Cancelled flights, uncertain times and boredom do not sound like the obvious recipe for a punchy, glam punk stomp of a record, but those are allegedly the ingredients that helped new Munich five-piece Barking Orders In German start a band and come up with their brand new full-throttle single.
They describe their output as “fuzz-riddled ohrwurms”. We’ll describe Free At Last as the Stones and Marc Bolan getting together to jam a 1 minute 50 Miles Kane inspired party tune with a filthy bassline, while also taking some time to mull over the fate vs free will debate. All taking place in a basement somewhere in Germany.
Barking Orders In German’s debut single is out today, 7th October, on Australian label Hell Beach Records. Stream it now on all streaming services.
Let’s Eat Grandma’s latest single Hall Of Mirrors is mystical, enchanting, pure rainbow-pop with a tinge of sorrow.
The first taste of the Norwich duo’s as-yet-untitled third album is a synthesiser-soaked, electro, shimmering fairground of flashing fairy lights and whirling waltzers, backed with a pumping drum machine, proclaiming a secret, dizzying and confusing love that ends up being a pandora’s box when brought out into the open, sweetly declaring “there wasn’t a girl that had made me shy until I talked to you”.
A bio somewhere describes the group as ‘sludge pop’ and we reckon that is a brilliant summation of Let’s Eat Grandma’s sound. You can find the single out on Transgressive records now.
Citing John Lennon, Bob Dylan and krautrock as major influences, Bandicoot‘s musical utopia sounds far further afield than their South Wales hometown of Swansea. On Worried Blues they bring their idols home with them to soundtrack life in the self-same city.
With a handful of scuzzy, blues rock numbers, two of which are sung in Cymraeg, and an album of covers on their bandcamp, their new single is further proof that these boys know how to conjure up true dirty, dark rock’n’roll noises.
The record features sparse lyrics revolving around the track’s title, an avalanche of drums, saxophone solo and a vocalist who has mastered the sublime art of crooning. If we had to compare them to their contemporaries we could say they’re a little like Foals at their grimiest, but really Bandicoot have dug their sound up from a much earlier era, owing more to Nick Drake and John Cale than musicians from the last couple of decades.
If you like what you hear, be sure to stick 4th March 2022 in your diary as that’s the release date for their debut album ‘Black After Dark’ on Libertino records.
Coach Party released the roiling, witty, indie pop EP, After Party, on Chess Club Records back in April. New single ‘FLAG (Feel Like A Girl)’ is the successor, beckoning a new era for the Isle of Wight four-piece.
It is a song about the very worst kind of scumbag. Discussing the record, the band explained on Instagram ‘’FLAG’ is a song for those who know what it’s like to feel unsafe, objectified or hurt by someone. It’s an intense anger where you just want to see that person suffer as much as they made you suffer. It takes you to the point where you’ll do anything to protect the people around you from the person, whether you know them or not.
It was originally inspired by one brief conversation I (Jess) had with a man, who at the end of our chat, told me he’d hate to have as many feelings as girls have. This then inspired me to write about an experience I’ve had, and I’m sure, many others have also had. This track feels like the cusp of many more feelings that live inside of us’.
The record brims with exasperation and rage, driving the subjects of misogyny and sexual harassment home with a gritty guitar tone and the seething refrain “Wanna hurt you back, just like how you hurt me”. Check out the cathartic period costume video below, in which vocalist and bassist Jess Eastwood ensures the abuser does sufficiently suffer, at the far end of a musket barrel.
When a band reaches a certain level of success, all the rules that applied at the start of their career are off. The fans are committed for the long term so the band can play around with their sound. This is where Bristol punks Idles find themselves as they enter fourth album Crawler.
New single The Beachland Ballroom, unexpectedly, is a post-apocalyptic, wall of sound waltz. Vocalist Joe Talbot’s punk pronouncements and growls still firmly in place but this time over a slow soul song, played out over the speakers of some old ruined ballroom on a crumbling seaside pier.
Idles are at a place few bands with their spit and sawdust origins currently end up arriving at and now they’re about to have fun with it. New album Crawler is released on 12th November 2021.
Wet Leg have become the indie phenomena of 2021. Debut single Chaise Longue crept up on an unsuspecting alt-music world this summer and took over. Wet Dream is another slice of art rock to make you blush and, with it, the Isle of Wight duo’s grip on the music scene remains secure.
A bit like a female led Franz Ferdinand with the effrontery of Peaches, vocalist Rhian Teasdale pokes fun at the highbrow pretensions, or maybe the wincing sleaziness, of a bloke who declares he seduced her in a seedy fantasy with boasts of owning a DVD copy of Vincent Gallo and Christina Ricci film Buffalo ‘66. It seems this indie phenomena may have many more danceable, cringeworthy scenarios to share with us yet.
Myles Morgan’s influences are vast. On the face of it you could presume he was another gunslinger with a guitar, but ‘Ikywc’ contains a whole breadth of styles. The five-minute track is underpinned by a flute and saxophone jazz symphony while Myles’ vocals are Jeff Buckley singing Jamie T, coming to terms with the fact that his lover is not going to come over (Ikywc means I Knew You Wasn’t Coming, btw).
In the same vein as artists like Jack Penate, Morgan’s style steps up with each release. Ikywc is his fourth single – 2017’s debut Circles showcased a Sufjan Stevens sound, Fool took a lo-fi minimal turn, Left Here was drenched in layers of Editors guitar. The jazz-indie of Ikywc is further forward momentum and we cannot wait to hear what the London singer will come up with next.
Karla Chubb has no more fucks left to give. She’s simply done, with a partner who sounds quite frankly a bit of a headfuck. And thankfully she’s the frontwoman of Sprints, a band who can muster her up a cutting, chiming post-punk backing of a track to deliver the message to said headfuck that she’s packing up and moving on. A backing she can use to emphatically declare to said headfuck that she really isn’t fine!
In the process the Dublin band manage to create a triumphant elegy to upping and leaving a toxic situation and a damn fine song for you to shout along to next time you’re just as pissed off. Out right now on Nice Swan records.
Buzzard Buzzard Buzzard are the first Cardiff band we’ve featured on Edge of Arcady and, alongside Boy Azooga, are the most exciting alt-rock prospect Wales currently boasts.
Since 2019 the four-piece have put out slab after slab of classic 70s glam rock, think T-Rex but written in a house-share in Canton in the 21st century, and we’re finally approaching the long awaited release of their debut album ‘Backhand Deals’ on 25th February 2022.
To get us through to that date Buzzard x3 have blessed us with latest single ‘You’, a brash and funky anthem to being told to pull yourself up by your own bootstraps by the smug millionaire elite. Deliciously conscientious hair rock for a generation who need it.
New York’s next brightest offering comes in the shape of Geese, the US culture capital’s answer to the discordant psychedelic post-rock scene that has given the UK Black Country, New Road and Black Midi. But as could be expected from NYC, their version comes with a more tangible groove. Projector is 4 minutes 25 seconds of sexual, danceable alt-rock and the title track of Geese’s forthcoming debut album – due on 29th October.