New Band Spotlight

Dead Pretties

Dead Pretties are a London a three piece made up of Jacob Slater, Oscar Browne and Ben Firth. 

Social Experiment

There haven’t been many better debut singles in recent times. It’s a wry English take on Nirvana and The Strokes, and Jacob Slater’s vocals are outstanding. Despite the big riffs, it is Slater’s vocal hook on the chorus “all the girls and the boys / went to parties in disguise” is so contagious you’ll need an ambulance.


This tale of self-destruction is pure unadulterated rock music. It screams uncompromising! Better still, it has enough melody and snarl to unite rock n rollers and punks.


Sick of media outlets employing people to be obnoxious and vile to garner reaction and not further debate, Dead Pretties have drawn a battle line, it’s obvious what side to be on.

Slater’s vocals star again! They flit between Craig Nicholls (The Vines) and Johnny Cooke (Dogs) and deliver a powerhouse of smoky disdain. Coupled with the psyche wig out and you have a bonafide anthem.

The Cult Collective

Hailing from Coventry and Birmingham, The Cult Collective are a three piece band consisting of Jake Goodman (vox & guitar), Dale Medlicott (bass), and Ben Gibbs (drums).

The Story of Adelaide

Big character storytelling has always been strong point for British Bands since The Kinks, and Story of Adelaide follows in this fine tradition. Adelaide, a whirlwind personality careering through sexual conquests and drugs, you’d think would be portrayed negatively. However, Goodman’s guitars channel Oasis’ ‘Columbia’ meets The Strokes debut album to conjure enormous affection for the heroine.

Speed Dial

Goodman’s vocals are yet again key to their success here. While the guitars fire like sirens from The Strokes and latterly, BRMC, Goodman’s sense of innocence cuts through the aggression. In turn, it gives a great balance between the immediacy of punk and the swirling rock n roll riffs.

Seeking Thrills

Perhaps, had Oasis not been coked of their tits during ‘Be Here Now’, this would have been the result. The big operatic sounds of ‘All Around the World’ are in full swing but crucially, they are embedded with menace. The throbbing bass, eerie choir like backing vocals stagger like a drunk towards a gloriously deranged solo.