Hazy Sundays – Losing Control

Glasgow four-piece Hazy Sundays kick off 2023 with their new single ‘Lose Control’. It follows last year’s anarchic ‘All You Ever Wanted’ and the volatile ‘Never Know’.

Where ‘the previous two singles were unrestrained animals spilling out into the late-night streets, sonically, ‘Lose Control’ feels like a few hours earlier into that night. The Kinks’ ‘Days’ acoustic guitars come out to play with the Libertines and Tribes on this boozy anthem.

The guitars are also blessed with Noel’s unifying hedonism of ‘Don’t Look Back In Anger’ and ‘Stay Young’ as they swagger and stray around a pub 6 pints deep. Mark Devlin’s solo lifts the woozy affair to the level of ‘The Mighty Quinn’ or ‘One For The Road’. Divine escapism!

The self-reflection of the lyrics tempers escapist sonic with a pause for thought and an arm around the shoulder. Couple this with frontman Shaun Kenny’s Tom Meighan meets Liam Gallagher vocal and you’re left with no doubt Hazy Sundays are going to do big things.

Click the image below for Hazy Sundays tickets:

Marseille – Only Just Begun

Derby’s Marseille put down two massive markers at the end of 2022. Firstly, their last single ‘Freedom’. A roaring Oasis-inspired anthem that demanded attention. The second was an intimate gig at London’s The Slaughtered Lamb (full review here). Small in size, huge in stature, Marseille went from pack runners to leaders.

A week today they release their new single ‘Only Just Begun’. It is to be taken from the upcoming EP featuring the aforementioned ‘Freedom’ and will be released via Away Day Records.

Where ‘Freedom’ tapped into the hissing fever of Rolla and Owen Morris’ wall of noise and confusion, ‘Only Just Begun’ steps back into a hazier realm. As weightless as ‘Twistarella’ and freeing as Shambolics’ ‘Dreams, Schemes, & Young Teams’, they’ve conjured images of ‘Sally Cinnamon’ flirting with The La’s and DMA’s.

Vocally, the band has stepped up to another level with harmonies enhancing what was, already a rich sound. Frontman Will Brown’s vocal gives the record the mid-60s beat classic sonic to such great effect, elder record collectors will be double checking their copy of ‘Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968’ to see if it’s there.

As Brown decrees “I don’t want to be that guy”, he emits a level of emotion not seen by him before. His soul, for a fleeting moment, is left exposed and vulnerable. This level of openness and generosity of feeling is so often wrapped up in angst and rage. Brown and co have encased it with lysergic licks of love to echo down eternity.

What Brighton’s Lacuna Bloome ignited five years ago Marseille have enflamed with a poetic beauty unrivalled. Their debut EP is set for release this April and inevitably will change guitar music for the better.

*Image courtesy of Paul Dixon

Click the image for tickets to their upcoming tour:

Berries – Spiral

London trio Berries completed their fine run in 2022 with their new single ‘Spiral’. It was taken from their debut album ‘How We Function’ via Xtra Mile Recordings.

Berries have hit all the right notes this year for grunge and riot grrl fans. On ‘Spiral’ though, they play with the formula to remarkable effect teasing listeners with angelic vocals and bursts of pop melody before the jagged force of their grunge is thrown down.

Lyrically, they explore the fashion trials and tribulations society endures in order to fit in. Such is their coolness of the vocal delivery, the opening lines “jeans don’t have holes / hair is longer than shoulders” could be forgiven for taken as literal advice. It is, however, the destruction and melody combining that give this track it’s edge. Hopeful of rejecting the norms but honest enough to admit its nigh on impossible will speak to teenage hearts and minds instantly but, inevitably will lend itself to older souls still trying to fit in.

*image courtesy of Sonic PR

Berries will be on tour with Skinny Lister in the new year here:

March

27 - Nottingham, Bodega

28 - Leeds, Santiago Bar

29 - Manchester, Gullivers

30 - Bristol, Mr Wolfs

31 - London, Oslo

The Velvet Hands - Over It Now

London via Cornwall four-piece The Velvet Hands signed of 2022 with a new single ‘Over It Now’. It follows three of the finest anthemic punk anthems in recent times ‘Holiday In My Head’, ‘I Wanna Be There’, and ‘Telephone Love’. All of these will feature on their sophomore album ‘Sucker Punch’ released next February.

The Strokes have always featured heavily the band’s sound and that remains prevalent here. However, their back-and-forth vocals bring The Libertines into play as they begin to splice Pavement’s slacker rock. The dual vocals are edged towards a more universal sense of euphoria than their Albion seniors but the sense lives spontaneity remains.

Lyrically they tread similar paths to many counter-cultural icons and fire shots at the daily 9-5 dross we all endure. With the newfound Malkmus vibes in full swing, they have to search for different ways to impart their venom and it serves them well. It means that the foot isn’t permanently on the accelerator but, when it is, it’s bursting out the stereo like an uppercut of social justice.

Everything they have touched this year has been goldust, it’s almost impossible to see how they don’t produce the breakthrough album of the year in 2023.

*image courtesy of Sonic PR

Rooskin - Evergreen

Southend’s Rooskin signed off a fine 2022 with the single ‘Evergreen’.

There’s been a hazy vibe to their guitars from day one but, here, there’s a depth to the bubblegum kaleidoscope shredding not seen before. The hope and youthful exuberance of Sub Pop Records surfs down the West Coast of the US to flirt with Laurel Canyon scene whilst getting stoned in San Francisco.

The richness of the guitars feels like a warming goodbye to the teenage souls of the Honey Spells EP and hello to a more mature set of adventures in sex, drugs, and rock ‘n’ roll. Whereas once they were the sound of summer’s heights, here they have perfectly encapsulated summer’s fade towards autumn. Although ‘Evergreen’ doesn’t have an urgency to its sonic, the hazy guitars are blessed with such beauty that a live for the moment quality emerges.

Rooskin headline the iconic Chinnerys in their home city of Southend in February. Click the image for tickets:

This Is War - Weekend

Liverpool’s This Is War set out in January to release a single each month in 2022. The final instalment comes in the form of ‘Weekend’. Have they saved the best to last?

Frontman Paul Carden has had an innate ability to develop a febrile atmosphere across the singles this year. He demands your instant attention and can often plummet the soul into the gutter but, it’s always a great place to reside.

Like the ‘Crossfire Fever’ before it, ‘Weekend’ builds to a crescendo of great but brief guitar solos. In the early stages, the riffs take Interpol out for a bravado fuelled night out in the UK. The climatic guitars are a different animal, however. Lead by Carden’s growl, they take the early hiss of Stereophonics out to play with U2’s euphoria.

In many ways, This Is War have been ground-breaking in 2022. Freeing themselves from the usual promo format, they built hype each month with remarkably consistent tracks. All of which, have their own claim to be an old-fashioned radio-friendly single.

The Kynd – Whispers & Tones

Originally formed in the 90s, The Kynd reformed in 2021 and have been promoting the re-release of ‘Shakedown’ with sold out shows and festival appearances since. ‘Whispers & Tones’ marks the first original release since the heady days of the mid-90s. Written and arranged by the band, it was produced by Brian O’Shaughnessy at Bark Studios and mastered by Barry Grint at AIR.

‘Whispers & Tones’ is available to buy from their Bandcamp page.

Beefy Ocean Colour Scene riffs unite with Mclagan-esque keys, Ian Page vocals, and a glorious nod to ‘Sympathy For The Devil’ on backing vocals to conjure a modern-day mod gem. The middle eight is blessed with the freeing nature of Northern Uproar and the rock ‘n’ majesty of The Seahorses.

The closing stages see the keys flicker light a Brian Jones number on this tale of hope. It’s the positivity that keeps you coming back for more. Rather than entice you to the bright lights, it lures you to the smoke-filled shadows where the real devilment takes place. It’s a gateway drug to a northern soul and blue beat night which will change lives and reignite fraying ones.

The Kynd will finally release their second alum ‘Timelines’ on March 10th.

Office for Personal Development – Invisible me

The best government department since DOSAC have returned with their new single ‘Invisible Me’. The 7-inch will be released via Austerity Records and is backed by b-side ‘Love Me Again’.

Image and artwork courtesy of the band.

Last time out on ‘You Are In Control’, they spoke of setting yourself free from life’s shackles and becoming all you can be. Three Prime Ministers later, the Hot Chip via 90s rave sonic has descended towards synths so icy they could reignite the cold war.

Their creative plummet to emotionless pastures has allowed them to pose the finest couplet of the year:

“Are happy people winning or / Have they already been defeated?”

Who among us can honestly say they didn’t consider walking out to see to find Reggie Perrin when Mrs Pork Markets the economy into a red park bin full of dog shit.

Just when all feels lost comes the defiant Aragon charging alone into the Battle of the Morannon moment arises in the final verse. All the bitterness and resentment at this country’s downturn into a Thatcherite tribute act (“I'm truly glad you found a way / To look after number one”) oozes from company director Trevor Deeble. Deeble’s introduction of the spoken word brings Fred Deakin’s sci-fi Armageddon album ‘The Lasters’ and John Hurt’s slow-burning performance in ‘1984’ to the fore.

On the surface, the lyrics still feel defeated (“I know now what I want / I want to be just like you”), but the spoken word gives it the feel of a quitting speech. One doesn’t quit this spitefully without the hope and rebellion flames flickering.

Despite the gloomy conclusion to 2022, their debut album is still poised to be one of 2023’s finest.  

This Is War – Crossfire Fever

Liverpool’s This IS War have been releasing a single monthly this year. November’s offering was ‘Crossfire Fever’ and once more, doesn’t disappoint.

Artwork courtesy of the band.

All year This Is War have delivered killer rock music that flirts with its influences but never overindulges. ‘Crossfire Fever’ is perhaps the best exponent of this methodology. There are euphoric melodic moments akin to the Stereophonics, and intense guitars of The Jam but, it is the warped riff and their destructive playing that you’re left wanting to shout about.

The band’s sense of impending mortality is their heaven-sent talent. Frontman Paul Carden does desperate gravel vocals better than anyone at present. He leaves you feeling out of control, as though life is ebbing away amid frenzied chaos.

Mike Mullard and Johnny Roberts’ guitars emerge from the furious sweat ridden 00s scene of Dogs, The Paddingtons, and Nine Black Alps to produce a new kind of glory. Never in their shadows, they light up the guttural and visceral power they possessed and drive it home to new creative pastures for a new generation to put faith in.

This Is War have one more single to be released on 23rd December before they release all their singles in the new year. It’s been one hell of a joyride so far, we’re sure the last song is not to be missed either.  

The Illicits – Modern Love

Blackburn outfit The Illicits recently returned with their new single ‘Modern Life’. Already hometown heroes with a string of hometown dates sold out dates, could this be their break-out moment?

Artwork by Tucker Creative Studios

Pre-lockdown, they had caught the eye with the destructive ‘Left Behind’ and the fine cover of ‘Born Slippy’. Although Covid knocked the band’s momentum, they returned earlier this year with the post-punk classic ‘Play Your Part’ and the glam-stomp of ‘Feel it’. This time out, they travel to the initial wave of punk to unleash their visceral social commentary.

Like many from that generation, they have reworked 50s rock ‘n’ roll up to a furious conclusion. Guitarist Brad Hayes has found a beautiful dystopia where Steve and Mick Jones have become one guitarist. The howling destruction of the Pistols is funnelled through Mick’s early beefed-up rock ‘n’ roll to produce a savage take on the ‘I Fought The Law’ and ‘Janie Jones’ before a thunderous descent into a ‘Holidays In The Sun’ climax.

As frontman George Richards howls “this is the modern life” The Jam are brought to the fore. Wrenching the lyrics from his spleen, he breathes life into a generation who skint, downtrodden, and ignored.

This is the sound of punks, skins, mods, and indie kids uniting in the face of political gaslighting and corporate greed’s race to the bottom.  They can lie to our faces, but not our hearts!

*Banner image courtesy of Sonic Pr and @jtm.dos

LOCK-IN – Sweet Love

Essex via London outfit Lock-in returned at the end of November with their new single ‘Sweet Love’.

‘Sweet Love’ got its debut live airing at This Feeling’s Teenage Cancer Trust gig in October. More direct, and more aggressive, it felt like a departure from their fledgling days and a step into becoming a true presence on the circuit. Can they recreate the magic in the studio?

On record, the harder edges have been polished somewhat but not to its detriment. The truth is, many indie bands can’t get past their initial few singles anymore. Lock-in are now showcasing maturity and are building its lovelorn characters into a sonic that is becoming hard for many to deny.

Joe Leak’s lead guitars are used more sparsely, Angus Moore’s riffs and frontman Benjy Leak’s technicolour energy to bristle along and thus, recreate their live prowess. What Joe delivers brings the infectious power of the Little Comets and Night Café to hook you but, the added space elevates the band, particularly at the breakdown.

Frontman Benjy Leak is not to be outdone either. He has outgrown the foot-to-the-floor approach that grabbed live audiences in their early support slot career. Now, he has begun to play with his cadence and tone allowing his boisterous personality to remain prominent but now allowing fragility to filter in and therefore, a depth to the songwriting that previously was only alluded to.

On this form, it’s easy to see why they have booked London’s iconic Garage for their biggest headline show to date next April. Click the image below for tickets:

(*Banner image courtesy of Briony Graham Rudd)

Columbia – Disorder

Cardiff’s Columbia, not content with one of 2022’s albums of the year are back with a new single. ‘Disorder’.

The intro does exactly what it says on the tin. A colossal sound and images of life vehemently spilled out onto the streets. With Kasabian’s ‘L.S.F.’ emblazoned across their arteries, Columbia stride out into the UK’s grey landscapes lighting flares of red white, and blue to breed life into the downtrodden once again.

Columbia have done what all rock ‘n’ roll bands have always done, they’ve tapped into the outsiders and disaffected on this tale of addiction. However, this isn’t just any song and these are not ordinary times. Being run by born-to-rule charlatans has bedded in anger that has not yet hit fever point. With the fever of this record, the intensity of feeling they have conjured it might just spill over into the streets!

While the vocal cadence may wink at Tom Meighan, the guitars belong to their love of Adam Nutter from The Music. The never give up the spirit of ‘The Walls Get Smaller’, the ecstatic bombast of ‘You Might As Well Try To Fuck Me’, and the rebellion of ‘Let Love Be The healer’ combine on this behemoth record. 

One man’s fight against addiction is in many ways the perfect vehicle for the masses to consider how change is possible. The protagonist's isolation here is alarming but you sense they’re victorious. A clarion call with this magnitude of feeling should be taken extremely seriously.

Britain might not be ready for this single but it needs it.  it needs its lyrics punching it in the gut, the psychedelic punk rock head-butting it to the floor! This is a Richey Edwards and Nicky Wire dose of reality that music, politics, and life in general need!

Standin’ Man – If You Don’t Know What To Do With Yourself

Standin’ Man have returned with their new single ‘If You Don’t Know What To Do With Yourself’. It follows the single ‘Be Your Own Messiah’ released earlier this summer. It was produced by Jim Spencer (Charlatans, Johnny Marr, New Order) and recorded at Motor Museum Studios (Liverpool) and Eve Studios (Manchester).  

Singer and songwriter Dean Fairhurst makes five men sound like an army of men with his stadium-sized belief. He switches up from Liam Gallagher to Daltrey to John Lennon with an ease that is frankly, terrifying.

It’s true brilliance lies within the baggy-mod beats and rhythms. They drag the spirit of ‘Pills, Thrills, and Bellyaches’ to the pop majesty of ‘It’s Only Love’ and beg the question, why has no one ever done this before?

The single erupts into ecstasy via Joe Kavaney’s psychedelic guitar solos. They fire out across the night sky like the northern lights on speed. They take Steve Craddock’s early OCS work to the edge of Hendrix via that glorious moment Clapton became a Beatle. There could be no better soundtrack to this tale of getting lost in the moment as a collective.

Two behemoth singles in and Standin’ Man are looking like huge album of the year contenders in 2023.

Gazelle – Arcadia

Leicester’s Gazelle are back for one last single release of 2022 with ‘Arcadia’. It follows the fine ‘Violet Hour Blues’ released in October and last night, they played their biggest gig to date at Leicester’s o2 Academy.

‘Arcadia’ blasts its way out of the traps to light up England’s finest to the sound of The Horrors’ decadent fairground keys circa ‘Primary Colours’. Although they’ve stepped away from their love of Motown here, its influence looms large still. The verses could be choruses and vice-versa as they motor their way to melodic euphoria.

The stomping breakdown brings those heady rock ‘n’ roll moments of Kasabian on ‘Empire’ and ‘West Pauper Lunatic Asylum’ to the fore. They build to a debauched chaotic climax where violence loiters at every turn to provide an utterly exhilarating rush.

2022’s run of singles from Gazelle have seen them shake off the ‘just another indie band’ tag. ‘Magic Carpet Ride’ brought their love of soul and Motown alive and ‘Violet Hour Blues’ demoed their crowd-uniting ability. Furthermore, in ‘Clementine’ and ‘Arcadia’, they’ve added depth and intelligence to the early singles which now, has to see them eclipse the success of The Reytons and The Rahs.

The Skinner Brothers – Soul Boy

The Skinner Brothers are the hardest-working band around. Fact. This year they released a breakthrough album, an eclectic EP and now, they have followed it up with a new single ‘Soul Boy’.

To date, The Skinner Brothers have been cultivating a sound that, caressed the edges of true originality but, hadn’t quite made the leap. On their new single ‘Soul Boy’ they’ve lept head first off a cliff and reinvented the game.

The drama of The Streets and the venom of Jamie T unite to forge a spiteful and vengeful piece of brilliance. This is the sound of 2am erupting into sweat-filled mayhem. Feelings of isolation and imprisonment bubble up with bile before exploding into a Fatboy Slim fuelled rage. Then, just when you can’t take the visceral assault anymore, Danni Burton Is introduced with superb homage to rave-era vocals to blow all your troubles away in a moment of sheer ecstasy.

Frontman Zac Skinner has hit the headlines of late. To dreary pop fans, bands who take shortcuts, and the ill-informed at the NME, he has done so for the wrong reasons. No matter which way you look at it, they’re wrong. Music is art, it should test the soul within an inch of its existence. If you can look us in the eye and say Louis Tomlison and NME do that, that they don’t take shortcuts for financial gain then so be it, leave use alone, we’re better than you!

‘Soul Boy II’ felt like a breakthrough album for the band. It took them to the main stages of festivals, major support slots for Kasabian. The Libertines, The Streets, and The Music and a sold-out tour. The single ‘Soul Boy’ however, is ground-breaking. It’s the kick up the arse the scene needed. Zac told us so and delivered it with interest.

Image courtesy of Fear PR

The Utopiates - Illuminise

London via Leeds outfit The Utopiates have stormed 2022 with sold tours and signing to the illustrious V2 Records. They look to cap it off in style with their new single ‘Illuminise’, recorded at Nave Studios in Leeds with Producer Andy Hawkins.

Image & artwork courtesy of http://copaceticpr.com/

Their previous work has seen them in explorative moods. ‘Illuminise’ however, takes a far more direct path. Frontman Dan Popplewell introduces a snarl to his vocals, bringing Richard Archer’s early career to the fringes of Sleaford Mods’ Jason Williamson but musically, they never lose sight of their baggy spirit.

As with all their previous work though, they impart killer hooks to make you dance. The keys and bass have boiled down Delphic and Friendly Fires’ entire career into three minutes and married them with a deranged Mick Ronson solo.

The bombastic funk of Bowie’s ‘Low’ album is injected with the wayward souls of Black Grape on their most intense outing to date. The Berlin influences in the production light up frontman Dan Popplewell’s newfound venom as he dismisses the bitterness in his life:

“So when you’re wired / You’ll see me up ahead / Rising up we’re, Illuminising!”

It would have been easy for The Utopiates to deliver another groove-laden gem to send them off victorious for the year. However, they’ve gone out all guns blazing, proving that creative risk is still something to strive for. Yet, with their talent, it simply isn’t a risk!

Check back here tomorrow to hear the new single!

Peter Hall – In Plain Sight

Nottingham’s Peter Hall follows the critical success of his debut album ‘Light The Stars’ in 2021 with the new single ‘In Plain Sight’. It was recorded and self-produced at his Daisyland Studio and marks the first run of new singles.

In Plain Sight is available via Bandcamp.

Hall’s vocals touch upon the pristine pop of Sice and the dogged beauty of Howie Payne on this cinematic pop gem. Hall’s vocals alongside the orchestration conjure a sense of wonder that can only come from a soul in love.

The carefree abandonment Hall journeys on are beset with so much joy that, you’d be forgiven for thinking it was literary nonsense (a la Lewis Carroll). However, luring beneath the sparkle is a man determined to look inwards and become easier to love. It adds depth to the musical splendour that Mick Head would be proud of.

Head rears his creative soul once again on the solo. Hall takes the windswept beauty of the Pale Fountains for a waltz with Weller’s gentle playing on ‘True Meanings’. It creates a glorious world of fantasy and love to indulge in.

Hall has not just returned, he has well and truly arrived as one of England’s finest songwriters.

This Is War – I Don’t get It

Image & artwork courtesy of the band.

Liverpool’s This is War are back with their new single ‘I Don’t Get It’. It follows their blistering ‘Pyramids’ and ode to Dylan ‘Exile Pet’.

This Is War have proven they can produce all sorts of tracks this year. It is though, in attack mode that they come alive. Launching into jagged riffs from The Jam and The Clash set the tone for what becomes a fine homage to 00s post-punk.

Vocally, Paul Carden brings the lo-fi power of The Strokes’ ‘Take It Or Leave’ to the fore before imparting great melody with his Rod-esque gravel in the closing stages.

The excitement of The Strokes’ ‘Is This It’ is never far away from this anthem but they don’t stop there. It joyfully explores many of the bands that The Strokes helped launch post-2001. The angular licks have the art school power of Franz Ferdinand and The Departure and the punk of The Rakes cult classic ‘Retreat’. This spirit combines with the ragged glory Kings of Leon debut as if they were played by the Jarman brothers circa ‘New Fellas’ and ‘Mens Needs, Women’s Needs, Whatever’.

It’s a thrill ride to the credible bands that plugged the heartache of The Libertine’s demise in the mid-00s to lift the scene back to dizzy heights. Carden’s former band The Black Velvets were criminally overlooked during this period; thus, this song has a cathartic justice to pulsing through it for fans of him then and now.

Make no mistakes though, this is not rehashed nostalgia. This Is War have yet again recorded something vital that feels as live as it can possibly be in the studio.

Marseille – Freedom

This Friday on ADR Records, Derby’s Marseille release their new single ‘Freedom’. In 2022, Marseille have dropped the angelic ‘Forget It All’, and the trippy ‘The Jungle’ which was followed up with a fine remix from Vega Rally. Can they keep the momentum going?

From the off their newfound five-piece status is reflected in the enthralling and debauched sonic. Tom Spray’s drumming begins with Tony McCarroll’s rawness before metamorphosing into the flair of Gaz Whelan and Reni.

Through frontman Will Brown, there is a window through which mortals can peer into the band’s soul. Offering his best vocal to date, he hovers above the siren-like guitars like the pied piper of noise and confusion.

Lyrically, they’ve condensed the spirit of The Enemy’s debut album into five minutes of ‘Definitely Maybe’ meets ‘Stone Roses’ escapism. Written about their home city of Derby, they encapsulate large pockets of the UK who used to feel but now know they’re left behind. For those old enough, they will be flung back to a time when we had libraries, leisure centres, and sure start centres. We had hope!

For The Enemy, they arrived just in time to get paid. What have the music industry or any creative industry for that matter offered the working classes since 2010? A gormless reality tv no mark perhaps. Thank the heavens for guitars here. They drag the baggy-mod vibes of ‘Some Friendly’ and ‘Between 10th and 11th’ the precipice of the Roses and Oasis’ escapist majesty.

Soul-enriching, life-affirming, poetic brilliance!

‘Freedom’ is nothing short of a triumph of the human spirit. 12 years spent racing to the bottom, where Spotify throws pennies at your face and expects you to like it, Marseille have emerged with the finest rock ‘n’ roll song of 2022.

*Image courtesy of Paul Dixon

Afflecks Palace - Dancing Is Not A Crime

Image and artwork courtesy of https://www.spiritofspikeisland.com/

Manchester’s independent kings Afflecks Palace recently returned with their new single ‘Dancing Is Not A Crime’. Released on their own label Spirit of Spike Island it was produced by frontman J Fender.

‘Dancing Is Not A Crime’ is the lead single from their second album due for release in 2023. They have doubled down on the lysergic energy of the debut album and produced their best work yet. There’s a confidence to J Fender’s vocals now which allows the guitars to become, ever so slightly more muscular. This slight tweak gives them an aura that befits their dreams!

The added aggression elevates Dan Stapleton’s guitar licks (and the backward ones) to a mind-altering reality where everything feels rushed, in the best possible sense! Everything bristles with excitement, poised on the edge of a dancefloor waiting for that solo or piano loop to release souls.

It’s easy to see why it has been c-listed on 6Music and their shows with Pastel at 100 Club and Thekla have sold out.