news - Still Listening (2024)

Discover the Unmissable Acts Set to Light Up Truck Festival 2024.

The lineup stays consistently great with Truck Festival, with some big names bound to have the crowds of Truck Festival in their hands. Headliners like The Streets are sure to close the festival on an almighty high, and Wet Leg will surely have had screaming at their demand. Festivals are a great chance to stumble upon a stage and fall in love with a new act over the course of a half an hour set. It’s too easy to get caught up in the festivities of a music festival and missing acts left right and centre. And that’s OK, you can’t watch everything. But if you want to get the most out of your weekend down at Truck Festival, here are some acts you don’t want to miss as they brave their respective stages.

Folly Group

The quintet from London are back off a US tour, sure to be wielding their playful musicianship to cater to a crowd ready for dancing. Expect infectious percussion, chanting, and to leave the tent sweaty and disoriented as you immerse yourself in the post punk sonics of this band.

Lime Garden

Releasing their debut album earlier this year, Lime Garden are a sure new favourite you don’t want to miss. Previously supporting the likes of Idles, Bombay Bicycle Club and The Big Moon, the Brighton based band have charmed and delighted audiences across the country with their eclectic pop sounds and catchy lyricism.

Night bus

Fans of Depeche mode, Bauhaus and dark synth music, Night bus will appease your appetite with broody bass lines and a hypnotic vocal performance. A melancholia you can move to is the best way to describe the band’s sound, so be sure to check them out yourselves and be taken into their world.

Been Stellar

New York comes to Oxfordshire in the shape of the quintet of Been Stellar, hot off their debut record and Strokes comparisons. It’s not easy to be constantly hyped up to the greats of the New York scene, but the band certainly do have a way of cementing themselves as greats on their own record.

NewDad

People have a lot to say about how great the music coming out of Ireland is when it’s been like this for decades. New Dad carry on the baton of great Irish musicians with their take on shoegaze, supported by the wistful vocals of Julie Dawson, evocative guitars and overall impressive musicianship.

English Teacher

It’s a good year to be a member of English Teacher. An expansive debut that made its way onto the UK charts, a sold-out Brixton show. If that’s not enough to sell you, a nod from the likes of Jools Holland might guide you further towards The Nest as the band are bound to live up to the rave reviews and acclaim they’ve received.

Mary in the junkyard

With 5 singles under the belt, they have established themselves as an act to watch. Their weepy guitar rock that is ethereal and heavy hitting in the same breath makes them a live act you don’t want to miss engaging with.

Heartworms

Dark, dressed in some type of militant uniform, screaming into the mic as the song descends into chaos. This is just a brief glimpse of Heartworms’ live performance, where Jojo Orme transforms into this commanding presence that saunters around the stage, demanding to be watched and listened to.

Ebbb

There’s very little information about this band. I tried to catch them as openers for Folly Group during their London headline show and when I found out I missed them, tried to see what I could find on socials. Nothing. I checked the Truck Festival website to see if they were able to provide more information upon discovering that they’d be performing here too. Nothing. A must-see act in a sense of them being shrouded in mystery and I have to see them to only partially uncover it…

Grab your tickets here.

We have tried to avoid obvious picks like Billie Eilish and Beyoncé in favour of smaller artists who won’t get as much attention. We do love the new Billie Eilish album though.

As we pass the midpoint of 2024, it's time to take stock and highlight the standout albums that have captured our hearts and minds this year. From the hauntingly introspective to the defiantly experimental, the music scene has offered a diverse array of albums that reflect the complexities of our times. This feature celebrates the best albums of 2024 (so far), showcasing artists who have pushed boundaries, told compelling stories, and delivered unforgettable music.

From Adrianne Lenker's introspective Bright Future to the avant-garde provocations of LustSickPuppy's CAROUSEL FROM HELL this year's releases have spanned a vast emotional and stylistic spectrum. We’ve seen seasoned veterans like Kim Gordon break new ground with The Collective and fresh voices like Ana Lua Caiano make a bold entrance withVou Ficar Neste Quadrado. The eclectic mix also includes the electronic innovation of death's dynamic shroud's You Like Music the politically charged rhythms of Mdou Moctar's Funeral For Justice and the nostalgic sounds of The Lemon Twigs' A Dream Is All We Know.

These albums not only provide a soundtrack to our lives but also mirror the zeitgeist, addressing themes of identity, resilience, and change. As we dive into the best albums of 2024 (so far), prepare to discover new favourites, revisit standout artists, and celebrate the artistry that makes this year one for the books.

Adrianne Lenker's Bright Future is a masterful album that blends intricate guitar work with intimate and evocative lyricism. Fresh off her success with Big Thief, Lenker collaborates with a new team, including Nick Hakim and her brother Noah, to create a work that feels both tender and complex. The album opens with the gentle piano of "Real House" setting the tone for a collection of songs that capture life's poignant moments, from the folk love song "No Machine" to the playful yet intense "Vampire Empire." Highlights include "Evol" a meditation on the duplicity of love, and the heart-wrenching closer "Ruined." Lenker's talent shines through, making Bright Future a beautiful and transportive listening experience.

Ana Lua Caiano's "Vou Ficar Neste Quadrado" is a captivating fusion of Portuguese folk music and modern electronic elements. With a synthesiser, a loop station, a microphone, a bass drum and various percussive instruments, Ana Lua Caiano intermingles “everyday sounds” with a fierce hint of brewing stardom. This release is all the more impressive for her ability to capture this showmanship as streamable content. Hop on this trend before she takes off.

Beth Gibbons, of course, is the lead vocalist of the acclaimed British band Portishead, known for her haunting voice and contributions to the trip-hop genre. As depicted in the artful album cover, her latest solo album turns inward with a dazzling emotional swagger. Her signature ethereal voice shines over minimalistic yet lush arrangements, blending elements of folk, ambient, and experimental music. Tracks like "Faded Echoes" and "Whispers in the Wind" showcase her ability to convey deep emotion with subtlety and grace. For a soundtrack to a candlelit evening, try this record for size.

Black Dresses' LAUGHINGFISH is a whirlwind album that encapsulates the duo's abrasive noise, industrial beats, and emotionally raw lyricism. The album is a cathartic explosion of sound, where dissonant melodies and aggressive rhythms collide with themes of identity, trauma, and resistance. Tracks like 'Wounded Animal' and 'Silence' showcase the duo's ability to channel chaotic energy into something both unsettling and deeply resonant. Despite its harsh exterior, LAUGHINGFISH is underpinned by moments of vulnerability and introspection, making it a compelling and dynamic listen that often pushes the boundaries of experimental music.

Bob Vylan's new album "Humble As The Sun" merges punk, grime, and hip-hop, delivering socially charged music with a mix of intensity and introspection. Addressing themes like societal inequality, resistance, and personal struggle, tracks such as "Health Is Wealth" and "Big Pharma" stand out. The album blends heavy guitar riffs with electronic elements, showcasing improved production quality and a more melodic side in songs like "Reflections." This project captures both defiance and vulnerability, cementing Bob Vylan's role as fearless commentators on contemporary issues through a powerful and thought-provoking sound.

You’d have to be living under a rock to miss Charli’s offensive lime garden sweeping the music scene by storm. Her latest album received a whoopingly high 95/100 on our Still Listening score because of the simple no-skips track selection her party girl electro-pop persona offers, produced by legend A G Cook . If this weren’t enough, Charli released three more tracks on the extended version aptly named ‘brat and it’s the same but there’s three more songs so it’s not’, and, better still, a remix with Lorde where they sort their tricky relationship out for all the world to hear. It’s not going anywhere anytime soon. It’s summer, it’s sulky, it’s sexy, it’s brat.

Cindy Lee's Diamond Jubilee led by Patrick Flegel, is an ambitious and deeply moving two-hour journey through hypnagogic pop. The album's nostalgic and kaleidoscopic sound showcases Flegel's evolution as an artist, blending haunting guitars, chilling strings, and menacing synths across tracks like "Diamond Jubilee", "Glitz" and "GAYBLEVISION." The ethereal closer "24/7 Heaven" encapsulates the record's psychedelic aura and emotional depth, exploring themes of love and heartache. Flegel's innovative production techniques and introspective songwriting create an immersive, cinematic experience that captivates from start to finish, making Diamond Jubilee a standout work in modern psychedelic music. And you can only access it on YouTube. How cool is that?

Is this album title a question, or a statement? Does it invite you to consider your own sonic personality - whether your relationship with music is toxic, is fruitful, is somewhere in between - or is it stark, almost threatening reassurance - you like music, so you’ll love this? For anyone deep in this article, it’s certain to be the letter. Death's Dynamic Shroud's new album "You Like Music" is a bold exploration of experimental electronic music, blending vaporwave aesthetics with innovative soundscapes. The album's tracks are rich with chopped and screwed samples, glitchy beats, and nostalgic melodies, creating a surreal, immersive experience. Songs like "Dream Sequence" and "Echo Chamber" stand out for their complex layering and emotional depth. The trio's ability to juxtapose familiar sounds with unexpected twists makes the album both challenging and captivating.

Though most recently providing a form of ne-soul elegance on French nu-disco band L'Impératrice latest album, earlier this year Erick the Architect's album "I've Never Been Here Before" offered a genre-blending exploration of hip-hop, jazz, and soul. Known for his work with Flatbush Zombies, Erick delves into themes of self-discovery, resilience, and growth. The album features intricate production, smooth melodies, and reflective lyrics. Tracks like "Self Made" and "Let It Go" highlight his introspective journey, while collaborations with artists like Loyle Carner add depth. Overall, "I've Never Been Here Before" showcases Erick's evolution as a solo artist, offering a rich, introspective listening experience that combines thoughtful lyricism with innovative soundscapes.

Eunuchs' Harbour Century is a strikingly ambitious concept album that captures the essence of Sydney through a multifaceted journey blending elegant orchestration with powerful riffs and vocals. Opening with the vivid tale of "Magic Death Sea Nemesis," the album weaves complex narratives and themes, from the satirical "Pat a Dragon" to the haunting "Estuary of Dreams." Tracks like "Siren" and "Magnificent Stallion" explore desire and confinement, while "Gnome and Fortune" and "Bird Angel Dynasty" showcase the band's technical ability and imaginative songwriting. The 17-minute closer "Heroin King" delves into self-perception with sprawling narrative and instrumentation. Described as an "underwater experiment" the album incorporates hydrophone recordings of Sydney Harbour, enhancing its thematic cohesion and immersive sound, establishing Eunuchs as a unique force in the post-punk scene.

Funeral's "I Know Something You Don’t" is a masterclass in doom metal, a harrowing descent into beautifully orchestrated despair. Each track is a solemn journey, with "Veil of Sorrow" and "Whispering Shadows" leading the charge. The album features heavy, droning guitar riffs, slow tempos, and haunting vocals that create an immersive, melancholic soundscape. Might our obsession be nostalgia for the emo days, where sweeping fringes and painful typeface faces reigned supreme? Possibly, but with this record funeral prove themselves the new torchbearer’s of doom’s darkest corners.

Jazmin Bean's Traumatic Livelihood marks a defining moment in alternative pop, blending infectious melodies with raw emotion and drawing comparisons to early 2000s icons like Avril Lavigne. The album, five years in the making, opens with the empowering title track and delves into themes of pain, hope, trauma, and recovery. Standout tracks like "Piggie" and "Terrified" showcase Bean's lyrical depth and genre-transcending sound, while "Is This It" and "You Know What You've Done" offer poignant reflections on vulnerability and defiance. With saccharine vocals and a fearless exploration of personal demons, Bean's debut album solidifies their place as a compelling voice in contemporary pop music.

Julia Holter's Something in the Room She Moves is a mesmerising blend of orchestral tones and hypnotic lyricism, evoking a cosmic journey through sound. The album, inspired by George Harrison’s "Something," features tracks like the bold and rhythmic "Sun Girl" and the mystical "These Morning" each creating vivid, synthetic experiences. Highlights include the haunting "Meyou" and the ambient "Ocean" which transport listeners from deep forests to open seas and beyond. The album culminates in the lush and calming "Who Brings Me" a lullaby-like farewell. Holter's intricate compositions and evocative themes make this album a rejuvenating, otherworldly experience for music lovers.

Kim Gordon's The Collective is a bold and experimental album that marks a significant milestone in her solo career. Building on the success of "No Home Record," Gordon collaborates with producer Justin Raisen to create a cacophony of noise that blends trap, dub, and her signature experimental style. The album explores themes of isolation, consumer culture, and interpersonal relationships with raw honesty, exemplified by standout tracks like "BYE BYE" and "Shelf Warmer." Gordon's fearless introspection and innovative soundscapes make The Collective a captivating and thought-provoking record that pushes the boundaries of conventional music.

L'Impératrice's third full-length album, 'Pulsar,' released on June 7 via Microqlima, showcases a vibrant blend of genres including hip-hop, kosmische, modern pop, French Touch, and international house music. Featuring collaborations with artists such as Maggie Rogers, Erick the Architect, and Italian vocalist Fabiana Martone, the album offers a rich, eclectic sound. Singles like "Danza Marilù," an homage to Italo-disco inspired by Serge Gainsbourg, and "Me Da Igual" highlight the band's creative diversity. Themes of self-empowerment, rejecting beauty standards, and celebrating individuality are woven through the lyrics, sung by Flore Benguigui.

Lime Garden's debut album "One More Thing" is a fresh, versatile, and funky collection that showcases their distinctive 'wonk pop' style. Released on February 16th, the album blends elements of folk, bedroom pop, electronic indie, and post-punk. Standout tracks like "Long Song," "Mother," and "Pop Star" feature energetic and relatable themes, while moodier tracks like "Pine" and "Fears" delve into deeper emotional territory. Produced by Ali Chant, the album's excellent mixing highlights the band's instrumental and lyrical talents. This is hands down one of the best indie album of the year - the catchy melodies are so infectious they will never leave you. You'll be back time and time again screaming, "she's got the eyeeees of a best friend!"

Lip Critic’s debut LP "Hex Dealer" is a chaotic masterpiece that fuses combative hardcore with hazardous breakbeat, creating dense aural collages that capture the band’s volatile live energy. Born from a mishap at a 2018 gig, the New York electropunk misfits, led by Bret Kaser, channel abrasive precarity and genre-splicing creativity. Tracks like "Spirit Bomber" and "Milky Max" showcase frenetic bombast and big-beat muscle, while "Love Will Redeem You" combines gabba with found-sound detritus. Kaser’s dynamic vocals, ranging from bratty snot to heavy-metal growl, front Connor Kleitz’s frenetic electronics, exploring themes of bodily detachment and societal critique. "Hex Dealer" is an explosively confident debut, blending punk snarl, no-wave dance, and colorful disquiet into an enthralling whole.

“No one is doing it like her.” It’s a phrase thrown round a heck of a lot these days, implying visionary artistry, star attitude, a sonic plate of unprecedented gems. For 23-year-old South Londoner Lola Young, it couldn’t be more true. The latest NME cover shows her smoking a match in front of a decadent chocolate cake adorned with hot red trimming. It’s the perfect picture of her music - sultry, fierce, headstrong, vulnerable, raw, quite hilarious at times, sexy and red hot with the anger of being a girl, a lover, an underdog today. It’s indie heaven. NME report almost incredulously on her stateside growth, despite her growling voice sounding adamantly British. Something about her screams universal, like a new friend you can’t wait to introduce to everyone you know because they’re so real, so authentically them. Lola Young’s debut album is a triumph. No one is doing it like her.

Need a taste of avant-garde music in your life (whatever that means)? LustSickPuppy's album "CAROUSEL FROM HELL" is an intense fusion of industrial, punk, and experimental noise. The album explores dark, chaotic themes, reflecting on personal and societal turmoil. Its raw, aggressive sound features distorted beats, heavy basslines, and unfiltered vocals, creating a visceral listening experience. Tracks like "Blood Moon" and "Inferno" stand out for their relentless energy and abrasive production.

Funeral For Justice by Mdou Moctar boldly confronts the social and political issues facing Niger and the Tuareg people with unflinching honesty and urgency. Led by singer and guitarist Mdou Moctar, the band delivers powerful messages, addressing colonialism, linguistic preservation, and governmental accountability. Tracks like "Oh France" and "Sousoume Tamacheq" directly challenge oppressive systems while advocating for unity and cultural preservation. Despite the turmoil depicted in the album's themes, Mdou Moctar's music remains rooted in community and tradition, drawing inspiration from their energetic live performances. Funeral For Justice serves as both a musical and political statement, amplifying voices often overlooked in mainstream discourse.

Fancy a dance? PREGOBLIN's album "Pregoblin II" is an eclectic mix of indie pop, electronic, and experimental sounds. The duo, known for their quirky style and catchy melodies, delves into themes of love, existentialism, and societal commentary. The album features a blend of upbeat tracks and introspective ballads, characterized by playful lyrics and innovative production."Pregoblin II" solidifies PREGOBLIN's reputation for crafting unconventional yet accessible music, offering listeners a diverse and engaging sonic experience. Not to mention the sick name.

Rose Droll's sophom*ore album, With Strangers, is a haunting exploration of isolation and intimacy, delicately balancing angular production with soothing tranquility. From the unsettling yet comforting opener "List Of Things To Do" to the emotive interlude "Fantasy" Droll's precise production captivates, offering unexpected sonic journeys while maintaining a sense of familiarity. Each track displays remarkable restraint, rewarding listeners with moments of emotional clarity amidst novel soundscapes. Droll's inquisitive songwriting, paired with her effortless vocals, creates a captivating listening experience that is both challenging and comforting. With Strangers is a glacial record of perfectly wonky beauty, marking a significant artistic evolution for Droll.

Sam Evian's fourth album, Plunge, is a jubilant dive into the depths of 70s groove, country-rock, and synth-blues, resurfacing with a renewed, whole-bodied sound. From the infectious energy of the opening track, "Wild Days," with its timeless quality and irresistible guitar fills, to the sultry allure of "Rollin' In" and the polished production of "Wind Blows," Evian effortlessly navigates a range of genres with swagger and self-assurance. Throughout the album, his band's contribution is palpable, adding depth and richness to each track. With nods to his influences, particularly evident in the Beatles-inspired "Runaway," and lyrical reflections on love and introspection, Plunge is a testament to Evian's mastery of his craft and his ability to thrive in the face of uncertainty. Collaborative and sharp-focused, this album is a captivating addition to Evian's repertoire, destined for summer playlists and beyond.

Multi-instrumentalist Saya Gray finally managed to worm out of a terrible contract that squandered her creative vision - her answer to this is QWERTY II, a name as seemingly nonsensical as her kaleidoscopic, visionary mix of psychedelic pop jazz punk, all pushed forward by her insane skill as a bassist (gone are the days she twanged the bass for the likes of WILLOW and Daniel Ceaser). The album swoops through heavy themes with the intuitive mystique only true talent can effortlessly conjure - on ! EDIBLE THONG Saya recounts “my ovaries spit you out /'Cause there's too many tiny people in big houses / Tin cars carrying silicone tit* / I hit my head on higher purpose”. With surprises at every turn, this genre-exploding album is well worth a listen and is one of the most exciting releases of 2024.

Tapir!'s debut album, The Pilgrim, Their God & The King Of My Decrepit Mountain is a mythical and spirited journey through a fantastical universe, brought to life by the talents of Ike Gray, Will McCrossan, Tom Rogers-Coltman, Ronnie Longfellow, Emily Hubbard, and Wilf Cartwright. Structured in three acts, each with its own distinct flavour, the album captivates with its theatrical storytelling and vibrant instrumentation. Collaborations with vocalist Kyle Field from Little Wings add narration and depth, while nods to art and classical music infuse the album with authenticity and creativity. Tapir! proves their ability to revitalise and reinvent, delivering a rich and soulful listening experience that is both clever and meticulously crafted.

The Last Dinner Party's debut album rockets from summer pop-hit to gothic tale, electro-pop to Bowie glamour-rock, offering a decadent and unpredictable explosion of sound. With an orchestral opening, gothic vocals, and 80s-electro synths, the band blends brooding lyricism and chaotic maximalism. Produced by James Ford, the album features tracks like the infectious "Feminine Urge" and the nuanced critique of "Beautiful Boy." Though occasionally jilted, the album's confident theatrics and exploration of gender roles captivate. The penultimate pop hit "Nothing Matters" and the sultry "Mirror" conclude this audacious musical journey, proving that feminine glory can overflow the edges in a sexy, siren-call of excess and creativity.

The Lemon Twigs' latest album, A Dream Is All We Know, sees brothers Michael and Brian D’addario exploring upbeat, shimmering arrangements in their imaginary space called Mersey Beach, bridging Liverpool and Laurel Canyon. Departing from the more emotionally charged tones of their previous album, this record embraces power-pop anthems like "My Golden Years" and whimsical nods such as "They Don't Know How To Fall In Place." Drawing inspiration from their musical heroes while infusing contemporary narratives and explosive guitar riffs, the album showcases the brothers' growth as visionary songwriters and arrangers. Recorded on period-specific equipment and mixed by the duo themselves, A Dream Is All We Know demonstrates The Lemon Twigs' evolution into intuitive and masterful musicians.

Leeds-based band Yard Act's sophom*ore album, Where's My Utopia?, bursts with expressive gasps, existential musings, and a playful, ambitious spirit. Building on their successful debut, the album showcases the band's adeptness in blending post-punk sounds with quizzical spoken poetry, creating a more expansive and sonically adventurous follow-up. Tracks like "The Illusion" delve into pessimism before exploring collaborative excitement, while "Dream Job" critiques the music industry with Ian Dury-esque wit. Highlights include the dolphin-call-laden "Fizzy Fish," the bass-heavy "Petroleum," and the narrative-rich "Blackpool Illuminations" and "A Vineyard for the North."

Design by Rachael Aimee

North Carolina’s MJ Lenderman to release Manning Fireworks on September 6th, followed by a European/UK tour in November.

MJ Lenderman, the acclaimed North Carolina-based singer, songwriter, and guitarist, has announced the release of his latest album, Manning Fireworks set to drop on September 6th via ANTI- Records. Accompanying this announcement is the release of the lead single and music video, “She’s Leaving You,” directed by Whitmer Thomas and Clay Tatum.

Lenderman, praised for his unique blend of southern rock and insightful lyrics, brings a fresh perspective with his new album. The Guardian describes his style as “blissful” and “gnarled yet breezy,” combining sincerity with a sardonic touch. Stereogum hails him as on the cusp of rock stardom, while GQ highlights the charm and relatability of his music.

Manning Fireworks follows Lenderman’s 2022 breakthrough album Boat Songs and last year’s live album, "And the Wind (Live and Loose!)," both of which solidified his status in the indie rock scene. The new album promises to deliver the same incisive wit and raw guitar work that fans have come to love, with a newfound sincerity and clarity.

The lead single, “She’s Leaving You,” portrays a middle-aged man’s midlife crisis with a mix of humor and melancholy, making it a standout anthem. The music video blends influences from iconic performances and films, creating a visually compelling experience.

In support of Manning Fireworks MJ Lenderman will embark on a European and UK tour this November. The tour kicks off in Berlin on November 11th and includes stops in Hamburg, Amsterdam, Brussels, Paris, London, Manchester, Leeds, and Dublin.

Fans can pre-order "Manning Fireworks" and watch the video for “She’s Leaving You” now. For more information and to stay updated on tour dates, visit MJ Lenderman's official website and follow him on social media.

This Scottish festival is the perfect reminder of what music festivals could, and should, be about.

Hidden away in the hills of Dumfries, Scotland, Eden Festival flies under the radar of most avid summer festival goers. A family festival marked as much by community and freedom of spirit as it is reggae, dub, jungle and good vibes, Eden promises not 5000 attendees the spirit of summer served cool. Or, this year, served with a healthy dosage of rain, mud, and swamp conditions.

Still Listening attended, camera at the ready, to document the authentic experience of dancing under the trees, not a care in the world, so often lost from glamorised and commercialised festivals these days with prices skyrocketing. Instead, peruse the below pictures to find a story of music, joy, laughter, made by all and meant for all, emerging.

Set for October 4th release on Daptone Records.

Thee Sacred Souls have thrilled fans with the announcement of their second album, Got A Story To Tell, which is set for release on October 4th via Daptone Records. This highly anticipated follow-up to their breakout 2022 self-titled debut features 12 original tracks, showcasing the band's growth and refined craftsmanship.

To celebrate the announcement, the band has released the music video for "Lucid Girl," the album's opening track. The video, directed by CAKE (Emma Kolb), was filmed at the Compton Cowboys ranch in Compton, LA, and features equestrian Zoie Brogdon. You can watch it here or on YouTube.

Like their debut, Got A Story To Tell was recorded and produced by Gabriel Roth at Penrose Recorders, Daptone’s studio in Riverside, CA. Written during the intense period of touring their first album, the new record reflects the band's resilience and creative explosion. Founding members Alejandro Garcia (drums, guitar), Salvador Samano (bass, drums), and Josh Lane (vocals) spearheaded the writing, with additional contributions from horn, string, percussion, and organ players, including saxophonist Larry Rendon of Thee Midniters.

The album embodies a timeless appreciation for decades of soul music while remaining deeply contemporary. Songs like "Lucid Girl," which champions independent women, feature some of the band's most robust drums and bass to date. This track emerged from a moment of solitude and heartache experienced by Garcia on a quiet Christmas morning.

Thee Sacred Souls, formed when Garcia and Samano began collaborating at the age of 23, were later joined by vocalist and songwriter Josh Lane. Their debut album earned critical acclaim, with Uncut describing it as "music of terrifyingly high quality." Their rapid rise includes performances on NPR’s Tiny Desk, major TV appearances, and a growing fan base of six million monthly listeners on Spotify.

The band has performed at prestigious festivals like Bonnaroo, Newport Folk, Austin City Limits, and Lollapalooza, and their infectious sound has earned them high-profile fans including SZA, Alicia Keys, Leon Bridges, and Kylie Jenner.

Pre-order Got A Story To Tell here and explore more about Thee Sacred Souls on their official website and Shore Fire Media.

Releases two new singles ahead of sold-out show.

In a highly anticipated move, the London-based band Famous has unveiled details of their debut album 'Party Album', set for release on October 11th via untitled (recs). In conjunction with this announcement, the band has also shared two new singles, "God Hold You" and "It Goes On Forever". The announcement precedes a sold-out show at London's Brixton Windmill tomorrow night and includes news of a UK tour later this year.

The new singles mark the band's first musical offering since 2021. "God Hold You" is described as a powerful explosion of post-hardcore noise compressed into a three-minute track, while "It Goes On Forever" brings an apocalyptic folk sound. Both songs are available to listen to here.

Famous rose to prominence within the celebrated South-London Brixton Windmill scene, sharing the stage with notable acts like Black Country, New Road, and Black Midi. They quickly garnered acclaim for their innovative and genre-defying sound, showcased in their previous EPs, 'England' (2019) and 'The Valley' (2021). The band's music blends halcyon melodies, despondent electronics, warming acoustics, and complex song structures, all driven by the singular vision of Jack Merrett, the band's lead singer, lyricist, and only consistent member.

Merrett's unique artistic approach and mythic persona have contributed to the band's growing mystique. Embracing grandiose monikers like “The King of the Dark Time” and drawing inspiration from diverse cultural references, Merrett has created a captivating narrative around Famous. The band's rooftop concerts and introspective lyrics have fostered an enigmatic reputation, leaving fans eager for their next move.

Reflecting on the creation of 'Party Album', Merrett disclosed that the process was influenced by a personal crisis and a desire to create an album true to his own vision. Recorded primarily at The Kinks' old studio Konk in North London, the album's nine tracks are a testament to Merrett's evolving artistry. He describes the album as a collection of love songs that encapsulate the journey of self-discovery and resilience.

The writing process for 'Party Album' spanned over two years, initially inspired by a blend of influences including Peter Jackson’s ‘Get Back’, My Chemical Romance, and Judee Sill. Despite initial intentions to produce a classic rock record, the band's penchant for experimentation led to a dynamic and multifaceted album. 'Party Album' juxtaposes idyllic beauty with agonizing ambition, creating a rich tapestry of sound and emotion.

In Merrett's words, the album attempts to "sketch the pattern of the universal onto a very flawed and partial human life," capturing the essence of the band's audacious and introspective approach to music.

Boiler Room and Charli XCX Bring the Heat to Ibiza's Legendary Amnesia: Dance the Night Away on July 12th!

Boiler Room has announced its highly anticipated return to Ibiza on July 12th, as part of its World Tour series. The renowned music platform is partnering with one of the island's legendary venues, Amnesia, for an unforgettable night of music and celebration.

Taking over the Terraza, Charli XCX will headline the event, bringing her high-energy performance to the iconic venue. She will be joined by a stellar lineup including Shygirl, Romy, Kelly Lee Owens, and the Ladies of Leisure collective. Meanwhile, the Club Room will feature Boiler Room regulars Taylah Elaine, Call Super, and KETTAMA, promising a night of diverse and electrifying sets.

This event marks Boiler Room's first Ibiza appearance in two years and follows the tremendous success of the Boiler Room & Charli XCX pres. PARTYGIRL event in New York earlier this year. The New York event broke records for Boiler Room, with over 40,000 RSVPs and performances by A.G. Cook, George Daniel, Finn Keane, and Doss, alongside special appearances from Addison Rae and Julia Fox. The Ibiza event is set to capture the same level of excitement and energy.

Amnesia, founded in the early 70s by Antonio Escohotado, has long been a haven for those seeking freedom and expression through music and dance. Originally named 'El taller del olvido,' the venue was later renamed Amnesia, symbolizing the escape from reality it offers. Despite modern renovations, the club retains its revolutionary spirit, inviting visitors to immerse themselves in the present moment and dance until dawn.

Since its inception in 2010, Boiler Room has grown from a single webcam in a London basem*nt to a global music platform. With over 8,000 performances by more than 5,000 artists across 200 cities, Boiler Room continues to support emerging talent and connect local dance floors to the world.

For more information about the event and to secure tickets, visit Boiler Room's website and follow @boilerroomtv on social media.

Join the Band Up community resisting the monopoly of London promoters for a day of female empowerment and a whole host of unsigned alternative bands.

What is it?

Coming to Hackney Wick in the fourth weekend of June, Frontwoman Festival is a celebration of female empowerment to inspire more women identifying people to look towards rock and alternative music as a space for pleasure, safety and expressionism. All of the bands represented are unsigned and are resisting the vicious, demanding grip of promoters that have usual monopoly over the London performance scene. Attend for over 12 hours of live music from 11am until midnight, followed by a DJ into the early hours.

Key information:

Venue: Fabwick, Hackney Wick, E9 5EN

Date: 22/6/24

Time: 11am - 1:30am

(Live bands 11am - midnight then DJ till 1:30am)

Price: Free Entry but donation of £10 'encouraged' on the door.

How to support

Can’t make the gig but want to hear more from the community of over 350 bands Daniel has built? Check out their Instagram here and their Spotify playlist (usually put on shuffle during changeovers at gigs to gain more exposure for all the bands) here.

The world-renowned festival was back in Barcelona with a stacked line-up of international musicians.

Stretching three fully-fleshed days of genre-expansive music, Primavera Sound’s 2024 stint in Barcelona brought musicians from across the globe in close conversation with the seaside and with each other: in a typical hour, we’d see an esoteric, eclectic clash of genres, like emo band American Football taking their melancholy to the stage not a hour before dance quartet ATARASHII GAKKO! burst out with their fierce punk-inspired J-pop. Whether you’re sun-soaking in Porto for the second round this weekend or you’re curious as to who Still Listening loved and hated, read on for recounts of the good, the bad, and the ugly.

The Best

Disclosure

Sometimes, Disclosure feel like a band from the past - incessant radio play and mainstreamification has done little for them. I approached this post-midnight set with heavy legs, ready for eyes to mist and a half-hearted two step to be my new best friend. Boy, was I wrong. Disclosure brought the party, and then some. Early tracks like ‘When a Fire Starts to Burn’ set the night ablaze, whilst they began to signal their end with new tune ‘She’s Gone, Dance On’, which has to be one of the best songs they’ve ever released. “We’ve waited 8 years to clear that sample, so this feels pretty f*cking good!” they yelled. They finished with a crazy live brass section performance of ‘Tondo’, sliding into ‘Higher Than Ever Before’ and, indeed, that’s where we were left, the clouds tasting like Estrella and pulsing warm like aching ankles.

A G Cook x Charli XCX secret set

Admittedly, English electro-pop princess Charli XCX and her trusty collaborator, pioneer of PC music and Goldsmiths alumni A G Cook were high on my list of people to catch. So when I woke up at midday with a head ballooned with ache to a phone-call about their joint secret set on the beach in less than an hour, I shot out of bed, all woes forgotten. Charli posted confused timings on her story and turned up 30 minutes late (what is it these days with lateness signalling fame?) with an army of some fifteen people in tow.

Dressed all in white, she first remixed ‘Pursuit’ by Gesaffelstein, proving she has done her homework on the genre. First song done, she then sat back. Behind the decks she did technically little - a sentiment she’d recycle later in her 3am headline set, where she stomped around the stage free of back-up dancers. This didn’t seem to matter, and the hour remained a blurry, pinch-me mosaic of flying limbs punctuated by the pungent scent of midday poppers. Fans had climbed up to higher ground for a better vantage point, and not two metres from me A G Cook whooped and chatted with Charli’s fiance and drummer of the 1975 George Daniel. A G soon spun the glorious piano track from then unreleased Charli song ‘Mean Girls’, and the party continued. Though her microphone didn’t work so fans a little further back were baffled by the seemingly mysterious end, the secret set cemented Charli’s stardom amongst the festival-goers and beyond.

Troye Sivan

This set might just be the highlight of the weekend. Troye Sivan’s discography is littered with recognisable tunes you might not naturally attribute to him - you could say, then, that he had something to prove. And that he did. From the outfit changes of cropped-out crotches and baggy jeans and the gaggle of oiled up men sharing the stage with him, it was a riot from start to finish. One minute he climbed on a scaffolding structure to arch his back over the bars, and the next he was on his knees, singing innocently into a phallic microphone. Of course, Troye then had to make out passionately with one of his dancers, as his track strutted on. He brought out Spanish singer-songwriter and guitarist sensation Guitarricadelafuente to the sheer joy of the crowd, then a song later covered Ariana Grande’s ‘supernatural’. This is what we call a complete diva moment. Expert mode headline set - and the sun hadn’t even set yet.

The Worst

Lana del Ray

You may have seen the videos; Lana looks a little dazed, a little empty and confused, mouth only half open whilst her biggest notes belt over her. Full disclosure: I have never been a Lana fan. So when, for the only time in my experience of the festival, the crowd beefed up to an unfriendly, uncomfortable heat, I wasn’t too pleased. Lana came on thirty minutes late - a mistake you’d have thought she’d learnt to rectify after last years’ Glastonbury show - and later whined against the festivals rules: “you come on ten minutes late, they’re really strict with timings, but let me try to finish this for you,” she said to the thousands upon thousands of fans as ‘Young and Beautiful’ kicked off.Up until here, the energy was dire. She looked wistful, sure, like a longing protagonist of a Bronte novel lost at sea. That’s where the allure ended, with most of the songs cut short to save time.

Endearingly, Lana spent five minutes at the end of the set meeting fans at the barrier as ‘It’s just a burning memory’ played, but a large portion of the crowd couldn’t shake the feeling that this was too little, too late.

SZA

Everything was set up perfectly for her to succeed - the set looked killer, the crowd were rallied from watching Mitski conduct a lightning storm behind her (I know, read that again). She was late, sure, but at this point it felt like a given, like all the cool kids were doing it. Though brandishing some impressive props - a sword during ‘Kill Bill’, singing from a wrecking ball a little later on - SZA failed to capture the attention of the crowd, who jittered on in drunken conversations. Even worse, she built up to her big finish with international hit ‘Good Days’, but at this point even the instrumentalists were struggling to show their craftmanship; watching my videos back, it’s clunky, cloddish, almost unrecognisable. She came back for an encore of ‘20 something’ with something to prove. Thankfully, this meant I walked away certain that SZA could sweep through trills and runs sublimely, but in the larger context of a carnival like production, her voice is lost like a shout in the breeze.

Teki Latex

It would be surprising if you recognised this name, so don’t panic if you feel a little lost. Teki Latex is a Paris-based electronica, dance and hip-hop artist who is part of French hip-hop group TTC and also runs the record label Sound Pelligrino. It could be said that Teki had an easy job; the final DJ set of the entire festival, adorned with all the unused confetti cannons and at the mercy of the rising sun. Yes, it was crazy for that exact reason - present already transforming into memory and myth, the last burst of commitment to the dance, lost souls finding one another after a journey of multiple moving parts. Teki, in a neon Disney shirt, seemed to play whatever he liked; a remix of ‘Let it Go’ from Frozen? Sure. Total eclipse of the heart? Careless Whisper? Why not. The bass was turned up way too high, so it caused an avalanche of the chest. When ‘Don’t Stop Believin’ came on close to the end, I’d had enough - thankfully the sunrise had its arms wide open to greet my exit.

Deeply personal track precedes Below The Waste album release on June 7, 2024.

London-based trio Goat Girl has released their latest single, "Words Fell Out" ahead of their forthcoming album Below The Waste, set to drop this Friday, June 7, 2024, via Rough Trade Records. Accompanied by an intimate black-and-white video directed by Molly Ann Pendlebury and choreographed by Lauren Potter, the track offers a deeply personal glimpse into the band's experiences.

Lottie Pendlebury, the band's singer and guitarist, wrote "Words Fell Out" during a challenging period when drummer Rosy Jones was battling addiction. Lottie describes the song as a reflection on the helplessness felt by their friends and the effort to support Rosy. The song’s central theme, expressed in the opening line “I only want the best for you,” encapsulates the spirit of their friendship.

Below The Waste, co-produced by the band and John Spud Murphy, showcases Goat Girl's growth since their self-titled debut in 2018 and their 2021 follow-up On All Fours. The new album blends expansive noise-rock, delicate folk experimentation, and synth-pop, illustrating the band's evolving, confident, and collaborative style.

The release of "Words Fell Out" follows the earlier singles "Motorway" and "Ride Around." The band collaborated with renowned choreographer Holly Blakey for the "Motorway" video, which featured archival Vivienne Westwood pieces styled by Matthew Josephs.

In support of their new album, Goat Girl will embark on a UK Outstore tour starting this week, with additional dates across Europe and the UK later this year. The tour kicks off on June 7 in Kingston and includes performances in cities like London, Nottingham, Leeds, and Bristol. The European leg begins on October 8 in Paris and includes stops in Brussels, Luxembourg City, Nürnberg, Cologne, Berlin, and Utrecht. The UK tour will resume in November with dates in Leeds, Edinburgh, Birmingham, Southampton, and London.

A soulful celebration with standout performances and heartwarming moments.

Last Sunday at Cross The Tracks 2024 was a whirlwind of emotions. Despite the heartbreak of Erykah Badu's last-minute cancellation, the festival managed to deliver an unforgettable experience in the heart of Brockwell Park, London.

As the sun rose, the air buzzed with anticipation. The festival grounds transformed into a vibrant celebration of jazz, funk, and soul, featuring an impressive lineup of over 70 artists. Fans gathered early, their excitement palpable, even as news of Erykah Badu's cancellation spread. Her absence was a heavy blow, especially since her team was on-site, ready for the day.

However, the festival's resilience shone through. Freddie Gibbs electrified the stage with an impromptu collaboration with Madlib, igniting the crowd. Emerging Artist winner Nayana AB captivated with her soulful performance, marking a memorable debut. En Vogue brought the house down, their energy contagious, while Eve declared it her favorite UK festival performance ever, which resonated deeply with fans.

A massive highlight from the day was Lady Wray’s gorgeous performance, reminiscent of Aretha Franklin with her powerhouse vocals and deep soulfulness. Her voice echoed through the park, captivating the audience as the sun beamed down on festival-goers. Little kids danced with their parents, creating a heartwarming scene, especially when Lady Wray dedicated a song to all the siblings, further endearing her to the crowd.

Local talents like NYJO students added a unique touch, their live band walkabout filling the park with spontaneous rhythms. Thee Sacred Souls' frontman, Josh Lane, mingled with the crowd, creating intimate moments that fans will cherish. When The Cavemen. performed "Beautiful Rain," the sky briefly opened, showering the audience in a perfectly timed downpour, adding a magical touch to their set.

The festival’s fifth edition stayed true to its roots, showcasing a diverse array of talent with a strong emphasis on emerging and homegrown artists. New additions like Son Little, David Rodigan, and Sekou brought fresh sounds that complemented the stellar lineup featuring BADBADNOTGOOD, En Vogue, Freddie Gibbs, and many more.

Cross The Tracks wasn't just about music. It was a full sensory experience with a rich creative market, insightful talks, panels, workshops, and an array of site art that brought Brockwell Park to life. Foodies enjoyed a plethora of options from over 45 street food traders and local breweries, ensuring no one went hungry or thirsty.

Despite the setbacks, the festival was a testament to the power of music and community. The outpouring of support, patience, and love from the attendees underscored the event's success. The team behind Cross The Tracks worked tirelessly to ensure the festival remained a joyous celebration, and their efforts were evident in every moment of the day.

As the festival came to a close, the collective experience of the day lingered in the air, a reminder of the magic that happens when music brings people together. Cross The Tracks 2024 may have faced challenges, but it emerged as a triumphant celebration of jazz, funk, and soul, promising even greater things for the future.

A mesmerising celebration of alternative music.

Wide Awake Festival 2024, nestled in the heart of London’s Brockwell Park, showcased some of the greatest rising artists in the UK's alternative music scene. From the shimmering melodies of established icons like King Gizzard and the Lizard Wizard to the raw energy of emerging talents, the festival offered a kaleidoscope of music that captivated attendees from dawn till dusk.

The festivities commenced with the infectious energy of Bodega, whose electrifying set served as a beacon for the day's eclectic lineup. Tracks like "ATM" and "How Did This Happen?!" reverberated through the crowd, setting the stage for a day filled with musical discovery.

As the sun climbed higher in the sky, the festival grounds came alive with a symphony of sounds. The New Eves captivated audiences with their ethereal melodies, while Lambrini Girls brought irreverence and infectious punk energy to the stage. Squid mesmerised with their avant-garde stylings, while Fat Dog unleashed a torrent of raw intensity that had the crowd in a frenzy.

Fat Dog's electrifying set was a highlight of the day, with anthems like "Vigilante" and "Closer to God" igniting a collective surge of energy. Their cover of Benny Benassi's "Satisfaction" was a masterstroke, sending the crowd into a euphoric frenzy that reverberated throughout the festival grounds.

One of the festival's most memorable aspects was its exceptional drinks selection. Unlike typical London day festivals, Wide Awake went above and beyond, offering a refreshing array of frozen co*cktails that provided the perfect respite from the summer heat. From tantalizing Pina Coladas to zesty Strawberry Daiquiris, each sip was a delight for the senses, fueling a day of sun-soaked revelry.

As the sun dipped below the horizon, anticipation reached a fever pitch for the headline act: King Gizzard and the Lizard Wizard. Taking to the stage with an otherworldly presence. Tracks like "This Thing" and "Head On / Pill" captivated the crowd, while a medley of teases and reprises kept fans on the edge of their seats.

King Gizzard and the Lizard Wizard's performance at Wide Awake Festival 2024 was nothing short of breathtaking. Commanding the stage with an otherworldly presence, the band delivered a ferocious set that left the audience spellbound. From the thunderous riffs of "Evil Death Roll" to the explosive opener "Planet B" they showcased their mastery of the heavier side of their repertoire. With a relentless energy that seemed to defy the laws of physics, King Gizzard proved why they are revered as one of the most dynamic and captivating live acts in the world. As the crowd danced and sang along with abandon, it was clear that this was a performance that would be etched into the annals of Wide Awake Festival history.

A surprising highlight of the day was when KEXP’s Cheryl Waters came out to introduce King Gizzard before their show. The crowd seemed almost as excited to see Cheryl as they were to see King Gizzard with members of the audience veraciously chanting “CHERYL CHERYL CHERYL”. If there was a seventh honorary Gizz member - it would probably be Cheryl Waters. They should have just had her out for the whole show.

The magic of Wide Awake Festival extends far beyond the music—it's about the sense of community and creativity that permeates every aspect of the event. From the diverse lineup to the immersive art installations, the festival is a celebration of the power of music to unite and inspire.

Throughout the day, attendees had the opportunity to immerse themselves in a variety of interactive experiences. From thought-provoking art installations to engaging workshops, the festival provided a platform for attendees to explore new ideas and perspectives. Whether lounging in the grassy fields or exploring the vibrant vendor stalls, there was always something new and exciting to discover at Wide Awake.

As the final echoes of music faded into the night, there was a sense of bittersweet satisfaction among festival-goers. While the day may have come to an end, the memories created at Wide Awake Festival 2024 will last a lifetime. Until next year, when the gates of Brockwell Park once again open to welcome music lovers from near and far, we'll hold onto the memories of Wide Awake Festival 2024, cherishing the moments of joy, connection, and inspiration that made this year's event truly unforgettable.

Swedish artist Becky and the Birds soars with enchanting new release.

In an eagerly awaited move, Becky and the Birds, the brainchild of Swedish artist Thea Gustafsson, has dropped a mesmerising new single titled 'When She Holds Me'. This release not only serves as a tantalising taste of Gustafsson's forthcoming album under the 4AD label but also as a testament to her evolving artistry.

Drawing inspiration from the raw emotional depth reminiscent of Bon Iver's early works, 'When She Holds Me' evolves from intimate beginnings to lush harmonies and ethereal soundscapes. Collaborators like Dijon and Lapsley influence the rich instrumentation, weaving soft-spoken harmonies and delicate string arrangements into the fabric of the track.

Gustafsson's poignant lyrics pay homage to her first love, capturing the essence of summer and celebrating the timeless beauty and love inherent in all women. The accompanying video, crafted by Tiffi Malmgren, Simone Beyene, and Morris Malmgren, mirrors the song's layered complexity and heartfelt vulnerability.

Critical acclaim for Becky and the Birds has been resounding, with Pitchfork drawing parallels to Frank Ocean's introspective moments. A classically trained musician, Gustafsson's journey as Becky and the Birds began in 2016, fueled by a desire to break free from male-dominated production spaces. Her 2020 EP 'Trasslig' marked a significant step forward, earning her a nomination at the Swedish Music Publishers Association Awards.

Teaming up with acclaimed artists like Dijon, Seinabo Sey, and Lapsley, Gustafsson's musical ability continues to captivate audiences. Her latest offering, 'When She Holds Me', showcases her evolution as an artist, blending innovative production with introspective lyricism.

From whiteying on stage to special guests, read on for our review of primavera day one.

Here we are: the first day of primavera sound in Barcelona, stretching four glorious days with a thick, genre expansive line up with the likes of Disclosure, Lana Del Ray, Charli XCX, Pulp and more. In the day, the city rustled quietly beneath a strong sun. Throngs of tourists could be spotted strategically shade-soaking corners of monuments, delicately sipping sangrias as if in quiet anticipation of what lay ahead. For many, myself included, this was the first visit to the festival that began in 2009 and, situated near the sea, promises bigger and better things with each iteration. Read on for short reviews of all the sets I managed to catch in some bleary, hungover prose typed with sloppy fingers from a square somewhere in the heart of the city.

Madlib and Freddie Gibbs

The hip hop duo know for their esoteric discography hit the Santander stage first with high energy. Some six songs in, Freddie ran off stage and appeared, for a while, to have disappeared. Confused, the crowd watched as his tour manager forced him back on stage to continue the second half of his set. ‘Apparently I have to keep rapping!! I’m too high for this sh*t!’ He laughed, in reference to the joint passed previously between the beaming duo on the stage. Despite this, he held it together - though at what mental cost it can’t be said. ‘f*ck the police!’ The crowd shouted with him - words on mouths upon ending was ‘funny’ ‘sick’ and ‘anyone got a spliff?’. What a way to herald summers’ beginning.

Mannequin puss*

Despite complaining consistently that she could only hear snares in her ears and please can someone fix it, Marissa ‘missy’ dabice put on a stellar, fiery show. The band channeled rage and sparked the audience, a hard thing to do with a peaceful blue sky above. ‘Loud bark’ from their 2024 album ‘I got heaven’ remains their greatest song, live and recorded. It wouldn’t be a Mannequin puss* gig without a fierce political statement; this time they called out any religion that didn’t just let people be, organically and truthfully to their deeper selves.

Amyl & the Sniffers

Amy Taylor had the entire thousand-odd audience gripped between her ass cheeks. The entire place seemed to be moshing, grabbing faces of strangers and screaming joyfully together. New tune ‘you should not be doing that’ landed so well it’s a sure fire indicator of a relit career even spunkier than their loyal following can imagine. Amy made sure to shout ‘free Palestine’ whenever she had a moment of pause - an insane set and a platform used for good.

L’imperatrice

Adorned as always in matching outfits that came straight from the front of an Abba voyage poster, the French pop and nu-disco band served up deliciously groovy choreography and . It might’ve made more sense to see them hip-swishing in the sun not at a industrial feel stage near the entrance. Nonetheless, this bass-funk set had an intergalactic feel. Despite playing all their biggest tunes first, they maintained energy excellently to hype their new album out June 7th. They even used the audience as a prop for a video, floundering hands above heads whenever they desired.

Duster

Taking to the Steve Albini stage at dusk’s peak was the american indie-rock duet Duster. Known for their drowsy guitar and revival of ‘space rock’, Clay Parton and Canaan Dove Amber were as sincere by the Mediterranean today as they were in 1990s’ California. Quiet base and vocals may have been a conscious ode to an atmospheric melody, but for those of us at the back it made for a tough listening experience - an unexpected juxtaposition to the coziness of their revered debut ‘stratosphere’ we were honouring.

Pulp

Jarvis co*cker, polemical character he is, knows how to move like a legend. Despite twittering on about Sheffield slang for the heavily European audience, the band glimmered, accompanied by an orchestra and the great Mark Webber on guitar who had a stellar show. It was all theatrics; poised languidly on a couch at the top (‘do you guys mind if I take a little rest?’) Jarvis’ sharp suit lines cut legendary shapes beneath pop-art imagery. ‘Donald trump’s a criminal now!’ He yelled too much fervent applause. They played ‘disco 2000’ a little too early, finished their second encore curiously with ‘Razzamataz’ and spoke a lot about 1995, but they do, indeed, still have it.

Justice

Though I didn’t catch a lot of the set, Justice can’t seem to keep up with their greatest album coming out over a decade ago. A friend described it as ‘intricate YouTube intro music’ - once he said it, I couldn’t unhear. Following on the same stage as Pulp, too, was bound to be tough.

Peggy Gou

Rumblings had spread throughout different crowds all night about the 32 year old DJ, renowned for deep house electronic trance sets. Could she meet the hype? It turns out she could do better - she could exceed it. In front of often psychedelic graphics of her own bubble clowning avatar, Peggy twisted dance hit after hit with no sign of duress. She brought out friend and collaborator Villana Marie to sing two songs, one of which was from her upcoming album, and is Peggy’s self professed favourite. Only a few weeks ago she closed Monico gran prix where she introduced her boyfriend Aron Piper, a Spanish actor; here he was again, skipping onto the stage to kiss her dramatically and cover their faces to the cameras with his wobbling hand. She dismissed him with a flick of a hand that frequently held a cigarette, until her asssitant crouching perpetually behind the decs held it for her. From the right the cameras angled trjough two sparkling glasses of champagne and she ended simply with a bow, popping some things in her purse and bag, and exiting stage left. It’s unconceivable how that set could’ve been any better.

A. G. Cook

33 year old British glitchy hyperpop frontier had a tough job to follow Peggy’s transcendental eutrophic fun. Thankfully, he didn’t try to recreate but produced an artful, postmodernist, maximalist set full pf ASMR sounding drips and high pitched vocals. The visuals were strobe heavy in line with his PC Music tack. The only bad thing about this set was that he didn’t bring Charli XCX out, who of course supplied most of the vocals on his new highly acclaimed album ‘Brit pop’. He finished off the night with the titular track, jumping in circles in a library appropriate fit, and the humble gratitude was a great end to a set that, in one word, was goated. Most of the crowd headed for the exact, head still pounding with flashing lights and screechy skips on the metro home. Grab a few hours sleep in a sweaty hostel with no soap, and let’s do it all again tomorrow.

Navigating the tension between artists and critics in music reviews.

A 6.8 is arguably a good rating. Not a 10, which is hard to come by, and the definition of perfection is always subjective. Or a 4, which indicates an album that had more weaknesses than strengths in its musicality and overall execution. That was the score ‘HIT ME HARD AND SOFT’ elicited from critic Hannah Jocelyn. With admirability came some fair points about the album’s lapses, nudging towards repetitive production choices. Enter Finneas via twitter, famed producer, and brother of musician Billie Eilish. “Nothing cool about writing a positive review of an album everyone likes- they’ve gotta have an angle. They gave ‘Born To Die’ a 5.5- it’s their whole hater-ass bag,”. Is this hatred in the room with us? It’s almost a 7 and not a 6, or a 5. For a decent review, it was a preposterous take from Finneas, insinuating that a writer should follow the crowd. Sure, it may feel personal and hard to hear that someone is putting your production down as an anchor to progress. Reactions like this further laments the idea of one ‘bad’ comment overshadowing the onslaught of praise, which I can feel empathy for, but it can only stretch so far in this case. At this level that they’re operating in (global stardom), this review shouldn’t be a dent in the enroute to platinum plaque.

In another tale, a random comment appears on my personal Instagram account, on an artwork that bares no relation to my music journalism. A Taylor Swift fan (this girl cannot be any older than 12), pleading for me to write a review on her newest album, as Taylor had been criticised for being popular and…white? My eyes couldn’t believe that a) someone took the time to find a critic and comment on their social media page about their idol and b) that fan culture had ridden this girl of any tangible sense. She is young, so I’m careful not to rip into her. With age, this act will sit sourly with her. After all, for her services, Taylor Swift is most definitely not paying attention and doesn’t or needn’t care.

Who has the power here? An underpaid writer who is being earnest in their review after spending much time with an album before its release, taking multiple listens to engage. Or the Grammy, Oscar winning musician? The situation varies with smaller acts, where the argument that a bad review could sway an audience holds validity. Yet to coddle a musician in a review of their work due to their status is insincere. When an artist puts their art out into the world, this is a reality they cannot escape from. It’s a sign of some worth that someone, in favour or disinterested by the art presented to them, want to engage further in discussion of the work. To be talked about is better to have no words to your art. It is a small minority of individual critics that have authority and trusted ‘fans’ who engage with their commentary. The idea of critic as cultural totem pole doesn’t hold against the 21st century reality of social media giving everyone a voice to comment.

The critic isn’t mal intended. They are reacting to art and finding what works and what doesn’t. People may find commonalities in their judgement, an overarching issue with unoriginality or an album that hasn’t pushed itself hard enough despite the artist’s ability. Criticism is a vital element of the arts, and without it, art sits as a product that is pushed and discussed informally, which is valid and fine and all good to engage with. But there is a necessity to have sites where this is the main purpose of the site, rather than fleeting discussion. Conversation ensues from the critical response, inviting audiences to agree and disagree with the viewpoint they’ve been presented with. There is a place, where people want to make a career talking about music, that fans of music can turn to for a voice that evaluates and considers an artwork for its strengths and ability to entice. Critics, despite a consensus reached by many, are not dictating the value 2 / 2 of an artwork itself. We put numbers out that are subjective and always can shift with time and distance. We are not curating cultural tastes in informing those who care about music already.

One of my favourite comments (for its humour and lack of truth) to criticism is the ‘well, you do it then!’. As if someone must be this jack of all trades octopus who can write critically as well as create a respectable album. It’s not the critic’s job to counteract art with better art. We’re not trying to top the charts and receive acclaim here. It’s like when a friend calls you out on something you’ve done, followed by, ‘I’m saying this because I love you’. A care for music means that we as critics want to interrogate an album for its intricacies and abilities, forming a context and simply telling readers our experience with the music presented to us.

A bad review might hurt an ego, I can admit that, but artists should stand by their art in all the defaming of it. Fighting back at a critic is a useless tactic. In the words of Charli XCX, ‘They don’t make statues of critics’. So why react in a way as if they do? For the most part, critics aren’t trying to acclaim some type of cult following, and the percentage of music listeners vs people who read critic’s reviews on album has a large disparity. Do I have a figure to support this? Unfortunately not, rather, it is pulled from engaging with strangers about music and mentioning a review for them to diverge from said review comment, and for this to happen on multiple occasions, is enough for me to gage on how many of us engage with music criticism. The music is the testament, our words are the noise around it. An album is no easy feat, and the critic can realise that, but it’s not our job to protect the sensitivities of the artist.

This nonchalant ‘why say anything bad’ argument is proof of some regression in the general mindset of criticism. In the 21st century, critics don’t have the power they used to helm over musicians like they did in the latter 20th century. Some artists don’t consider themselves as lucky as they are, to be birthed into a generation of hand holding criticism, against the malice and brutality critics would come at an album within the past. A mediocre album would be scathed by the likes of NME, ripped into pieces by The Rolling Stone. The brutalism isn’t there like it used to be. An example of this can be found in the rise and fall of Slowdive, who after being the flavour of the month as an emerging band in the Shoegaze, were panned to the ground and reduced repetitively for the antics that these reviewers previously lamented as strong points in their sonics. What does it say about us when we begin to adopt this mentality that saying something isn’t good is to be reactionary. Critics have a monolithic mindset. That in some massive group chat, we are curating the consensus of scores for the newest release, plotting how we are moulding the industry and taking down artist one .8 at a time? Come off it!

Music criticism, in the face of closing publications and social media forums being a stage for critical discussion to take place, is here to stay. Whether its form remains the same, is something us music critics/journalists will have to fight for. This conflation of criticism for vendetta or hatred is a marker of our times, highlighting a touch of critical thinking within ourselves. Criticism is an artform and is worthy of upholding and protecting. The ability to comment on art, without being painted as spiteful or vindictive. I guess it’s a battle of passion, a fan of the musician who idly swears by their discography versus a critic, a lover of music at large who swears by artistic integrity and the right to investigate why something works or doesn’t. The musician who has laboured over this project, overcoming adversities to create an artwork that showcases their talent, or the critic, attempting to create conversation and spark questioning from the listener when they engage with a forthcoming album? In the battle between the musician and the critic, who comes off looking worse?

East London’s Victoria Park to host a stellar lineup including Tems, 4batz, Durand Bernarr, and more.

Groundbreaking DJ and producer Kaytranada is set to headline the highly anticipated All Points East festival on Friday, 16 August 2024. This event, presented by Uber One, marks a significant highlight in the festival's lineup, which promises an unforgettable experience for music lovers.

Joining Kaytranada are a host of exceptional artists, including Grammy-winning Nigerian singer Tems, enigmatic viral sensation 4batz, soulful vocalist Durand Bernarr, versatile rapper Blanco, and R&B rising star Maeta. Additional talents such as Nia Smith, Bloody Civilian, and Maleigh Zan will also grace the stage, ensuring a diverse and dynamic musical showcase.

Kaytranada, hailing from Montreal, has captivated global audiences with his genre-blending sound and innovative beats. His debut album, "99.9%," received critical acclaim and won the prestigious Polaris Music Prize. His follow-up album, "Bubba," garnered two Grammy Awards, including Best Dance/Electronic Album, solidifying his status as a pioneering force in contemporary music. Fans eagerly await his new album, "Timeless," set for release on 7 June 2024, promising fresh tracks for his All Points East performance.

Tems, a transformative figure in the Nigerian music scene, gained international recognition through collaborations with Wizkid, Drake, and Future. Her debut EP, "For Broken Ears," and subsequent projects have earned her numerous accolades, including a Grammy Award and Oscar, Golden Globe, and Grammy nominations for co-writing Rihanna's "Lift Me Up."

Neko Bennett, professionally known as 4batz, burst onto the music scene in 2023 with his viral hit "Act II: Date @ 8," which was remixed by Drake and climbed the Billboard Hot 100 charts. His debut mixtape, "U Made Me a St4r," released earlier this year, has further cemented his status as an emerging star.

All Points East, known for its expertly curated lineups and world-class headliners, returns to East London's Victoria Park from 16-25 August 2024. This award-winning ten-day festival not only features incredible musical acts but also offers a wide array of free community activities during midweek, including outdoor cinema, live music, sports and wellbeing events, and family-friendly activities.

Tickets for All Points East are on sale now, with payment plans and team tickets available. For more information and to purchase tickets, visit All Points East Festival.

The indie pop artist teams up with acclaimed engineer Isabel Gracefield to create a captivating new single exploring themes of desire and inner conflict.

London, May 24 - From the depths of London's vibrant underground music scene, CHILD + THE BANNED returns with her enigmatic fifth single, 'Dominion'. The Copenhagen-born, London-based indie artist continues to forge her path in the left-field pop genre, this time collaborating with acclaimed engineer Isabel Gracefield. Known for her work with stars like Fraser T Smith, Dua Lipa, and Adele, Gracefield brings her expertise to this bold new track.

The partnership between CHILD and Gracefield began serendipitously during a masterclass for female producers at Goldsmiths College, where CHILD was studying music. Gracefield, the guest of honour, was captivated by CHILD's demo, leading to a close collaboration focused on amplifying feminine power in music.

'Dominion' explores themes of emerging sexuality and inner conflict, blending dreamlike and real elements. The protagonist navigates her desires while confronting internal struggles between surrender and control. The track's production showcases CHILD's DIY roots, merging them with Gracefield's polished pop sensibilities. Eschewing virtual software instruments, the duo crafted the beat using unconventional methods like sofa pillows, beatboxing, and mouth clicks. CHILD's layered vocals symbolize the multiple voices in her mind, complemented by a lush string arrangement that blends indie pop with cinematic flair.

Josephine 'CHILD' Carl, the force behind CHILD + THE BANNED, infuses her music with a unique vision. Together with her band, comprised of fellow Goldsmiths alumni, she has performed across Europe, including notable venues such as 180 Studios, The Albany Theatre, and the O2 Islington. Recently, they captivated audiences at Milan Fashion Week, performing with designer Michaela Stark at Fondazione Sozzani.

The moniker 'CHILD' holds personal significance for Carl. During her studies, a Phoniatrics specialist discovered her voice had not matured past puberty, retaining its bright, high quality. This distinctive feature contributes to her captivating sound and artistic identity.

With 'Dominion', CHILD + THE BANNED delivers a striking piece of indie pop, inviting listeners into a world of potent desires and internal battles, all through the lens of a fierce feminine gaze.

Debut single to be released on 7” Vinyl.

Rising London-based quintet Ain’t have created a significant buzz in the music scene without having released a single track - until now. The band, known for their captivating live performances, announced the release of their debut single “Oar,” set to drop on 7” vinyl on August 9 via Fear Of Missing Out Records. An exclusive signed edition will also be available through Rough Trade.

Ain’t, consisting of George Ellerby (Guitar/Vox), Ed Randall (Guitar), Hanna Baker Darch (Vox), Chapman Ho (Bass Guitar), and Joe Lockstone (Drums), have already made waves with performances at South London’s Windmill in Brixton and a packed-out show at The Great Escape. The band has shared the stage with notable acts such as Human Interest, Spoort, and Real Farmer.

“Oar,” crafted during the pandemic, delves into themes of disillusionment and frustration towards leadership. The track, recorded with Oli Barton Wood (Porridge Radio, Shame, The Big Moon), features Darch's vocals transitioning from dark reverie to intense anger, encapsulating a blend of industrial noise and lush, dreamy pop. The lyrics, inspired by the legend of Llys Helig, reflect on themes of disaster and resilience.

In anticipation of the single’s release, Ain’t will be performing live at various venues:

• 25 May – The Victoria, London

• 28 May – So Young at The Social, London

• 08 Aug – Rough Trade Recommends at Rough Trade East, London

Their latest release promises to deliver the same intensity that fans have come to expect from the Melbourne quartet.

Australian punk band Amyl & The Sniffers have announced their first new music in over three years with the release of their new single, "U Should Not Be Doing That" accompanied by the B-side track "Facts". This new release, produced by Nick Launay, known for his work with Nick Cave and the Bad Seeds and Yeah Yeah Yeahs, will be available on a limited edition 7-inch vinyl through Rough Trade Records on May 24th. Fans can watch the music video for "U Should Not Be Doing That" here.

"U Should Not Be Doing That" showcases a blend of influences, with hints of The Rolling Stones' "Miss You" and a touch of Detroit garage grit, while maintaining the distinct vocals of lead singer Amy Taylor and the group's signature Melbourne charm.

In a statement, Taylor shared her thoughts on the new track: “Lyrically, they’re both self-explanatory. 'U Should Not Be Doing That' makes me laugh, but it’s also a way of poking fun at the shock people still feel at skimpy clothing and the high school drama within the music community. It’s meant to be a comedic way of addressing these issues.”

To celebrate the release, Amyl & The Sniffers will perform a small club show at London’s Scala on May 27, 2024. They are also headlining the Bearded Theory Festival in Derbyshire on May 26th. Following these shows, the band will embark on a North American tour in July and August, which includes several dates supporting the Foo Fighters.

Entrenched in a new jazz revival reminiscent of the free flowing harmonies and harp-like sonic structure you’d long to hear from a dream or deep forest, Frank Malachi is an artist to look-out for.

Entrenched in a new jazz revival reminiscent of the free flowing harmonies and harp-like sonic structure you’d long to hear from a dream or deep forest, Frank Malachi is an artist to look-out for. With effervescent vocal swings that pair with low synths, a lullaby saxophone can be heard falling to and fro, opening their tracks up to a feeling of either skimming atop vast water or falling far deeper below the surface, propelled by Malachi’s tonal symmetry. This softness that conjures sounds of Kate Bush delicateness, paired with Bjork sounding backing-tracks results in this ‘wind-chime-y’ echo fit to be heard in galleries or out at sea alike.

From Frank’s current released work, we can paint their view of the genre and their fight to not just 'be the weed that grows tall’. Blooming into swells of mysticism and soft heartbeats, their piece ‘Love The Bone’ comes through in a prophetic chorus tuned in trance. Embodying a feeling of far-swept green rolling fields atop with light refractions or pool-side reflections, Malachi’s vocals billow and surge through the piece, flowing to find their listener in a charmed place suspended above it all.

Further in this sound, their themes are continued with the single ‘Pro-Cure’: only now with a far darker tone. A Hansel and Gretel, fairytale timbre works beautifully to compliment Malachi’s concord vocalism and charming lyrics that sing in some sense of taking ownership of the self through reliance on your identify. This, echoed through the lyric that ‘…to love you was to hit a brick wall…’, compliments the dusky moonless sound that could bring to mind the image of a great asylum garden or the cold but calm floor of the woods at the bottom of the rabbit-hole.

All these sounds, divorced from time in their jazz-esq flow, find themselves in a crescendo within the track ‘We’re Free’. A nautical synth sets the scene with signature harpsichord and souvenir lyricism of stubborn heartache sung to lovers and keepers alike. Esotericism bleeds into further sung words with: ‘…Open wide my chest, Read your name, In my guts, Like a seer, Reads tea leaves…’, backed with a cherub-like plucking of chords and slow, dulcet, mellowed waves. This track brings forth that same bucolic and pastoral imagery only this time though a more melancholy delivery, one that ought to be accompanied naturally by a partner but is nevertheless left alone to sing solo, furthering that sensation of imagery Malachi has worked to push forward in their work.

Frank Malachi is set to release new music soon, one may assume following the experimental balancing of 80’s synth, combining harp and clavichord with equally hexed yet charmed lyrics. Having proved themself clearly as a newcomer with a rare sound, their creative licence to explore through further derivations within the niche genre they’ve found themself in is nowhere near spent. To continue this sound would be, I’m sure, well approved by their steadily growing listeners; to push that sound further however, would be a blessing.