Electric Sheep Inc. - Inn on the Green, Shiiine On '24

Rhyl outfit Electric Sheep Inc. made their Shiiine On debut two weekends ago on the Inn on the Green stage and we were there to check it out.

To outsiders, Shiiine On has the unfair tag of a nostalgia festival. There’s some, granted. Step inside Minehead for that weekend, and you’ll see the established perfecting their craft on new albums, but, furthermore, you’ll find nuggets of fledgeling gold like Ecko, Deja Vega (no longer fledgeling) by any means, and Holy Youth Movement being given grand stages to emerge from the shadows.

With nine years of unearthing the UK’s finest new bands behind them, Electric Sheep Inc. in the Inn on the Green came with a buzz.

They did not disappoint!

The intoxicating Velvet Underground drama of ‘Liberation’ unfurled with breathtaking power, while ‘Cough Syrup’ and ‘Moosha Moosh’ swayed from the Mondays to PiL debauched and undeniable.

On former singles ‘Queen’s Nose’ and ‘Taste of It’, the band went from engaging to weekend stealing. As frontman Christian Pimley wrenched “your sheep, annnnnd your cattle, iii’mmmmm not dying for you” from his soul, he found a space between ‘Bummed’ era Ryder and PiL era Lydon to reign supreme as the next great frontman. So many proclaim their colossal stature; Pimley exuded it as he glided effortlessly, making a tiny pub stage look like a vast arena. Coupled with Cameron Kelly and Josh Jones’ spiralling guitars, rock ‘n roll announced its greatness once again.

Set closer, ‘Taste of It’ doubled down on this with its warping majesty. Pimley’s snarling vocal cut through the Mondays-esque grooves with a euphoric intensity. MORE

A festival so synonymous with Happy Mondays was arguably treated to the finest thirty minutes of post-‘Pills, Thrills, and Bellyaches’ ever seen—great lyrics, effortless swagger, and a venom that could kill from a hundred paces.

Ecko: Centre Stage, Shiiine On '24

Ayrshire’s Ecko have become cult heroes at the Shiiine On Weekender since their 2022 debut. Their rags-to-riches debut was a tough act to follow last year, but they still impressed. If the band remained at this level this year, it could only be considered a success. Could they go further still?

Pressure? What pressure?

Shoulders were loose, guitars were slung low, and this was a band with confidence oozing through their souls. On ‘Danny MacKenzie,’ frontman Jamie Warden moved with an ease not seen before. He stepped on the intensity when the power came on top and then eased off into a gentler, aloof mode, visibly allowing an aurora to build around him. Like all great frontmen, he wheeled away from the limelight when it was Matthew Welsh’s (lead guitarist) moment to shine.

A practice they doubled down on during ‘Play Pretend’ when Welsh became the lead singer for the first time. With Warden in such great form, heads turned rapidly. The most exciting band of the decade just added another intoxicating dimension to the band. Welsh's vocal snarled with bullish defiance, his incredulous Keith Richards-esque solo and Liam O’Connor’s career-best bassline crunching its way to glory set this band out so far ahead of the rest.

After the behemoth performance of the latest single ‘Let Go’, the band cut loose on ‘Think Three Times’. The perfect ying and yang of these two felt like a set closing pair for a long time. The violence of ‘Let Go’ tempered by the glee of ‘Think Three Times’ to send thousands home joyously became an inescapable image.

Ecko, three years into their Shiiine careers, played with the skill of a mainstage headliner. Pumping the room full of adrenaline on ‘Miss Hurricane’, and dipping it on ‘Sour’ to show their genius, Ecko propelled souls into the darkness and lifted them out via a haze of psychedelic immortality.

The main stage awaits!

Siracuse - Simple Pleasures

Image courtesy of Goldstein United Mgmt

Cheltenham outfit Siracuse recently returned with their latest single, ‘Simple Pleasures,’ via Vibrant Sky Records. The single is backed by the angelic euphoria of ‘You Change,’ and a defined live version of ‘Lossen Your Grip’ on Spotify.

*banner image credit: @james_taking_pictures

Lyrically, Ben Zakotti finds himself in a carefree head space. As seen on ‘Saviour’ and So Serene’, shackle-free is where Zakotti thrives. His innate ability to be in the moment while creating rock music carnage around with nods to the Stones, the Primals, and Kasabian is enough to keep Siracuse’s stick rising into these bleak winter months.

The pulsating intro pushes the hedonism of Soundtrack of Our Lives to the edge of what is sane. Debauched, with the threat of violence lurking, it showcases how intoxicating rock ‘n’ roll’s three chords can still be.

Siracuse is rapidly becoming one of the UK’s best-kept secrets, and the time feels right for that to change. From big epics to short blasts of glory, they have the rock ‘n’ roll cannon to change lives.

Ecko - Let Go

Once upon a time, in a land not far behind us, the media would seek out new rock ‘n’ roll strands to define youth culture. Today, alas, they care more for some obnoxious cunt opening a box of third-world tat so tax-dodging conglomerates can pay them.

*banner image courtesy of All images courtesy of A Deeper Groove

Artwork credit: @turner_photographs

Ayrshire four-piece Ecko is back with their new single ‘Let Go’ for those still curious. The visceral intro leans into the noise and confusion of early Oasis and the filthy and fury of the Pistols. It allows

The licks of Oasis’ ‘Hung In A Bad Place’ are given an injection of breathtaking intensity. It allows the protagonist to lay down the law with a soon-to-be iconic confidence. As the single builds, drummer Johnny Armstrong’s drumming steals the show a la Matt Helders for the Arctics' first three albums before Matthew Welsh’s guitars tap into the riotous angst of ‘Bring It On Down’ with scintillating guile.

The journey to their debut album may feel slow to fans desperate for more, but Ecko is a measured beast for something so sonically unhinged. Appear when they want and deliver significant improvements each time. ‘Let Go’ is flanked by a stunning ode to The Strokes with the b-side ‘Think Three Times’.  A track most bands couldn’t dream of writing is there to back up the gift that is this single.

Yon Mon – Shine On

As the sun sets on The Shed Project, frontman Roy Fletcher launches his new project, Yon Mon. The debut single ‘Shine On’ was recorded with The Jade Assembly's Danny Hayes at Bolton’s Ivy Studio.

Where The Shed Project’s second album had heavier sound and discourse, Yon Mon has returned to the freer energy of their debut. The escapist with the lysergic spirit of Northside and hints of early Charlatans.

Fletcher breaks from the straight-up guitar sound of his former project in the second half, giving the seaside keys of The Horrors’ ‘Primary Colours’ an injection of ecstasy. Coupled with the resounding guitars that loom large, Fletcher has struck upon a sonic perfect for his ‘Some Friendly’ Burgess-era vocal.

Yon Mon will be releasing three more singles in the coming months with the debut album coming in summer 2025. On this showing, it’s shaping up very well indeed!

Memorial - Redsetter

Brighton’s Memorial released their second album, ‘Redsetter’, back in May via Lucy Rose’s Real Kind Records. It followed 2022’s critically acclaimed self-titled debut, but could it match its prowess?

Image and artwork courtesy of Longevity PR

‘Redsetter’ is an album searching for meaning for men approaching the settling down period of their lives. On ‘Corduroy’, songwriting duo Ollie Spalding and Jack Watts ponder the present and allow the itchy fever to creep in that perhaps they’re not ready to relinquish “steady day-drinking / soaked in that memory light”. Despite the unwillingness to let go of this freedom, King Creosote's hypnotic hooks and lush melodies of Kings of Convenience lend it an eloquence that pulls from the friendship of The Detectorists far more than anything toxic.

The vulnerability they let in gives the record a curiosity and tenderness to the moments they are less clear of thought. It parks darkness and shows a side to masculinity far more in keeping with the common man than bravado rock ‘n’ roll often does. On ‘White Campion’, the low-light folk of Richard and Linda Thompson’s early work combines with the beauty of Judy Collins and the lo-fi richness of Alfie and Bon Iver’s debut. The luscious combinations allow this poignant coming-of-age tale to take an emotive stranglehold of your senses and never let go. There’s a real sense that the clouds have parted and that commitment and fatherhood don’t have to mean a relinquishing of your identity. Still, through the heartfelt vocal, a loving acceptance that sacrifice is pleasing will work in tandem.

The songwriting fervour peaks on ‘Honey’, ‘Circle’, and ‘Silver’, lifting the record to album of the year contender. The former, a song with suicide undertones and subsequent mental health issues is as pure a song recorded this decade. The gentle warmth of James Yorkston and the ethereal folk of Bon Iver delivers a woozy moment of comfort for anyone struggling. ‘Circle’, meanwhile, takes the peak Turin Breaks for a woozy meander on this beautiful ode to letting go. Then, the album is given its crowning glory on 'Silver'! The vocals range from the potency of CSN and the joy of Paul Simon to the aching beauty of Ben Bridwell (Band of Horses). They create an addictive richness on what is, quite simply, an instant classic! The subtle but soaring orchestration fades into the ether with an autumnal glow's beauty but inevitable decay.

‘Redsetter’ is often an enigma, and it is unclear how the protagonist crosses the most significant crossroads. It lends itself a curiosity and a poignancy that music lovers will lean on in their darkest and happiest moments. Nothing short of an alt-folk triumph!”

MOSES – Raining For Days

London’s MOSES released ‘Raining For Days’ at the end of September. It is the third single from their upcoming third studio album and was recorded with long-time cohort Gavin Monaghan at the Magic Garden Studio in Wolverhampton.

Images courtesy of Rocklands Artbeat Promo

There is a beautiful simplicity to ‘Raining For Days’ that recalls Dinosaur Jr. ’s classic ‘Feel The Pain’ or Graham Coxon’s Pavement-esque era of Blur. The melodic guitar noodling building to a heavier release suits MOSES' maturer sound with resounding effectiveness.

Frontman Victor Moses’ vocal is now venturing into masterful territory. More withdrawn than the fire-breathing early singles, knowing when to flash the teeth and spit venom with precision. When he decrees “we only get one life / A cliche that I really like / I believe in what I am and no /  I'll never stop”, the band’s natural inclination to defiance oozes from band to listener, from soul to soul as a unifying clarion call.

Clearer, crisper, and broader than ever, MOSES still maintain their underground status. There’s a renegade spirit festering with intent around everything here that’s undeniable. What were once ifs have become whens with almost the utmost urgency.

Click the image below for tickets to their upcoming shows:

Those Heavy Souls – How High Is Too High?

Cardiff’s Craig Lewis, aka Those Heavy Souls, recently returned with his new single ‘How High Is Too High?’. Recorded at  Kings Road Studios in Cardiff with Andrew Sanders producing, it follows the fine debut single ‘Everybody’s Changing’.

Images courtesy of the band.

Where ‘Everybody’s Changing’ was a departure from his Columbia days, ‘How High Is Too High?’ introduces his new electronic vision to those heady rock' n roll visions. Lewis has unearthed a sweet spot between Slow Readers Club and early Kasabian, and it’s paying dividends for him.

The Sanders’ trippy Reni-esque drums set the platform for the following discordant Warehouse vision. Lewis’ and Steven Kenward’s guitars are kissed with the melodic glory of Serge Pizzorno’s 00s work and the soaring yet understated psyche work of Adam Nutter (The Music).

Holy Youth Movement and The Utopiates have been leading the charge for rock ‘n’ roll and dance music fusion lately. Those Heavy Souls, armed with a ‘Champagne Supernova’ reference, have entered said race with a blistering charge!

Spangled – Maggie

Manchester’s Spangled returned yesterday with their new single ‘Maggie’. It marks a new era for the band, with Joe Kilroy joining the band on drums. ‘Maggie’ was produced by Gareth Nuttall (The K’s / Rolla) and mastered by Grant Berry.

*image credit: Owen Peters

Artwork credit: Owen Peters

Musically, Spangled have leaned into their love of The Cure with Jamie Halliday’s subtle guitar lines taking a romantic gothic turn. As the single builds, the underdog spirit of Neds Atomic Dustbin and Thousand Yard Stare collide with The Who’s vastness as they build to a euphoric climax.

However, frontman Ben Johnson’s vocals and lyrics are where ‘Maggie’s brilliance lay. At points, Johnson delivers his most angelic vocal. As such, the innocence and celebratory look back at Nan’s life with dementia are allowed to shine through.

The early stages are blessed with a romance and charm that can only come from a grandchild gazing lovingly on at a story they’ve heard a thousand times before. Johnson lights up his Nan with a curiosity about where her mind went and will have many raising their heads to the heavens to think upon those gone.

In the closing stages, though, Johnson delivers an emotional uppercut to set bottom lips quivering:

“I had to look the other way when she asked me if my dad was ok / I wonder if she knows”

The gut-wrenching moments of ‘Good Life Better’ roar to the surface as Johnson howls out a truly incredible vocal. His pain and torment try to find a way out, but Johnson fights back defiantly, not wanting to let the scars show to someone he clearly worshipped.

Despite the grief-ridden torment end, you’re left with the touching sentiment:

“I wanna go wherever Maggie goes”.

On such a deeply personal tale, Spangled have touched upon something universal that will win them legions of fans. The echoes of Pulp discovering themselves in 1994 ooze from this record, now it’s time for those big crowds for Spangled too.

The Kowloons – Raining (It Don’t Stop)

Merseyside’s The Kowloons are back with their new single ‘Raining (It Don’t Stop) today. It follows ‘Can We Go Faster?’ and is the second single from their upcoming debut EP.

*banner image credit: Matt Owen

Artwork courtesy of the band.

Where ‘Can We Go Faster?’ built to an epic climax, ‘Raining’ is instantaneous. The moment Kinks-esque drums rumble, they tap into a British classicism that only evokes joy. Lead guitarist Mason Jones lays the foundation with the acoustic stomp of ‘Dead End Street’ and the melodic blues of the Stones circa ’65 to ’67. Meanwhile, frontman Stephen Ng even drops a sublime “I can't get no” to ramp up this sumptuous slice of ‘60s pastiche.

Despite the immediacy of the melody, a sense of distress and heartbreak percolates throughout. Frontman Ng carries an aching sense of loss through his disillusioned vocal. He has taken all the best bits from Noel Gallagher’s ‘Chasing Yesterday’ and spliced them with a Lee Mavers and Ray Davies-esque vocal.

Two songs into their debut EP, they have already surpassed the eagerly anticipated checkpoint. Two great songs are propelling them into the fast lane and making them one of the most sought-after bands in the UK.

Rolla – We Owe You Nothing

Manchester’s Rolla are back with a new single ‘We Owe You Nothing’. The latest single marks a new era for the band as they sign with Run On Records (The Royston Club). Guitarist Luke McConnell has stepped up to mixing duties with Gareth Nuttall (The K’s) producing.

Image & artwork courtesy of Fear PR.

Their time on tour with Kasabian in 2023 wasn’t wasted. The intoxicating violence of their Leicester peers’ debut has been taken on board as they reimagine ‘Club Foot’ in the most visceral and violent intro of the year.

With stadiums back on the rock ‘n’ roll agenda, Rolla have announced themselves as someone to open them via Luke Gilmore’s colossal and destructive basslines. Throbbing with malicious intent, Gilmore descends to the underworld, flirting with ‘Fuckin’ in the Bushes’ and ‘666 Conducer’ along the joyride.

Guitar music is defiant mainly, but not from a position of power like this. Rolla are underdogs (for now), but they project themselves like champions. Chest-out, shoulders back, and zero fucks given! James Gilmore’s howls into the ether with devilish charm and Zeus-like authority.

There are no blueprints to rock ‘n’ roll, but ‘We Owe You Nothing’ is as good as. Hellacious and rebellious, Rolla are back and better than ever!

Trip Hazard: Chinnerys, Southend

Southend’s Trip Hazard recently opened for Desperate Journalist at Chinnerys as part of the Indie Cult Club and we were there to check them out.

*banner image courtesy of Oscr Visuals

Image courtesy of Oscr Visuals

On set opener ‘Nasty Party’, frontwoman Lottey set the stage ablaze with her compelling punk rock volatility. Her iconic indie sleaze hair thrashed with abandon to Sam’s heavy-hitting guitars. If they can harness this power in the studio more, then the next voices of a generation will be born.

Lottey continued her masterful performance on ‘Body’ and its reprise. The struts, the pivots, and the knowing looks to band members were nothing short of mesmerising. To have a crowd in the palm of your hand when the songs are not quite there is truly astonishing.

Whilst their cannon currently lacks the hooks and anthems to catapult them further, it’s surely only a matter of time. On ‘Yellow’ and ‘High Horse’, the seeds of great songwriting are beginning to take root. Both brought the temperature down and gave the band space to breathe bringing the power of Black Honey and The Big Moon into play.

Trip Hazard set a standard at the Indie Cult Club that’s making their next moves unmissable.

Desperate Journalist: Chinnerys, Southend

London’s Desperate Journalist kicked off their UK tour at Southend’s Chinnerys last week. Playing for Indie Cult Club, it marked the run-up to their fifth album, ‘No Hero,’ which is out on September 27th via Fierce Panda Records.

*image courtesy of Indie Cult Club

Five tracks from No Hero feature in the set, with latest single ‘You Say You’re Lonely’ and ‘Unsympathetic Parts 1 & 2’ shining brightest. The former was nothing short of a pin-drop moment. The pain and anguish oozing through front woman Jo Bevan’s vocal was intoxicating at times, but she cut through it with the aid of the sumptuous keys, and her vocal uplifts that were worthy of pop music royalty. It’s so easy to see why Brett Anderson loves this band; it’s less so to understand why they’re not national treasures. On ‘Unsympathetic Parts 1 & 2’, bassist Simon Drowner’ bass playing is hitting its peak on the latter. Flitting between hopeful and crushing, pulling the intimate Southend faithful from dark to light whilst guitarist Rob Harvey sprinkled cinematic shimmering guitars to build an aching atmosphere.

Over the past three studio albums, the band has become a masterclass of emotional depth and gothic textures. But when they launch into the free-flowing "Why Are You So Boring?" Two songs in, they remind everyone that every so often, pop majesty lies beneath the blackened eyeliner.

It’s not all emotion-fraying Johnny Marr licks and Cocteau Twins moonlit eloquence. The mid-point is set ablaze by the poignant rollercoaster of ‘Cedars’. When they let their melodic instincts loose, Bevan goes from cult hero to rock icon. Her vocal wrapping around Harvey’s ecstatic guitars proves that band chemistry is still worth dying for. In set closer ‘Satellite’, they have a behemoth record of sending any crowd home with their jaw dragging the streets in awe.

Their backward, misspent youth gave the intimate Southend crowd something to cling to with teenage obsessive levels of devotion. Some bands entertain, but some can impart a devotion, a connection, that makes you howl their brilliance into the night in the hope that everyone will listen. Desperate Journalist are that band.  

Marseille – Godiva

Derby’s Marseille released their third EP ‘Godiva’ this past Friday via Bubblebrain Records. It follows 2023’s ‘The Dream Is Mine’, which led them to This Feeling’s stages at the Isle of Wight Festival and Y Not this summer. Can they maintain the momentum?

*banner image credit: Anya Maya Photography

Artwork and tour poster courtesy of Songbird PR.

Where the previous EP was primarily indebted to the Stone Roses and Ride’s jingle-jangle moments, ‘Godiva’ leans into The Verve and Ride’s heavier moments. ‘Monkey In The Middle’ continues this direction with a mesmeric power. The guitars now drive with Andy Bell’s purpose on ‘Leave Them All Behind’ in the early part, adding a mystique to Marseille’s allure. The shoegaze dissipates midway, and their love of the Roses comes back via the ‘I Am The Resurrection’ bassline and Squire-esque guitars.

Joe Labrum’s guitars begin as a jingle-jangle breakdown, soon become an all-encompassing ‘Resurrection’ meets ‘Champagne Supernova’ freak-out moment of glory! What prevents them from parody is the rampageous spirit of The Verve’s ‘Come On’. This is partly due to frontman Will Brown’s vocals during the climatic stages. Moreover, it’s the intensity which they impart as a collective. Full on and all ablaze, they maintain a relentlessness destined to play massive stages, not for the money but for people, togetherness, and immortality.

Where ‘Monkey In The Middle’ stared down the world with its psychedelic directness, ‘She Can Fly’, as the title suggests, has a more ethereal quality. Without losing a scintilla of heft, Marseille have managed to jab and move here with exquisite poise.

With The Verve’s debut album, ‘Storm In Heaven’, as a guiding light, ‘She Can Fly’ leans into the melodic power of ‘Slide Away’. With fleeting moments of driving shoegaze dynamism, the band pays homage to its influences before embarking on its rippling exploration.

Stepping on and off the power provides the perfect counterpoint to the psyche assault of ‘Monkey in the Middle’, which Labrum intercuts with rippling guitar magic that strays from Andy Bell to John Martyn with a drool-worthy effortlessness.

Their love of the Roses loiters on the opener ‘You Don’t Belong To Me’ alongside the lo-fi driving fury of Oasis b-side ‘Alive’. The EP is victoriously sent off into the sunset by ‘If It Hurts Don’t Cry’. ‘Urban Hymns’ sprawling power unites with the majesty of ‘Champagne Supernova’ to make next summer all but redundant.

Marseille have proved time and time again that rock ‘n’ roll belongs in youth culture. Their time is now, and despite next year’s colossus returning, the future belongs to them.

Click the tour poster below for tickets to their upcoming shows:

Lord Fayrebank – A Matter of Time

Lord Fayrebank is Ken Popple's new creative outlet from Creation Records’ Biff Bang Pow! and The Revolving Paint Dream. In May this year, he released his new single ‘A Matter of Time’ with Kevin Taylor on vocals and guitars, Satchmo Taylor on trumpet, and The De La Luande String Quartet on strings also feature on the single.

Vocally, Popple has beautifully nestled in between melodious Pete Astor circa ‘Spilt Milk’ and the aching beauty of Armstrong circa ‘Under Blue Skies’. Underpinned by Ray Davies’ knack for turning unusual corners with a great melody, Popple has made being present something to achieve rather than looming over you like a daunting mental block it can so often be.

Despite being released back in May, ‘A Matter of Time’ is perfect the record for September in the UK. This ode to accepting the passing of time and living for the current summer renaissance perfectly accompanies sonic.

‘A Matter of Time’ is a record for the lost to find themselves in once more. Blessed with great wisdom, it’s a nourishing arm around the shoulder, an enriching pint with a mate, and, quite simply, divine.

Keyside - Runaway

Liverpool four-piece Keyside are back with their new single ‘Runaway’. The lead single from their upcoming sophomore EP with Modern Sky UK. ‘Runaway’ was recorded at their home city studio, Kempston Street Studios, with The Courteeners and Blossoms producer Chris Taylor.

Image & artwork courtesy of Modern Sky UK.

There’s something beautifully cinematic about ‘Runaway’, the kind that Nick Love and Shane Meadows did so well in their early films. Keyside makes the teenage struggle gritty and real, but their La’s-esque melodies and Johnny Marr's aching beauty make it a romantic expression of escapism.

Frontman Dan Parker has found a space between Lee Mavers and Kyle Falconer vocally. His raw melody and razor-sharp delivery allow him to take his ‘Meat Is Murder’ licks from pain to defiance to elation. Oisin McAvoy’s drums have gone to another level. His crisp stomp provides the perfect backdrop for this coming-of-age gem.  

With three more tracks in 2024, Keyside have set an extremely high standard for the incoming autumn and winter.

The Royston Club - The Patch Where Nothing Grows

The Royston Club, fresh from headlining This Feeling’s By The Sea festival, recently released their comeback single, ‘The Patch Where Nothing Grows’. It was produced by Blossoms and The Courteeners cohort Rich Turvey and recorded at Liverpool’s Kempston Street Studio.

*banner image credit: Sam Crowsto

Artwork courtesy of Fear PR

In 2023, the band proved there was still a need for hooks and anthems from bands. ‘The Patch Where Nothing Grows’ is not a departure from that; it is, however, a marked improvement. What were indie licks and charismatic vocal hooks have now strayed into guttural rock ‘n’ roll.

This single is about realising that you only get one chance, and anything short of all or nothing is cheating yourself. Leading the charge is frontman Tom Faithful. He oozed charisma on the debut, but now, his guttural howl is beset with a desperation that seeks and wreaks!

There is somewhat of a 00s renaissance around these days. Some pastiche, too many parodies, what The Royston Club have done here is neither sonically nor the sound is their own. Spiritually, though, the Libertines riots, the guerilla gigs from The Rakes and The Others, the sense that a band could come out of nowhere, play anywhere, and change lives oozes from their new-found fire.

Click the image below for tickets to their upcoming tour:

The Utopiates - Neighbourhood

The North London groove machine returns with the new single ‘Neighbourhood’ on September 20th. Not resting on the laurels of 2023’s critically acclaimed album ‘The Sun Also Rises’, they have spent 2024 in the studio plotting their next moves.

Image & artwork courtesy of the band.

‘TSAR’ was an array of baggy, rave, and 90s indie grooves, and those hallmarks remain intact. However, this time round, the jagged NYC funk of LCD Soundsystem and abrasive melodies of TV On The Radio filter into the guitar blasts. It’s freshened up a band already at the cutting edge of things.

The introduction of 00s influences continues with the little touches of Does it Offend Say Yeah and Sportsday Megaphone. The nu-rave touches on the synths and production add subtle depth to a marauding groove.

Lyrically, The Utopiates' debut offered couplets to engage with, but the album was ultimately about the sonic. ‘Neighbourhood, however, takes them to another level. Insightful social comment and guttural polemic unite to add another magic ingredient to the mix.

If there is a blueprint to kick off a run-up to a new album, this is surely it. The key touch points of their origins spark new avenues of creativity to produce yet another indie-dance crossover anthem.

Click the image below for tickets to their next gig:

Alex Spencer - There's Gotta Be More

Back in July, Manchester singer-songwriter Alex Spencer released his second EP ‘There’s Gotta Be More’ via Modern Sky UK Records. Following 2023’s eye-catching ‘One Step Forward’ EP, can Spencer maintain the promise?

Image & artwork courtesy of This Feeling & Modern Sky UK

Where former tracks ‘One Step Forward’ and ‘One Way Ticket’ leant into Jamie Webster and Catfish & The Bottlemen, Spencer’s debut EP showed on ‘Waiting For The Change’ that he would soon unfurl his own archetypal sonic, a clash of the raw and angelic.

The clashing styles inform most of the new EP in style. Opener ‘Love and Let Go’ beset with regret and bitterness, is soundtracked with Kyle Falconer fronting a Blossoms tune. On ‘Nightmares’, Spencer’s romantic regret threatens to spill over (“I don’t expect you to care but inside it’s a war”) as his demons take control. The Bombay Bicycle Club circa ‘A Different Kind of Fix’ percussion and the moonlit math rock noodling on guitar add the shades of light this all-consuming record needs to keep you afloat.

The title track, with its exploratory jagged licks, evokes the late 00s and early ‘10s indie sounds of Foals, BBC, Little Comets, and Two Door Cinema Club. Spencer exquisitely cuts through this with the directness of his label mate Webster and a smoky Elliot Smith drawl.

The newfound directness excels on ‘Fear Will The Kill Future’, giving the EP its moment of glory. Tom Clarke's righteous indignation is put through an Elliott Smith prism of purity and wistful inspiration with further flourishes of Falconer. Bands should draw battle lines; they should be clear and fought upon with violent passion. It’s a trickier prospect for solo artists. Without the gang mentality, there's a danger of a messianic complex clouding the situation. Spencer has developed an eloquent blueprint to lift others up and march forward with them on the EP’s closer.

Spencer opens the main stage at Bridling Spa for This Feeling’s second By The Sea festival this Saturday. He was chosen by Radio X new music guru John Kennedy. Click the image for tickets

The Sway: Truck Festival, This Feeling & Hunter Boots Stage

Liverpool’s The Sway recently treated the Thursday ticket holders to Truck Festival to a mesmerising set on the This Feeling stage.

Bands can dazzle, they can enthral, that’s the easy bit for fledgeling bands. Having the craft honed to back it all up takes time, often until albums two and three. The Sway delivered it in abundance in this set.

All images courtesy of Alan Wells Photography.

‘Dreamer’s devilishly rumbling licks, a la their Scouse elders The Stands, sauntered through the summer air as though they’d always been present. ‘Changing’ had an eloquence that defied their years even more. The lo-fi vocal and angelic back vocals are kissed by moonlit Dave McCabe-esque guitars, which hold a crowd in disbelief.

Track after track, The Sway continued to delight with songs with the melodic ease of a band basking in years of success. ‘Songs & Poetry’ swayed with Shack’s guile, DMA’s innocence, and the romantic glee of the Sarah’s Records cannon. ‘Living It Large’, heavier than most in the set, still knew when to step on and off the gas. Drip fed the excitement with Lou Reed's “oo oos” and lysergic licks as and when, like Townsend in his pomp, toying with rock ‘n' roll disciples.

You wait, and you wait, and YOU WAIT, for a band to have the talent, integrity and poetry. So often, one or more is missing. The Sway have it all. They looked like a band of brothers, all standing at the front of the stage, confronting yet enticing, all songwriters and singers but crucially, no ego!

The Sway will play the coveted Rewired all-dayer at Signature Brew’s Blackhorse Road venue. Click the image for tickets.