Pastel

Manchester five-piece Pastel formed in 2017. They’re made up of cousins Jack Yates (Vocalist) and James Yates (Rhythm guitar) Joe Anderson (Lead guitar) and South Wales lads Rhys Wheeler (Drums) and Liam O’Shea (bass).

Signed to independent label Spirit of Spike Island, they released ‘She Waits For Me’ for in 2020.

Many bands strive for a huge sound, but, too many fall into stadium rock era Oasis. Pastel, however, have walked the tightrope of credibility here with ease. Like The Verve and Ride, there’s layer upon layer of mysticism and psychedelia resounding out. It’s fresh and equally as powerful as the aforementioned greats.

Yates’ vocals are key to its success. More melodic than Tom Meighan and more robust than Van McCann’s, he lends accessibility to this vast soundscape. Without this, the mammoth guitars would be too daunting otherwise

*Image courtesy of Matthew Enyon and Spirit of Spike Island

Sister Psychosis

For anyone missing gigs and worrying about their favourite venues closing, let Sister Psychosis be the reason you join Music Venue Trust in the fight to save them.

Around eighteen months ago, they opened for Rats at The Social in London. Sonically, it was fine. Aesthetically, Amanda May (Singer) and Chops (guitarist) had “it”. There was something mesmeric about their attitude. Without that venue, without Rats and Alan McGee giving them the platform to learn their trade, they would never have reached what they have on their latest single ‘Beside Myself’.

‘Beside Myself’ is released on McGee’s label Creation 23 and details May’s trip to Manchester. Which, led to a backstage encounter with Noel Gallagher. Pulsating riffs and great vocal delivery combine to create this jackhammer of a single.

May’s vocals are so intoxicating that, you’re only ever one misstep away from devil-worshiping them. You’d think this was a cocaine-fuelled joyride rather than, the Chief introducing himself to May.

 *Image courtesy of Sonic PR

Daz Cadwallander

Daz Cadwallander hails from the tiny village of Bolton Upon Dearne in the North West. After performing at Tramlines and supporting the legendary Tom Hingley (Inspiral Carpets) he is back with new single, ‘Dream of Yesterday’.

The simple beauty of Scott Matthews is given a gutsy performance by Cadwallander as this song does exactly what it says in the tin.

Chasing yesterday as a songwriting style is a packed field. However, Cadwallander has carved out a space for his approach. Its direct linear narrative could only come from a young soul. Whereas an over 30 something might ponder various missed opportunities, he has extracted a nagging ache that’ seemingly still within a redemptive stage. As a result, a glimpse of hope lurks that it could all be turned around.

Vocally, he beds in nicely between a young, more angelic Tom Waits on ‘Blue Skies’ and Gerry Cinnamon. There is an innocence to his delivery which is delightfully offset by the evocative maturity of the strings.

‘Dream of Yesterday’. is released on March 1st. Be sure to check back here and check it out! A bright future lies ahead.

Skylights

Skylights are a four-piece from York consisting of vocalist Rob Scarisbrick, guitarist Turnbull Smith, drummer Myles Soley and bassist Jonny Scarisbrick.

Having signed to 42s Records in 2020, they have been on quite the run. Let’s take a look at what they’ve been up to:

(Image courtesy of Barnaby Fairley)

Enemies

Jagz Kooner’s devilment combines with the early looping riffs of Kasabian to create this destructive anthem.

Big resounding riffs, the fury of at their destructive best unite on this anthem.

Prepare your Blakely and preen your gazelles, you and your mates are going on a bender with these colossal riffs soundtracking every pint, every stitch up, and every failed attempt of pulling!

Darkness Falls

A change in approach for the band has harnessed their best work to date. Despite the world outside, it carries so much hope that it’s impossible not to envisage them rising to the top.

It’s a huge beautiful record. The classic Feeder song Grant Nicholas forgot to write. Dear god get this band in a studio with Youth to create more far-reaching soundscapes.

Take Me Somewhere

The day working-class rock ‘n’ roll fails to connect is the day it’s truly all over. Bristling with sex drugs and violence at every turn, this is the sound of youthful exuberance overreaching on a Saturday night.

As dreams of escape are channelled through heartfelt indie-rock, they have created yet another outlet for exhilarating rebellion.

Threads

Manchester has done it again. That humble and beautiful city just keeps producing great bands. Next in line are Threads. The four-piece made up of George Robbins (guitar/vocals), Kane Martin (vocals/bass), Paul Hanley (drums), and Shaun Rigby (guitar).

The EP is available to buy from their Bandcamp page.

In a similar fashion to British Sea Power, there is a pride in the artwork (courtesy of George) that fans can lust over.

Here is our track by track review of their ‘Teletext’ EP released last November via Alphaville Records.

Teletext

 This is five minutes of heart-shattering vitality! The shimmer of Will Seargent’s moonlight guitars hook up with the David Gedge’s relentlessness to give record collectors their new obsession!

Martin has a great ability to channel The Thermals’ Hutch Harris through his distinct Mancunican vocals. It’s a fresh slice of post-punk we didn’t know we craved!

T68

Taking Shame’s ‘The Lick’ and Ought’s ‘Beautiful Blue Sky’ out for a pint, they have nestled in with packs leading exponents of post-punk.

It may not go beyond them but, at such an early stage, you have to admire the ability to match their peers’ bets.

Idiot Savant

The lack of creative fear is heartwarming in this mini punk-opera. The debauched swagger and intelligence of their fellow Mancs Cabbage permeate this irreverent piece.

The switch-up in styles, encapsulates Fontaines, The Fall, and the epic parts of Shame’s debut. Threads are a band showing signs of huge promise.

Bedside Manners

Hailing from Merseyside, Bedside Manners are a raucous five-piece indie-rock outfit.

Championed by Radio X legend John Kennedy, they look set to have a big year in 2021. Let’s check out what they were up to in 2020.

What It Seems

A raucous cacophony of noise. Taking from the melodic venom of The Music’s ‘Welcome to the North’ album and the furore of Foals’ ‘What Wen Down’, they are a sure thing to create havoc on the live circuit when it re-opens.

Emily Breeze

Hailing from Bristol, Emily Breeze is the former frontwoman for Candy Darling. Now flying solo, she has returned from the notorious Rockfield Studios with new rock ‘n’ tales.

The latest was recently featured on Tom Robinson’s impeccable BBC Introducing show on 6Music. We have been checking this out and along with ‘hey Kidz’, also released in 2020.

Confessions of an Ageing Party Girl

Goldfrapp's chic has smoothed the edges of the Mary Chain and New Order on this spectacular single of self-reflection.

Wry and vicious, it’s imagery is something Cave and Dylan would be lauded for conjuring. The protagonist, an anti-hero the world needs to fall in love with, offers a gluttony of FU’s. Desperate, ready to walk away, decides to roll the dice once more. Loses but steals winnings the anyway, truly brilliant songwriting.

Hey Kids

This is a wise fable for rock 'n' roll for every future rock ‘n’ roll generation. An encyclopedia to the look, lifestyle, and spirit. Of course, if you don’t have it, well, you just don’t have it!

Breeze, however, has it! Effortlessly cool and naturally despondent, she imbibes the chaos we all crave in our rock stars.

Melodic and euphoric, this a majestic piece of rebellion!

Lock-In

London 5-piece Lock-In formed early in 2019 and have been catching the eye of the ever since, especially This Feeling and their loyal army of rock ‘n’ roll lovers.

Their intelligent heartfelt tales of being an inbetweener come with integrity they beckon you into their world to dance, sing, and screw. Their human connection is key to their success, let’s see why:

Get Over It

This simple tale of break-up angst and finding one’s self is as old as time but, here, it’s fresh and infectious. A great lead-off single from their upcoming debut EP.

The psyche opening reflects the lethargic soul emerging from the pain with aplomb. However, Lock-In are a recalcitrant bunch and soon saunter to more positive pastures.

They’re not of their level (yet) but, this journey is roaming freely towards Two Door Cinema’s vibrancy and, knocking at the door of Mystery Jet’s pop melodies.

Teenager

Lo-fi bedroom recording collides with a hazy guitar licks and 00s indie-punk to deliver an infectious and menacing jangle.

Form the cult classic bracket of Bromhead Jackets and The Kilians, their youthful longing for escape will strike home to all generations during lockdown. As Benjy Leak sings ‘I wish, we could fly away, to a better place just for the sake of it’, the 18-year-old in all of us will rise. Gung ho trips to the med, shots, fish bowls, kebab sleep repeat for a fortnight is everyone’s dream right now!

This is the carefree anthem that, post-vaccine is going to soundtrack that first mental night out we’re longing for!

Lock-In would like to invite listeners to show support towards mental health awareness charities including CALM (Campaign Against Living Miserably) and Samaritans UK.

Breakup Haircut

I mean, come on, the name alone is enough. We don’t actually need to write anything, do we?

Formed back in 2019, Breakup Haircut are made up of Delphine (guitar), Ishani (guitar/vocals), Ripley (bass/vocals), and Jordan (drums).

In their first year, they released their debut EP 'What Did You Expect? I Got It Off The Internet!’ via Hell Hath No Fury Records. Then, just before Christmas, they signed to Reckless Yes Records (Bitch Hunt, Fightmilk, Mark Morriss).

Let’s see what they have been up to: 

Why Can’t I Be Cool Enough to Move to Berlin?

Their debut single takes the wit and charm of Louise Wener and Sonya Madan to another level. Wry, humble and heartfelt lyrics come at you like a brilliant diary entry to melt the coldest of hearts.

It won’t be long until they play ‘tiny sold-out shows in Berlin’ and beyond!

Mum, I Wanna Be A Greaser

Opening with an incredible PiL bassline, this raucous affair explodes unfurls into a lost Ramones classic. Drawing on the cool dirge of The Strokes and the raw energy Stiff Little Fingers, Breakup Haircut have announced their arrival in style.

The Galahads

Manchester’s The Galahads quietly went about their business in 2020. Putting out a series of singles, each better than the last.

Once you have the vaccine, we order you to thank the NHS, call your family then run in to the street and decree ‘The Galahads are coming!’.

Here’s why:

Turns To Hate

The band’s fourth single was released just before Christmas. The lazy haze of Kurt Vile is given a robust workout alongside some lo-fi soul vocals from Oliver Flynn.

The dose of distortion just niggles at the dreamy guitars creating a powerful tension. The threat of eruption is never far away from this

volatile psychedelic gem that wouldn’t be out of place on the Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968

Sunday Bop

The ambition of Pink Floyd is taken on a trip through the dreamscapes of Real Estate, Ride, and The Byrds on what is, quite frankly, a modern classic. It spirals through space bringing peace amongst the galaxy with its effortlessly cool and enriching psychedelia.

Get your best Laurel Canyon outfits ready as, post lockdown, a great trip lay ahead!

The Ringards

The Ringards are a post-punk four-piece hailing from East Dulwich in South East London. Formed in 2018, they consist of Enzo Salinie (lead vocals), Vinny Baker (lead guitar), Gary Cartmill (bass) and Jo Hornby (drums).

They have a string of art-rock singles to their name to date. Let’s check a couple of tracks out:

Helen Mirren

Their last single pays homage to the national treasure, Helen Mirren. Bombastic Arctic Monkeys riffs are given fresh impetus with their dark Cabbage-esque production and Salinie’s vocal delivery.

Satanic and sardonic, they walk a dark line but, every so often drip feed a hook to entice you in and never let you leave.

Tit Willow

Straying between the murky psyche of The Horrors and the pop playfulness of Pulp, ‘Tit Willow’ is nothing short of a triumph.

Rasping New Order guitars are giving a heavenly vocal cut through and thus, begin to sparkle in the shadow of a ‘Rise’, ‘Still Life’ and ‘F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.’. It lacks the true killer moment to stand shoulder to shoulder with these post-punk giants but, it matches them for the heart!

*Image courtesy of Aggie Cherie

Dexy

South London’s Dexy has digitally released his latest single ‘Drop Your Hand’. Produced by Adrian Hall, it features contributions from Lecero’s Rick Steff and Fightmilk’s Lily Rae.

Ever so slightly withdrawn but still bristling with spritely pop-cum-psyche, it evokes memories of Elliott Smith’s ‘Angeles’ and ‘Somebody I Used Know’.

Tales of letting the past go often entail vitriol and angst. Dexy changes tact and, exquisitely dives into the minutiae of the journey. Detailing the clichés friends serve up as support ‘And everybody sings the same old songs’ will raise a wry smile. Dexy goes on to unveil the torment via his struggle to not be tainted:

“Getting older takes no effort at all,

But getting kinder?”

It is though, sonically where his storytelling excels itself. In particular, the moment he frees himself from the pain. Spiralling the vocals into the ether releases all the tension expertly. The ‘la la la’s’ fade the pain away to a carefree state of mind.

Dexy’s new album is due out early in 2021.

Bitch Hunt

London based four-piece Bitch Hunt recently signed to Reckless Yes (Fightmilk, Captain Handsome, Mark Morris). They identify as a queer/trans alt-rock band. Let’s check out what they have been up to:

Their debut EP is available on Bandcamp.

Spaceman

Punk has been in the ascendancy within rock music for some time now so, to suggest it needs a reset may seem odd. It does! Too many bands are idling by talking over their music, few are landing any real blows.

On ‘Spaceman’, Bitch Hunt have renewed punk’s vigour with their stripped-back garage-punk style. Dirty lo-fi riffs demand your attention before The Strokes-esque solo makes you beg for it!

(The Verve like video is simply hilarious!)

Armadillo

With the joy of The Buzzcocks and the charm of Jilted John, this track will awaken many teenagers to the embrace of punk.

It’s a John Hughes movie for the 21st century accompanied by the sound of best friends finding a musical release. The guitars are sharp, life-affirming bullets of love that provide angst and anxiety a place to escape to.

A. Smyth

Dublin’s A. Smyth is set to return with his second album, ‘Last Animals’ on 19th February. Already a budding talent in Ireland, Smyth is set to breakthrough in the UK this year.

With that in mind, let’s check out a couple of his tracks:

 Hero

An angelic dream where Elliot Smith gives a modern take on Van Morrison’s peak. The vocals are featherlight whilst the guitars pack an enriching hug.

A divine guitar solo sets Smyth out in his own right. The aching shimmer floods the senses with Neil Young’s warming distortion.

River

Ryan Adams’ ‘Desire’ is given an injection of Nick Drake’s innocence on this lullaby. Delicate and sweet, Smyth questions life choices with the spirit of the Romantics in his heart.

 *Image Courtesy of Mark Duggan

The Gabriels

The Gabriels are an indie quartet forged on a love of jangly guitars and classic pop sensibilities. Made up of Gudg (vocals), Fran (Bass), Leon (Guitar), and Stuart (keys), they release their debut album this Spring.

The single is available at Bandcamp.

The leadoff single is ‘Loose Canyon’ and, is as stunning a debut single as your ever likely to hear. The guitars trickle downstream without a care in the world allowing frontwoman Gudg to sprinkle angelic vocal over.

With little England dominating politics and covid19 sucking the morale out of everyone, their yearning to escape is the new year tonic we all need. The shimmering West Coast guitars evoke yesteryear but, remain fresh and purposeful to their scintillating end.

Through their longing to be back in the Laurel Canyon scene, they have encapsulated Roger McGuinn’s ability to make guitars glisten. However, what lifts this song is its ability to capture the heart of Gene Clark. The longing of ‘Set You Free This Time’ and the vulnerability of ‘If You’re Gone’ permeate their dream of escape.

Few debut singles can profess to be this fully formed. Even less can say they are great.

Civic Green

Barnsley’s Civic Green is a four-piece consisting of Danny Hall (vocals/guitar), Andy Lowman (bass/vocals), Gav Darley (drums), and Matt Walker (guitar). The indie quartet has signed with the impeccable These Bloody Thieves Records (False Heads, The Institutes) for the latest single ‘City Streets’.

Let’s check out their latest single and ‘There Is Always A Light’ from earlier in the year.

City Streets

The romanticism of The Enemy’s ‘Sing When You’re In’ flows through the guitars on this heart-pounding anthem.

Laced with heart, this is a clarion call for underdogs. As they decree ‘I don’t need nobody here / I’ll make it on my own’, it’s time for the underclasses to saddle up and join them in battle.

 When that vaccine comes, beers will fly uncontrollably around arenas to this!

There Is Always A Light

Form the playbook that brought ‘More Than A Tramps Vest’ and ‘Hindu Times’, welcome back the radio-friendly indie hook.

They have a flair for Tom Clarke and Noel Gallagher’s style of lyrics. When frontman Danny Hall sings ‘what’s been lost, will come back again’ and ‘faces loved and lost they will live on’, an instant bond is formed between band and fan.

Robust, rebellious, and infectious, it sets the platform for indie classicism to soar once more.

Shade

Many say the North will rise again. When did it sink? It wasn’t with Cabbage, The Blinders nor was it via the resurgence of Johnny Marr’s solo career.

Further proof lies with Manchester four-piece Shade. Signed to Fear Records, they have released two tracks this year. Let’s check them out:

Head In The Clouds

Released in September and produced by the legendary Gavin Monaghan, Shade set their axes to exuberant and blow the fucking doors off.

The hiss of Definitely Maybe loiters with a feverish intent. Dripping in bravado and oozing guts, it holds the same qualities of a resplendent Liam Fray striding out to a sold out Heaton Park. It’s humble and brash, earnest and boisterous. Big stages lie ahead.

Neverdie

Despite their Manchester roots, there is something inherently Liverpudlian about this instant classic!

The effervescence of The LA’s seduces the innocence of Gerry Cinnamon on this fluid piece of magic.

It’s not ‘Live Forever’ but, you’ll crave the solos with the same fervent expectation. The early flourishes lure you into their brand of hedonism before the closing moments sail off victoriously. 

*Image courtesy of Asupremeshot

Test Card Girl

Test Card Girl is the creative moniker for Caffs Burgis, a singer-songwriter from Manchester. In 2017, she attended the iconic Trades Club in Hebden Bridge to watch John Bramwell. It was here she would meet her producer and collaborator Dave Fiddler.

Her latest single. ‘Holds Me Down’ was produced with Fiddler at Fuse Studios in her Manchester. The crisp and quirky synths accentuate Burgis’ acutely soulful vocals. It takes a supreme talent to make synths sound warming. Burgis has nailed it on her first attempt. Enriching and homely, she takes the Celtic soul of King Creosote for a heart-warming day out with Billie Eilish.

Being able to lift the pop of Haim towards the power of Zola Jesus is rapidly beckoning her towards national treasure status Test Card Girl releases her debut album ‘Seven Dolls’ later this year.

Test Card Girl · Holds Me Down

Columbia

Columbia are five piece from Liverpool consisting of Alex Sheppo (vocals), Jonny Eccleshall (bass & vocals), Jay Sweeney (lead guitar), Tom Comer (rhythm guitar) Jay Culkin (drums).

Named after the Oasis classic and, recording with The Real People’s Chris Griffiths, they are set to light up big stages, when they’re allowed.

Let’s take a look at what they have been up to in 2020 so far:

This Life

A death defying renewal of ‘Definitely Maybe’s spirit. Taking no prisoners, it’s a tirade of debauched escapism.

The release of Jay Sweeny’s guitars is an exhilarating joyride that is going to send the re-opened gig venues of the UK into sweat dripping frenzy. They’re matched, in the closing moments by front man Alex Sheppo as he wrenches out an Ashcroft “this is a big / fuck you / come on” moment of demonic brilliance.

Nothing Left For Me

Channelling Richard Ashcroft’s William Blake mode, Columbia wander lonely streets on this record. Sweeney’s guitars, are beset with turmoil, try to find the light but, a fraught danger is forever in looming.

The contrast of acoustic and electric guitars bring memories of The Verve and Oasis’ glory days flooding back. Is it just pastiche? Perhaps, but, when it’s this good, it deserves to stand alongside the giants of working class glory.  

Meanwhile, frontman Sheppo offers his most interesting vocal to date. John Power and Richard Ashcroft lurk but, something melodically deranged formulates like Mansun’s iconic Paul Draper. With an innate ability to play vocal textures like this already, it poses a great future from a remarkable star.

Glass Violet

Bristol’s Glass Violet consist of Tom Hurdiss (Vocals, Guitar), Alex John (Guitar, Vocals)
Matt West (Drums), Josh Walsh (Bass), Declan Pollard (Synth / Keys). Barely a year into their career, they have been turning heads on their local scene.

Lets see what they have been up to:

Chemicals

Fans Oasis ‘Lord Don’t Slow Me Down’ film, will have often pondered, what do Oasis and Kasabian merged sound like. ‘Chemicals’ offers up that alternate reality. Earnest and determined to escape lifes shackles, they have evoked their working class rock ‘n’ roll. It also leans on the another of Oasis’ touring partners, the criminally underrated Soundtracks Of Our Lives. Their sun-drenched rock is oozing through this.

Hurdiss’ vocals are too indebted to Tom Meighan here. However, Liam was too Ian Brown long before Creation Records knew about him.

Over The Moor

A far reaching colossus! They have caressed the grey tinged horizons of the UK with a freedom that only gutsy British rock ‘n’ roll can.

Melodic, escapist and with Kasabian’s ‘Bless This Acid House’ in their hearts, they have hit upon a unifying tonic. One that, is absolutely needed in 2020.