New Music – Connie Constance

Connie Constance – Miss Power

With her first single of the new year, Connie Constance kicks the generator back into full swing, as she demonstrates her energy and eclectic freedom in the very aptly titled Miss Power. 

The track begins with one of the most lively riffs, that keeps the track in bouncy motion from start to finish. Musically and lyrically, the tune feels like it kicks right back up from 2021’s Electric Girl, especially in the line ‘I’m not the girl that I was before’. That being said, she’s still got the talent, creating an absolutely stellar hook that boosts bass up to a perfectly raw tone, balancing with her classically phenomenal vocal range that dances between expression and conversational tone effortlessly. Matched with drums that are always right when you need them but never how you expect, that energy helps the three minute track feel timeless, seeming a minute long while keeping you engaged for however long it’s been on repeat now

Matched with both a beautifully sombre-turned-surreal video, and released at the same time as a Sports Team song with the same tempo, key and energy (even more interesting considering their co-headline of Sonic Wave in two weeks – conspiracy theorists will go wild), Miss Power will keep long-time fans and newcomers pumped with electricity through the summer and beyond. 

Connie Constance

Words by Jacob Rose
Photo by Joel Palmer

18th May 2022

New Music – Aoife Nessa Frances

Aoife Nessa Frances – Emptiness Follows

In Emptiness Follows, Aoife Nessa Frances finds a voice for bleak pain – one that entices with a delightfully calm track that feels like the lift music you’d find in a dream. 

Instruments run riot in Frances’ track: Soft strokes of the harp accompany harmonising woodwinds in cuts that feel like a troop of cloud-flying musicians playing a soundtrack to your light walk. On the other hand, tight percussion and keyboards play an almost bossa nova beat that keeps the train of the track chugging alongside its delightful flavours. Even trumpets get a beautiful mix of the two, combining harmony with staccato pulses, helping solidify the tune. 

From the instruments alone, it would be safe to assume the whole song is just as delightful – right? Well, this is where Frances’ singing comes in. 

There is an intrigue in the way that Frances sings the sorrows of the track. It combines a quaint vulnerability (akin to Broadcast’s Trish Keenan) with the sonorous delight of moments like the feather-fall of “I’m counting do-oo-oo-o-own”, retaining a feeling of hope amidst the despair of Frances’ lyricism. Such a shift manages to keep the track’s tone a consistent floating along a painted river of mild melancholy.

Aoife Nessa Frances

Words by Jacob Rose
Photo by Katie Freeny

16th May 2022

EP Review – deep tan

deep tan – diamond horsetail 

The release of their new EP diamond horsetail confirms deep tan’s trademark sound that, whilst eclectic and ever changing in pace, stands out against the pack in terms of originality and sharpness. The range of influences is apparent and makes them much more than just another London based post-punk outfit.

Adding to the subversively sweet singles beginners’ krav maga and rudy ya ya ya are three new tracks that maintain the theme while refusing to sound alike. device devotion displays smooth vocals against a jagged beat, while gender expansion pack proffers an apparent instrumental but with hidden subliminal messaging. Finishing on the title track, the EP is an accomplished piece of art that keeps on unearthing new gems of audio the more you listen.

Grab the chance to see deep tan play the songs live on upcoming tour dates, and prepare to be impressed by a live performance that matches the understated prowess of the tunes.

deep tan

12 May – Shortt’s Bar (Alt Escape), Brighton
13 May – The Pipeline (Alt Escape), Brighton
20 May – Zerox, Newcastle
21 May – The Great Eastern Festival, Edinburgh
22 May – Record Junkee, Sheffield
24 May – Rough Trade, Nottingham 
25 May – Clwb Ifor Bach, Cardiff 
27 May – Headrow House, Leeds
28 May – YES (Basement) (Mood Swings) Manchester
29 May – Hare & Hounds, Birmingham
1 June – Venue MOT, London
11 June – Long Division Festival, Wakefield, UK
22-24 July – Truck Festival, Oxford

Words by Siobhan
Photo by Alex Matraxia

11th May 2022

New Music – Sakura Murakami | Síomha | Siv Jakobsen | Anorak Patch

New releases – Sakura Murakami | Síomha | Siv Jakobsen | Anorak Patch

Sakura Murakami – Cast Away

Yet more talent to emerge from the creative hub of Leeds, Sakura Murakami fall a good distance from the indie tree so often associated with the city. Music to escape with, new single Cast Away mixes chilled psych reverb with soft nostalgic funk beats throughout. Difficult to hook people in with a instrumental, but there’s enough intrigue here to set the cat’s curiousity to dangerous levels.

Cast Away is out now on Strong Island Recordings.

Sakura Murakami


Síomha – Infinite Space (album)

With a soulful nod to the lounge clubs of the past on latest single Right From the Start, you could be forgiven for assuming that this was Síomha’s only chosen genre. However, dipping your toe into her album Infinite Space uncovers whole layers of different shapes and styles just waiting to take the listener by surprise. Tracks in English and Irish bring not just pop tinged soul but an eclectic hybrid of Celtic jazz that makes for a veritable journey through the senses.

Infinite Space is available now on all major streaming platforms.



Siv Jakobsen – Most of the Time

A welcome return for Norway’s Siv Jakobsen’s floaty vocals on new track Most of the Time. With a knack for capturing those very personal emotions that run alongside life, Jakobsen’s last album, A Temporary Soothing, despite being written prior to lockdown, dealt with feelings of isolation and the uncertainty it brings. Most of the Time takes on the impact of a past relationship and manages somehow to bring a sense of serenity and hope to its resultant fallout.

Most of the Time is out now, new music is in the offing.

Siv Jakobsen

Anorak Patch – By Cousin Sam (EP)

Those old jokes about policemen looking younger all the time could easily be adapted to fit an intro to Anorak Patch, all within the youthful age range of 15-18. How they sound so accomplished so soon is a mystery to behold, but their music demands your attention, merging sophisticated pop hooks with spiky vocals full of whimsy and charm. Definitely ones to keep on your radar.

Recently released track Paris Will Be Paid For sets a suitably askance scene for their EP By Cousin Sam, available now via Nice Swan Records.

Anorak Patch

Words by

2nd May 2022


New Music – Sorry

Sorry – There’s So Many People That Want To Be Loved

Last Tuesday I was putting together a summer sun playlist, and I was, very minorly, disappointed that no songs from North London group Sorry would fit the ‘vibe’. Now, I’m not saying there’s magic in the air, but two days later they dropped an instant classic that bears a soft joy to it in all the bounciest and best ways.

The track, named There’s So Many People That Want to be Loved, is a delightful mix of the band’s classic talents, like Asha Lorenz’s airy-but-grounded singing and eerie lyricism/tonality, with (and I’m partially ball-parking here) an Elton John-style Happy anthem. Instruments range from delightfully clean to delightfully harsh guitars, strings, staccato synths, pianos, horns, and any of the aforementioned played with an array of pedals. That latin word Tutti was made for this.

There’s not much more that can be said that isn’t summed up by the song itself, so if you’re reading this, take a listen (even if you already have 10 times today), and just enjoy the delightful eerie era of Sorry. With rescheduled tour dates and a duet with Sports Team on the horizon, There’s never been a second-best time to check out Sorry.


Words by Jacob Rose
Photo by Peter Eason Daniels

25th April 2022

New Music – ELLiS D

New Music – ELLiS D – Drifting

A powerful and ambitious single, Drifting boasts a no-fear attitude to the psych-pop world. The bass introduces the track and becomes the status quo for the 7 minute piece. Yes… people are still allowed to write 7 minute songs!

This shouldn’t deter anyone from lending their time to ELLiS D. D’s whiney and very contemporary vocals cry for honesty and confinement in the repetition of “ I am living in the comfort of my shadow”.

Musically, when it comes to Psych Art Punk – to which D describes himself, I think this song is it. It is fine orchestration of guitar focused melody which is subtle enough to hypnotise while remaining poppy and highly-listenable. The guitar line blesses me with nods to early Sunflower Bean or Candy Moore’s 2018 Under the Weather album.

With all this energy and drive in the chorus towards a certain crescendo the mood shifts… all of a sudden we are being gracefully walked down a psychedelic garden path to what feels like the end of the song. And then the bass returns. The drums kick back in. And we’re back to square one again to an early U2 style instrumentation, love it!

It’s worth pointing out, and although I may be wrong, what felt like programmed drums at the beginning really add to the robotic stop-start elements of the first two minutes of punky attitude before switching to a live performer – something I accepted on the second listen.

I see ELLiS D build greater understanding of himself personally and musically moving away from those around him through his music, “some fuckers say, they’ll sleep when they’re dead” stood out as a strong social critique of what D has been perceiving as a young man.

Take the time to listen to the track and be shot through a 7 minute vacuum that will pull you through the other side only to want to experience it all over again.


Words by Matisse Moretti
Photo by Hector O’Donnell

8th April 2022

New Music – Cage Park | Ostrich

New releases – Cage Park | Ostrich 

Cage Park – Holding On To Hand Me Downs EP

It’s official: Cage Park’s newest 6 song EP Holding On To Hand Me Downs scores their hat-trick of EPs, with a project that races through genre, creating a pulsing energy that makes each track fresh, but part of a full ‘Cage Park-y’ atmosphere that is better felt than described.

The EP begins with mind-melter Sofa Bed’, a track that pulls like an eager dog between a soft indie verse and a sonically brimming chorus, that almost revives the vitality of 2000s brit indie albums like Silent Alarm and especially I Had the Blues but I Shook Them Loose – tones that are ready to blaze eternally. Guitarist Leo Marks shines in the latter half, bringing that tense sound that always plays perfectly alongside each singers’ resonance. If looking to get a taste of the band’s potential, Sofa Bed will give you that, but I can’t promise you won’t want the full meal after hearing this three minutes. 

We then jump right into MUD – part one of the two singles of this EP that fall into the distinction of three letter, one word, all caps anthems that bring a slice of British life in song form (think English Weather by FEET, but even more niche and weaving). Both MUD and BUS bring the gig audience into the headphones, with shout-along choruses that beg for a crowd to sing along. While the number 50 bus in Birmingham might not be a universally known phenomenon, BUS certainly pulls for anyone to sing as if they too were in the seats of our narrators.

One personal highlight of the EP is the distinct personalities of each singer. Not only are each given the chance to express their clear talent, but their styles give each voice purpose throughout. For vocalist Edie Mist, this comes in the brilliant Split Ends, which emphasises the rock of the band, building from Mist’s intimate storytelling (like the peculiar ‘you take off my make-up, you cut my split ends’) into an abrasive, increasingly dynamic fight of words (‘sorry, you’re not good enough for my friends’ being another entrancing piece of the puzzle of this song). This is backed superbly by the band’s quick-paced builds, especially with drummer Reuben Saunder’s control over the rhythm of the track. If words weren’t enough to express the feelings towards this track, the amount it’s taken to express those feelings probably gets you to understand the quality of Split Ends.

In Ninety-Nine, Arthur Belben gets his highlight, giving a stellar vocal performance that laments over the fears of the future, including £7.80/hour jobs and the dread of becoming a daily mail reader in his eighties – existentialism doesn’t even begin to cover it. Holding thematic similarities to Hand Me Downs, Ninety-Nine holds focus in the future, with lyrics that will be taking me weeks to emotionally decipher. 

Ending strong in sorrow with previously covered track Hand Me Downs, Cage Park fulfil the promise of their singles, by creating an EP that rolls as a rollercoaster of emotion, never holding the brakes through joy, fear and gloom. 

Cage Park


Ostrich – Perfect Family

It’s hard to believe there’s anything cooler than Ostrich’s newest single, Perfect Family. The band weave round the idealisation of the title, creating a tune that creates a spookily funky atmosphere.

The tune is backed heavily by a heavy hitting bass line, one that kicks a strong rhythm right into the ears, aided by funky little musical additions from time to time. Singer Will Mctaggart weaves a Dick and Jane-esque tale of happy families – at least, until the chorus’ “They have chestnuts in their yard”; a strange display of perfection that opens the gate to the most ethereal elements of the band’s capabilities. Saxophones and synths keep the aforementioned funk flowing throughout, as the band maintain a pumping song whilst never feeling stale. 

It’ll be a wonder to explore the worlds that Ostrich create in the future, as this Perfect Family seems to only further demonstrate their creative potential.



Words by Jacob Rose

8th April 2022

New Music – Keston Cobblers Club

Keston Cobblers Club – Lullaby for the Wide Awake

Any of us who’ve suffered with insomnia will understand the toll it can take. However, instead of hopelessly watching the minutes turn to hours or checking out bargain jewellery on late night shopping channels, Julia Lowe turned the moment towards creativity, writing the band’s new single Lullaby for the Wide Awake in the early hours of just one such morning.

Folk-filled vocals backed with an almost orchestral undertone, the track is haunting, compelling and uncomplicated in its delivery but far from simply constructed. Less is more as the saying goes, and the understated quality in the production is what takes things to a new level for the band here.

Things bode well for pending album Alchemy, due for release on 22nd April, and you catch them on UK tour dates throughout April and May. In the meantime sit back and enjoy the music – sweet dreams…

Keston Cobblers Club


Words by Siobhan

6th April 2022


New Music – Black Doldrums

Black Doldrums – Dreamcatcher

Black Doldrums return with their dreamy and driven moody aesthetic with their new music video for the track Dreamcatcher. After releasing their debut LP, Dead Awake, in early March, we are brought up to date with a new music video from the album. The newly formed trio (formally a duo consisting of drummer Sophie Landers and guitarist/vocalist Kevin Gibbard) are now joined by Matt Holt on bass.

The imagery that accompanies the track is haunting yet well paced. The dreamy visual compliments the pounding drums and the use of black and white only exposes the contrasts of sea and sky, all fabricated by returning Director Lauras Conlon. As the wall-of-sound guitar line rings out, Landers and Gibbard prowl a desolate beach, all the while an eerie and angelic figure observes them. This gothic aesthetic is certainly not a novelty however, it’s impressive to see a distinctive lack of charisma define such a strong personality for the band.

The band say, “The moody psychedelic post-punk of Dreamcatcher is a song about defiance against a sense of being held down, an idea which occurs constantly throughout the album”.

The single’s new video is the third in a trilogy by film-maker Laura Conlon that also includes lead single Sad Paradise and Into Blue.

I thoroughly enjoy it when I find a new shoegaze band and it’s great to hear the trio are becoming a staple for the underground dreamy rockers of the UK. Long Live Shoegaze! This band have tones of The New Division, Ride and The Jesus and Mary Chain.

If you’re wanting to catch Black Doldrums live you can find their pending UK tour dates below.


22/04 Manchester – Night and Day Cafe
23/04 Huddersfield – Venn Street Social
24/04 Leeds – Oporto
26/04 Leicester – Firebug
28/04 Hull – The New Adelphi Club
29/04 Todmorden – Golden Lion
30/04 Liverpool – Smithdown Road Festival, Black Cat Stage
01/05 Glasgow – Stag and Dagger venue TBC
08/06 Nottingham – The Bodega
09/06 Winchester – The Railway Inn
10/06 Exeter – Exeter Cavern
11/06 Penzance – The Acorn
15/06 London – The Grace
16/06 St Albans – The Horn
17/06 Northampton – The Black Prince
18/06 Bedford – Bedford Esquires
30/06 London – 229 (supporting The Primitives)

Black Doldrums

Words by Matisse Moretti

5th April 2022


New Music – Ellie James | English Teacher

New releases – Ellie James | English Teacher

Ellie James – Uncomfortable

In shifting from previous persona Little Rêd, Ellie James returns with single Uncomfortable, a reflective track that bursts with poignancy and individual hope.

Beginning with tones that draw out her lyrics further into thought, it isn’t long before James’ track picks up the pace: added drums and a new guitar rhythm both give a heartbeat to the track, before dissolving into their own journeys, unfolding the aural landscape. It’s not unlike the music video (one that, like Divorce’s, comes from Clump Collective) which sees James near-motionless in a lift, as various and increasingly disruptive people take up her space.

While certainly provoking the title of Uncomfortable in the video, the song’s instrumentation is anything but, adding extra flavours of emotion to her simmering thoughts.


English Teacher – Mental Maths

English Teacher’s last drop before debut EP Polyawkward,  Mental Maths once again shows the band’s hefty unpredictability, broadening the scope of their music into old school rock/metal and a cheeky bit of math rock for good measure.

Lily Fontaine’s lyrics, as usual, help deliver their own tales that provoke the need to pause and just take in: like, who am I, when I’m outside (outside)? Simply aided at first by the band’s post-punk waltz, the chorus shows the separation into one of their signature charms of instrumentation that washes ears with waves on waves of shifting rhythms, that somehow keep the band synced but separately unique.

One for the crowds (especially with a chaotic pumping 5/4 bridge), English Teacher are somehow amping up even further hype for both their EP and first headline tour.


Words by Jacob Rose

4th April 2022

New Music – Lizzie Reid

Lizzie Reid – Bible

Just over a year since the release of her debut EP Cubicle, Lizzie Reid returns with Bible: a beautifully poignant journey that shows Reid’s strength to develop, whilst keeping the entrancing sound of her previous work.

In her words, Bible ‘forces me to look at myself through someone else’s eyes’ in the anxiety that arises in the return to love. As the title suggests, religion blends in with intimacy, with the heart-achingly personal devotion of lines like ‘I’ll show you my childhood’ / ‘I promise to feel yours like you do’ blossoming later into the forlorn desperation of ‘I feel the gods have got it wrong’, weaving one faith against another.

In reflecting this personal struggle, Reid’s performance angelically captures personal anguish, both capturing the warmth of verses alongside the comforting guitar and soft percussive accompaniment, before reaching the peaks of previous tracks like Cubicle with harmonious, emotionally piercing choruses.

Delivering even more excitement for her performances at The Glad Café and Sonic Wave, it’ll be hard to not keep ears open for this more-than-promising artist.

Words by Jacob Rose
Photo by Matilda Hill-Jenkins

23rd March 2022

New Music – Honeyglaze

Honeyglaze – Female Lead

Released on International Women’s Day, Honeyglaze’s Female Lead finds time to tell a light tale of hair dye, that underlyingly holds both lyrical reflection and a display of the band’s talent.

The key feature of Female Lead seemingly lies in vocalist Anouska Sokolow, delivering some stellar lines including the rhyme of ‘Madonna’ with ‘80’s Horror’ – a work of absolute genius. Her performance was influenced by the Shangri-Las and ‘narrative heavy pop songs that were coming out of the Brill building during the 60s’: a feature that adds a transcendental quality to the track, as it blends a deliberate vocal and temporal energy of that era with the sombre indie of both guitarists’ nicely attributing melodies (itself influenced by the same time, but usually without the appreciation that Honeyglaze openly show).

With only roughly a month to go before the release of their debut album, and with stellar tracks like Female Lead and Shadows behind them, Honeyglaze are clearly gearing for greatness.

Honeyglaze – self-titled debut album due for release on 29th April 2022
via Speedy Wunderground

Words by Jacob Rose
Photo by Holly Whitaker

21st March 2022


Album Review – The Ninth Wave

The Ninth Wave – Heavy Like a Headache

As The Ninth Wave announce a hiatus to pursue other projects, they leave us with second album Heavy Like a Headache. Mixed emotions for fans as the anticipation of new music is coupled with the knowledge that those intense, intimate performances that the band have been bringing over the last few years are no longer on the cards. Nonetheless, the album still has stories to tell.

Vocal heavy Maybe You Didn’t Know holds elements of traditional Scottish songs of the past, segueing into more familiar ground on the 80s’ fashioned electro-pop of Heron on the Water. There are many dilemmas posed throughout. Recent single Hard Not to Hold You questions, ‘Should I change myself enough so you stop wanting to know me?‘ while closing track Song for Leaving ponders what might happen ‘if we break apart’.

As a whole piece of work, the album is impassioned and heartfelt, befitting of the circumstance in which it arrives. If this is to be their swansong, then at least we have a soaring momento of everything that’s gone before. Heavy Like a Headache, released tomorrow via Distiller Records, is an accomplished reminder of why The Ninth Wave will be very much missed.

Watch the video for What Makes You a Man below.

Vinyl, CD, cassette and download versions of the album available here

Words by Siobhan
Photo by Yaël Temminck

17th March 2022

New Music – Francis of Delirium | Car Boot Sale

New releases – Francis of Delirium, Car Boot Sale

Francis of Delirium – The Funhouse

Building up a hefty amount of anticipation as their debut US venture kicks in, Francis of Delirium’s The Funhouse kicks the chair, dropping us into a soundscape of chaos that keeps its listeners (willingly) captive.

The energy of the track can be felt from the first five seconds – a searing guitar splitting in two between the stereo, keeping pace but creating immediate seeds of sonic disorder. Despite these tonal singes appearing throughout, they never feel like the ‘most’ that the track can do. Instead, throughout Jana surrounds you, the track knits enticement and gloom, flowing despairing lyrics in ever-changing rhythms that keep the track engaging until its end. Bahrich’s elusive delivery of lyrics centred on “attempting to remain unphased by the mayhem” drastically transforms between rhythms.

Supported by a video that iconises the chaos of the track, it’ll be hard to stop the carousel that is The Funhouse from being repeated over and over.

Francis of Delirium


Car Boot Sale – Headhouse

Headhouse is the latest single from Car Boot Sale, that brings dreamy indie pop right back into its prime.

The tune is primed for its soft yet bouncy atmosphere with its initial collaboration of tones, with the band keeping a sync, allowing each member their time as the tune unfolds – each six-string guitar laterally owning their space while the bass expands rhythmically into some fun styles throughout. Key standouts are drummer Ciaran Forth and vocalist Jacques: the former keeps the track solid, but in a jelly-like state, where variation never dulls the track down; the latter’s twisting vocal energy lifting listeners between tranquility and shout-out-loud lines, done with “ain’t that a lot of love?”.

It’s hard to see what’s not to like about Headhouse, stirring up even more love for the band and the future ahead of them.

Car Boot Sale


Words by Jacob Rose

15th March 2022

Interview – Pizza Crunch

Pizza Crunch – Interview with Jacob Rose

After the release of their latest single ‘Flatfoot’, a blend of the melancholy and freedom originating from 2020’s lockdown, I had the delightful opportunity to speak to Pizza Crunch about their past with the single’s evolution, as well as the future of their sound…

JR: So first, I’ve got to say that I’ve really enjoyed the new single Flatfoot. Loved the Smithsy vibes from the track, which hopefully isn’t a comment that’s been haunting you since. I’ve heard that there were some changes to the song since its creation in the first lockdown – how much would you say it’s changed since its original creation and were there any key moments that determined that change?

Ewan (vocals): So Nathan (lead guitarist) and I do the bulk of the writing. And I think in the early days of the band we often got lost in our own parts. For example, I’d write the lyrics and I’d want them to be squeezed into the song without putting much care into other sections. Flatfoot was originally quite focused on the vocal and lead. Since we first wrote the song we have reworked the chorus so it packs more punch and is more easy listening. We went into the studio with Johnny Madden of Baby Strange a year or so ago and the emphasis he puts on chorus melodies probably influenced us with this new tune.

You mentioned how the jovial tone of Flatfoot stemmed from the freedom you felt from that first lockdown – did the band share that feeling in their respective situations? Or were there any conflicts between what you guys wanted to produce from the feeling of that lockdown?

Yeah, because I write the lyrics my feelings kind of take precedence haha. But often, Nathan will write a jovial guitar part and I’ll write some misery filled lyrics and we’ll kind of have this contrast between the music and the lyrics. I’m sure the other members of the band did go through tough spells during the lockdown as we all did, I think I was in the minority in seeing the initial part of it as a bit of a holiday.

I feel obliged to ask at least one a bit off kilter question – if you could choose any new instrument to take with you to the recording booth for your next tunes, what would you like to bring in?

Haha great question. For the new stuff we have been working on we’ve actually brought up in some new instruments. We’ve got all sorts going on, trombones, gloks, cellos, etc. I’d love to bring in a sax at some point. I’d also love to get a choir involved.

In respect of keeping the new project in any and all secrecy you like, I just wanted to ask if there were any musicians or albums that have inspired where you’ll be taking your music. Obviously, if the honest answer is Pizza Crunch and Pizza Crunch only, that’s just as good an answer.

Nah mate don’t worry, we steal from anyone and everyone. I’ve been listening to a lot of soundtracks recently, so I’m keen to use some atmospheric soundscapes etc., rather than bread and butter guitars, bass and drums. We’re big fans of The Ninth Wave, the new Wolf Alice record has impacted us a lot. We also like the Parliamo EP. We’re just looking forward to releasing some songs that are different from the standard indie release.

Just as a follow up to that last question, I was wondering what soundtracks you’ve been listening to recently?

A lot of Cliff Martinez, like the Drive soundtrack. My favourite one at the minute though is the Lost River soundtrack, I think Johnny Jewel did that one. Only God Forgives too, there is a cool Thai song at the end of it called You Are My Dream.

To focus more on the lyrics too, a question I forgot to ask before was if you had any non-musical influences that have really affected how you approach your writing or even an influence on how you guys as a band approach music.

I think non-musical influences help shape the lyrics a lot, I’d say it is mostly musical things that influence the sound though. I’ve been reading a lot of Bukowski recently for example and that has probably made my writing a little more cynical. I think maybe non-musical things can indirectly impact the sound and music itself. I feel that if I’m reading something sentimental maybe that is more likely to come across in the mood of the song. Those artists/albums I talked about in the last email are the main factors in this slight changer in direction though. I think what they all have in common is that they are bodies of work made up of songs that all belong next to each other. Being able to do this is impressive on its own so I really want us to do that next, hence the EP…

Listen to Flatfoot here and check out more from Pizza Crunch on Bandcamp and via their Facebook page

Interview by
Jacob Rose – many thanks to Pizza Crunch

7th March 2022

New Music – Fräulein

Fräulein – Drag Behind

Fräulein’s new single Drag Behind continues the duo’s streak of creating small fires with which to burn emotions on. 

The tune starts with an infectiously drab riff, one which as the track progresses, begins searing with the energy to go further, energy stopped perfectly by the bleak atmosphere of the tones created. This seems to go hand in hand with Joni Samuels’ lyrics, conveying the search to reach potential, until “your constant comparisons drag you down”.

Samuels’ voice brings an intricacy to the classic styles of post-punk singing, seen in the likes of influence PJ Harvey and equally Bristol-stemming contemporaries wych elm, with each lyric seemingly hiding a hidden emotion to decode, from playfulness to despair. Van der Tol’s drumming, too, can’t go unmentioned: capturing the perfect rhythm with which the track casts equal measures of fever and underlying gloom. 

With their style freshly evolving through the band’s London/lockdown era, it’ll be a despondent delight to see where they next take our ears. 



Words by Jacob Rose
Photo by Hannah Mason

4th March 2022

New Music – cheerbleederz

cheerbleederz – cute as hell

cute as hell is the latest from London punks cheerbleederz, a blast of nostalgic rock sprinkled with just the right amount to add a modern twist.

This dissonant spin is felt in the first few seconds of the track, as a guitar gently sears over a bass line that jumps right near the edges of easy listening. In the verse, the band come together in an image of desire dangled just above danger – the hell is definitely not to be left unseen, or even in jest, when it is followed with “I’m going to bash your brains out your skull”.

The track, as hinted with the music, always feels on the edge of chaos, on the edge of destruction, which keeps its pop-punk vibe immaculate, and it’s dips into the styx of aural and lyrical aesthetic.

Released on Valentine’s day, cheerbleederz have given the first of their lovely gifts, one of many to come in the build up to their album’s release in the summer.



Words by Jacob Rose

25th February 2022