocks , punk-pop thrills to XTC, crooked West Coast citations to Jonathan Richman and jangle-pop, future pop melodic thrust with lively twist'n'roll plus new wave hints. All complete a puzzle that reveals new surprises with every listen.”
“a characteristically cynical, dystopic, colorfully lyrical mix of jangly psychedelic pop tunes. deadpan sense of humor and shiny melodies. Often concealing a much more troubled and insightful worldview. Lots of levels at work here: this is definitely a record for our time. Gorgeously chiming, dissociatively wary. If smart lyricism and bright tunesmithing vein is your thing, this is your jam.”
“There is a lovely juxtaposition of “the then and the now” going on here, both in sound and message. Songs such as the splendid opening salvo, Tomorrow’s World being a sonic blend of sixties musical innocence and jaunt, 80’s breeze and buoyancy and more modern, cool and clever indie moves. Similarly, the lyrics seem to be a mix of forward-looking 50’s sci-fi schtick and a more serious case of buyer’s remorse as we find ourselves in a modern world very different from the one that we were promised. It is easy to pick up on the reference points; sonically XTC, The Buzzcocks, Soft Boys, Squeeze, lyrically a fantastic blend of Manic Street Preachers’ integrity and B52’s party spirit and shot through with threads pulled from 50’s pulp sci-fi, graphic novels, social discussion, satire and musing meaningfully on the nature of promise and progress. It’s a blend of disparate creative threads but woven together into a cohesive and fantastic design as only The Speed of Sound is capable”
“Musically you can hear garage rock/surf mixed with true British punk/psych and all with a DIY edge that says this is proper music and songwriting, not manufactured mainstream dross. It’s thirty-plus years of experience, and now is their time. If this is The Museum Of Tomorrow – then every exhibit is there to be enjoyed. Blood, sweat, and tears have been put into this album, and it shows. The result is a modern classic of independent music that takes you on a trip to both the impossible past and a future that we will see as Tomorrow’s World.”
“The Speed Of Sound's up-tempo, free-flowing and idiosyncratic soundscape create music that marches to the beat of a different drum. They are a band that travels at fast velocity, stomping in the shadows of punk and staggering in the inebriated hour of post-punk. They are an upsurge of energy whose catchy tracks are reminiscent of bands from a progressive era of new wave, proto-punk, neo-psychedelia, post-punk and art-rock. A stream of space-gazing sensibility, whose unhinged energy creates a delirious spin of musical mayhem. It’s a great track, whose spiked riffs skitter and slip down the poppy paths of post-punk and soar towards euphoric heights. Creates a spontaneous relay of vocals, that injects a bit of art-rock anarchy and a fluidity of neo-folk-punk from its visceral veins. Along with the pulsating beats, Opium Eyes invigorates with an influx of sprightly stomps and brimming with a youthful ardour.”
“The release is a blaze of punk/new wave/indie pop contagion with a hunger for broader adventure within its futuristically nurtured retro bred landscape, with a clamorous catchiness continually showing itself as agile and sharp-witted the album left a lingering beckoning which we have yet to resist. The Speed of Sound spins webs of nostalgia and new adventure within a record which like an itch keeps luring attention; a scratch which we suggest you will also welcome.”
“...there are those who could get a bit brooding if they imbibe the literary side that is in the lyrics, meanwhile in the musical aspect they will find the perfect soundtrack for a good party...”
"Released on 17th September 2021, the album is an explosive intermix of retro-cool, zany disorder and contemporary commentary. It’s an album that revisits the neo-folk fog of the 60s and tinkles in the twilight of baroque-rock. It’s also an album whose stream of improvised and mutating sounds captures the Avant-garde rock-jazz experientialism of the late 70s. Along with the pitter-patter of space-synths and razor riffs, “Museum Of Tomorrow” time-travels back to the oeuvre of prog-rock, whilst dusting down the glitter and glam of a bygone age. What sounds like Tom Verlaine in unison with the Au-pairs, vocally the album goes back to spontaneous, idiosyncratic and authentic ethos of D.I.Y Punk. Through the relay of vocals, the album creates a fluidity of feel-good sing-alongs, amongst the raw rumblings and cacophony of chaos. It’s a great album, whose raucous roll of raw riffs and pulsating beats soar, spin and nose-dive in a riotous maelstrom of musical mayhem."
“The Speed Of Sound is one of those rare combos that is to merges into a DIY approach, which is rather rare for a gang that could be stored in the Pop Indie drawer (well rather very underground). She / they practice a Pop Art which owes a lot to Freakbeat, to a certain unadulterated Punk aesthetic / ethic, with a bit of Space Rock in it, Weird Folk and still a lot of more or less identifiable elements because The Speed Of Sound puts no limits and goes far above all stylistic barriers to create only songs that belong only to them !!! The atypical rhythms but which never sink into anything (some even define them as a 21st century Beat Underground group), the delicate playing of guitars and their special sound, the alternation / complementarity / duels of female voices and male voices, unexpected melodies and the occasional addition of external elements help to make this album an exciting audio experience that will satisfy true music fanatics !!!”
Another quotes carousel:
“Time has not stood still for this band. The clear drumming on the cymbals by John Broadhurst is of a subtlety no punk rock band ever commanded and the same goes for the keyboard playing by Henry Armstrong. Make no mistake, what comes first on Museum Of Tomorrow is the quality of the band's songs themselves. They are full of energy, the singing between Armstrong and Crowley is great. Museum Of Tomorrow isn't like a great, long lost album from 1980. For that the sound is too good and the quality of the players too high. This isn't a punk outfit having learned to play a guitar the day before yesterday. The Speed of Sound knows exactly how it wants to sound and has the songs to stand out. Most of all it isn't an album that is filled with the sound of doom 1980 bands were so good at - and for me totally uninteresting for the most part. The band has the joy of playing and the skills to bring that joy across. A double winner.”
“A slice of sprightly psych clocking in at under two minutes, ‘Opium Eyes’ is the second single to be lifted from the band’s new album Museum Of Tomorrow, their fifth, which we described as “unique and otherworldly”.
“comes directly from a rainy Mancunian day in the late 1980s (the foundation dates back to 1989) and with this premise, it is not difficult to imagine the type of musical proposal offered by these rock veterans. But once the rain has stopped and the raincoats have been put away, the injection of a unique sound, the result of a strange marriage between the New Wave and a mixture that sprays Sixties atmospheres from every pore, reaches us. The combination, as strange as it is functional, has its references in the Stranglers and the Jefferson Airplane. Yet this is reality and the result is a fresh sound that distances itself from everything that was in vogue in the 20s of the 21st century. In this The Museum of Tomorrow, we are amazed. They have never remained passive spectators of the musical show, but have introduced into the sound what is necessary for the creation of their personal message, with most successful results in the musical passion called Speed Of Sound.”
"two sets of seamless song suites each take up one side of Museum Of Tomorrow, a retro-futuristic concept album, bursting at the seams with hooks, ace melodies, and lyrical wizardry. It is a soundtrack for a dystopian movie that tries to chase away the darkness with kaleidoscopic gusto, both in pastel and Technicolor. John Armstrong, the band's songwriter, has found a way to set the post-apocalyptic imagery of writers like John Wyndham to music. The dreams of a better future have become nightmares, but somewhere hope is still on display, waiting to be reappraised and rekindled."
“Cooly novel and damn addictive. The Museum Of Tomorrow is a brilliantly executed and unique long player, which constantly surprised and delighted this listener. On it, I felt taken on a trip to a world much like ours, but seen through a broken kaleidoscope. The Speed Of Sound map out both very pretty paths and strange thoroughfares, a musical psychogeography if you like, but they always remain very accessible. They never lose sight of a good tune, even when they are in the process of delivering a musical curve ball. A world of invention and mystery is wrapped up among the 13 beguiling melodies that make up the album. It is a triumph of industry, imagination and talent and really one not to miss out on.”
"...post punk psych-tinged folk cauldron calamity of la la choruses and pure pop. Pure pop that has been bottled shaken and opened with great gusto at an all-night party covering the party poppers in a thick sweetly tasting potion of seduction, melancholy and want... An excellent album."
“This album is great concept in which each song represents an exhibit in a future museum of sound and innovation. It is an outstanding set of songs and as a wonderful body of work. I found it up-lifting. A wonderful mix of psychedelia and rock opera. Jangling guitars, thumping bass and solid drumming. Ann-Marie Crowley’s vocals are soaring and confident and when mixed with John’s distinctive singing the listener is offered a rich sound. Above all the speed of sound have created melodic, catchy songs that will fare well in the museum of all our tomorrows. Buy this album, listen to it in one piece from end to end – then go back and do it again.”
“Musically it revels in a suitable future-retro sound, one that takes in the euphoric energy of The Byrds at their most upbeat and the power-pop poise of XTC, 60’s innocence mixed with a more contemporary sonic wisdom, and puts it all to a jovial Beatle-esque beat, one which conjures up images of Ringo swinging his head around whilst cranking out percussive grooves that were always more than the sum of their parts. A neat slice of era-hopping power pop and a very cogent point.”
...While listening to Museum of Tomorrow - which clocks in as the Speed of Sound’s latest and fifth full-length album - it is easy to imagine yourself gliding through space in a time machine. This 13-track collection centres on science-fiction concepts; where the past meets the future, the future meets the past, the present is questionable, and the line is blurred between fantasy and reality. There is zero fat content on Museum of Tomorrow, as the tunes are trim and tight, sloping towards a zoomy feel that reflects the subject matter. The material on Museum of Tomorrow orbits around big and bubbly rhythms rippling with new-wave reflexes, aided by flashes of ringing psychedelic Byrdsian guitar figures. Every “exhibit” – as the songs are referred to – on Museum of Tomorrow is rife with power-packed pop melodies and harmonious instrumentation, making for a record that has a long-lasting effect..."
“...Tomorrow's World is an allegory regarding the current situation of the world, society and its people, based on the images that, when the current millennium was appreciated as something distant and enigmatic in the minds of the human beings that we were, appeared to be a A time that would have us with occupations of a fantastic kind, when in reality it would seem that we are reaching a dystopian era where humanity faces its end in the face of an invisible threat, of unknown origin, designed to bring out the worst in ourselves." (original is in Spanish)
Another quotes carousel:
“the broken promise of the future set to a jangling melody”
"...the thoughtfulness that goes into The Speed of Sound’s lyrics and music is precious. With an unmistakable sound and, at time, tandem male-female vocals, the band has found a winning formula."
"The Speed Of Sound, an underground quartet in their fourth decade of existence, released a double single on Big Stir Records on the 4th June 2021, unleashing two tracks which display their love for Science-Fiction and the ability to diversify with a Gothic piece of music that displays a more tender side to them than their fans may be used to"
“this is the just kind of wry, pointed pop pearl that has been missing presumed dead in the UK charts for some time. That it all comes wrapped up with an enthralling and beguiling charm is another bonus. The Melancholy Rose sounds a bit like The Modern Lovers, if they were from Manchester and going from there to proceed on towards outer space…”
“acoustic driven, bouncy, and as always, Ann-Marie’ Crowley’s voice shines with upbeat enthusiasm, against the biting sarcasm and sociological references The Speed of Sound is known for”
“has the feel of 60s psychedelic rock and dream pop.”
“After many years together they are still pushing the boundaries, centred where all good songs are – with thoughtful lyrics and catchy melody.”
“...a little like a street glam swaggering Bob Dylan on the mighty fine Keep It Quiet. Glide On By, their snappy second contribution, made me think of Cockney Rebel, which is pretty good going by my reckoning. All of which marks them out as an act to keep a firm eye on.”
“There’s a certain irony in the new release from The Speed of Sound, a band that have been quietly releasing (as in ignored by mainstream radio?) for many years. The irony being that lead track ‘Radio Safe’, a jibe at the dull playlisted banality of commercial radio, is one of the most accessible and catchy records they’ve released. For a band based in the North West of England, there’s always been a touch of US Punk/New Wave about them, especially in the vocal delivery of John Armstrong, which falls somewhere between Joey Ramone and Lou Reed. Despite being acoustically driven, it bursts out the speakers and it's barbs - against not just radio, but the large media organisations that feed them - hit the spot. Cracking stuff.”
“Staying true to their roots, this socially conscious band tackles culture, corporatism, and mainstream media with their two new singles “Radio Safe” and “No Kicks”... great harmonies between Ann-Marie Crowley and Armstrong, as they sing, “This is not radio safe, this is not radio friendly, this is not radio repeat, this is not radio boredom (radio boredom) radio boredom.” What I always love about The Speed of Sound is their biting messages are almost hidden in the catchy tunes, as this toe-tapping melody will keep your ears buzzing. “No Kicks” begins with Crowley’s Debbie-Harry-ish voice describing how she’s stuck in he house, waiting for that someone to call, saying “If you are not here, I can’t get no kicks.” As one listens, the meaning gets deeper, as it appears the person is waiting, being taken for granted, & strung along emotionally. song is catchy and the chorus is lush, with its nod to 80’s New Wave (think B52s).”
Another quotes carousel:
“...they unpacked their gear, carefully lying their guitars to rest before studiously replying to my measured questions. As the set began, they instantly transformed into some kind of weird raging torrent. John Armstrong slashing an arm viciously across his guitar while Ann-Marie Crowley vocals howled as an untamed banshee. I swear that a gaggle of attendees, seasoned punks to man and woman took two steps back in disbelief. In that modest arena, it became one of the most spectacular gigs I had witnessed for decades...”
“...Creating socially conscious music with a 60's Britpop New Wave flare... as always The Speed Of Sound keep it real...”
“The Speed Of Sound have always had something to say, laced with positivity and empowerment. Imagine Debbie Harry & Lou Reed fronting The Who and Television at the same time, marinading experience into an evolving sound for The Now.”
“...combining psychedelic folk-rock with a spiky angularity informed by the post-punk era...”
““There is that feeling of coasting and freefall within the music trapped inside the lyrics. This is that new inner dystopia found in us all.””
“Loureediani: 'mentre i loureediani Speed Of Sound dell'originale Seen it All Before propongono una gradevolissima versione di I See You dei Byrds.' (reviewing Big Stir Records The 5th Wave compilation CD)”
"running with scissors across their sonic landscape, what makes the songs on The Speed Of Sound’s 30th Anniversary collection distinctive is that along with the big, bold, twangy and crackling pop sound, there are also a few surprises…some floating, airy psychedelia adds tension / release to the textures, crackles with attitude and atmosphere and a glorious blast of the loud, chip-on-the-shoulder sneer of Lords of the Garage like The Seeds and The Sonics"
“Combines the aggression of punk with post-punk drama and angularity, balances spooky gothic tendencies with off-centre psych-pop, an inventive slice of dark-edged surreal psychedelia, a snarly blast of 60s-style garage rock. An eclectic band who pull together various forms of alternative music from the post-punk era - spiky angularity, gothic darkness, and the poppier sounds that would evolve into indiepop - whilst having just as much enthusiasm for the psych, mod and garage of the 1960s, and combine these varied influences to form a distinctive sound of their own.”
“Dramatic with a little extra British Invasion “oomph” a la The Yardbirds & The Animals (think 'Monterey'), while still extremely psychedelic...a true melange of many wonders…touches of early Bowie / Mott with a slick Bob Dylan weary sneer added for good measure...a slight feel of unseen menace in the air, supremely atmospheric. Ann Marie Crowley adds an ethereal counterpoint to John Armstrong’s vocals, Moody and intense, yet light and floating at the same time. Is that even possible? Why yes…it is. Just listen”
“Manchester’s The Speed of Sound have been crafting their genre-melting underground alternative sound (New Wave post-punk blood powered by the heartbeat of 60’s influences) for nearly thirty years now, a time-frame which may have seen progression for women but, as they themselves seek to address with this latest release, we have a long way to go. Their new double A-side single “I’m Real/I Don’t Want Your Attention,” has been created to mark the 100th anniversary of suffrage for women, whilst addressing the issues facing women in the modern world. Recorded at the VoltaLab in Rochdale (previously The Cargo, a legendary studio with an impressive post-punk history), the video was filmed in the parlour of Emmeline Pankhurst’s old home, now the Pankhurst Centre (all profits from this release also go to the Pankhurst Centre and Manchester Womens’ Aid. As ever, John Armstrong has also shown that he really knows how to craft an ear-grabbing melody with both of these songs...”
Just one more quotes carousel:
“...The Speed Of Sound have retained their firmly independent ethos, stating that they "exist in spite of the Music Industry, rather than because of it and speak from outside its grasping tentacles". Their latest release is in aid of the Pankhurst Trust, celebrating 100 years since UK women gained the vote, and raising awareness of issues that still have the potential to affect women today. I'm Real is told from the perspective of a woman who has ended up in an unhealthy relationship leaving her stifled and controlled, while I Don't Want your Attentions addresses workplace sexual harassment. The single is limited to 250 hand-numbered copies, with a label design that cleverly combines the mod target with the purple, green and white suffragette sash. I'm Real is spiky 1980's indie pop with a clanging guitar sound and an uncompromising punk attitude. I Don't Want Your Attentions also draws from the punker end of 1980's indie pop, balancing strong melody with forceful noise...”
“The Speed of Sound open with their signature tune “Shut All The Clubs” with its lyrics’ biting attack on gentrification and the authorities’ shameless erosion of subcultural lifestyles, it is a real anthem for the culturally oppressed in this day and age. Lead singer and guitarist John Armstrong’s distinctive vocal delivery and guitar style get the music off to a swinging start, complimented by the infectious bass grooves of bassist Kevin Roache, percussion from co-vocalist Ann-Marie Crowley and drum rhythms from Anthony Edwards, with Armstrong and Crowley swapping vocal duties between songs. Armstrong is a powerful frontman, his modest but lively showmanship and Bryan Ferry-esque vocal style guiding the band smoothly through a set that never becomes dull or repetitive. Their music shows distinctive traces of New York art rock and No Wave, often verging on the experimental and psychedelic while never losing its melody or infectious catchiness.”
“an exciting, energetic style and a strong DIY underground attitude, blending the more angular side of 1980s indie music and post-punk with aspects of psych and garage rock. Shut all the Clubs is spiky post-punk. Maid of the Grey is off-centre psych-pop with a raw, garagey sensibility and a catchy, tuneful chorus - really brilliant stuff. Little Miss Restless is an inventive take on 80s-ish indie pop, bringing in soaring flute which adds a dreamlike atmosphere partway between psychedelia and classical music. Always Seems to Fall is melancholic and tuneful indie pop offset by a raw, metallic guitar sound. Chalk Circle is intense, dark and on-edge, blending elements of post-punk, indie pop and vintage style rock. The Changes is a prime slice of underground rock, balancing spiky abrasiveness with a strong sense of melody. Limited to 350 hand numbered copies, this is a great album from a band I'm keen to hear more from.”
“simply put, the music flows and soaks with delightful effect. And boy does it!” Effortlessly tune-heavy. The songs carry more melodic twists than I have encountered in many years. A band lying so beyond the weakening tentacles of record companies, able to produce quality music and present it as a beautiful artifact without the need to tap into hazardous investment. This is how you do it. A maturity within that seems to seep sweetly beyond he curt snap of musicianly ego. These are Autumnal strolls in Manchester park songs, spiced by that Television or Only Ones drawl. Hype is peeled away. The youthful illusion of stardom is not allowed to feature. There is an element, of the blissful existentialism of ageing. Of moving away from the pulse-beat, of drifting thoughtfully. This is the punk reflective. This is a valuable album for that, and more. Let the songs flow.”
“Everything Changes – LP. This is pretty good value from the Manchester-based quartet comprised of John Armstrong, Ann-Marie Crowley, Kevin Roache and Paul Worthington. In essence, if you buy the vinyl you get a bonus cd which is an albums worth in itself. This is their debut LP and they have made a good job of it. With tracks like ‘Checkpoint Charlie’ and ‘Girl On The Roof’, Speed Of Sound definitely have their own ‘sound’ (if you’ll pardon the pun). It brings to mind a combination of Bob Dylan meets Velvet Undergound influences which is no bad thing. The album is out now on B.E Records.”
“It is hard to find a neat little genre box to put this band into, which is always a good thing. The songs are lead by hooky guitar sounds which are both 60s & post-punk in their sound. John Armstrongs’ vocals have an early Zimmerman edge to them, the lyrics are both rich & complex, & Anne Marie’s vocals add a haunting cinematic feel to the songs. Kevin Roache, bass, & Paul Worthington, drums, provide a sympathetic and driving rhythm section. You’ll find a lot of good things here, & it’s great to hear Anne-Marie taking the lead role especially on the excellent “The Moment Is Now” which has a great pop feel & sounds like something Dusty Springfield would have sung in her pomp. The variety on this album is impressive, with nods to a Californian sound at times, epecially the occasional snippets of Stills/Young guitar breaks. This album has all of the elements of great Manchester pop as well, you will have to invest time in it, as it deserves to be listened to as a whole, Quality”
“ROCK AT NIGHT: I was fortunate to hear the new single which is being released, I do have to say, it is really catchy and has a definite 60s vibe. Please tell me the story behind the song. JA: "There’s a lot of music venues, small to medium sized ones, that are closing down, local town and city councils don’t seem to value them and these important cultural places are being bulldozed to make way for expensive flats and corporate-spaces, offices and gyms and shop chains. A single complaint about noise can cause a venue that’s been there for decades to be closed down. That nearly happened to Night And Day in Manchester. The Star and Garter isn’t actually being knocked down but it’ll be completely inaccessible for three years so will struggle to survive, across two roads from there the Twisted Wheel club has just been knocked down - for the second time. It’s everywhere else too, not just here, this whole thing is vandalism.”
“We have been checking out this video from The Speed Of Sound here in our office this afternoon. Latent shoegazer touches in the sound give it a very determined feel that languishes over the playing in a rather inspired way. Here there is a volume about it all that demands to be taken seriously. It hints at that throughout the way the play cleanly develops and the deeper context of the lyrics imbue it with an undertone that draws upon everything finely.”
“A quite modern folk rock feel with a definite dash of 80's post punk/alt thrown in. Vocally a hint of Lou Reed, Iggy Pop, bit of Jagger. Musically alternates between rock, verging on heavy/psych to alt/punk with some great instrumentation along the way. Will have you singing the chorus whether you want to or not. superbly played. Hammer drums, angsty vocal and jittery guitar, has the feel of losing it in bedsitland. Lyrics are insightful and desperate; a wonderfully gloomy atmosphere 'Joy Division' like!! Solid drumming & shimmering guitars,"
“Have you ever wondered what it would be like to hear a merger between Jimi Hendrix, The Rolling Stones and Lou Reed? Well, wonder no more... The vocals are dark and melancholy – they have an intense quality that makes me stop everything I’m doing and just listen. The music surrounding the words pulls me along like a tide, making me drift away from reality without even feeling that I have an option... The Speed of Sound have a definitive sound for these times.”
