I just can't let October go! Here are some selected highlights from that month:
Carpark - Suburbs Of Hell This song is true to form, the band keeping in touch with their garagey roots but also hinting at a more experimental direction in places. There's a bit less of the grunge in this song, and a little more melody and alt-pop sensibility. It's a really good track and I think opens the way for Carpark to move to new levels.
Edie Bens - Digging In A brilliantly constructed song, which progresses from a gentle acoustic start through big rises and falls to a climactic end. Somehow it successfully encapsulates huge arena sounds and intimate sounds in one short track and the effect is brilliantly satisfying.
Hannah Grae - Who Dunnit? In some ways this is a straight-up rock banger; but this song also hits different with subtly Halloween/autumnal touches of dark chords and even darker humour. The track veers from pop-punk towards heavy-rock/metal tradition at times, and Hannah escalates her power vocals to a new level of fabulous. It's one that leaves you slightly breathless, and definitely wanting more.
Holly Humberstone - Paint My Bedroom Black (Album) With this album, Holly has proved herself a serious and worth contender for alt-pop stardom while maintaining reality and honesty. The record tells a relatable overall story through a series of very well observed cameos; it's also a perfect example of how even the pop world, sometimes maligned for its shallow veneer, will allow integrity and honesty to shine through when an artist who truly cares steps up to make their mark. Read more here.
IDLES (live) Big shout to Joe Talbot and his awesome band mates for what was definitely one of the best, most consistently energetic, live shows I've seen this year. IDLES were solid, impressive and expressive, connecting with their audience with casual confidence. Importantly though, the message of love shone through the riotous post-punk noise. Read more here.
Lizzie Esau (live) I caught Lizzie's support slot at Lafayette London recently and am so glad I did. She really brought it - filling the venue with a solid sound, and winning new fans in the process. Lizzie is about to embark on a headline tour of her own (more information here) and here's a tip from me: if she's playing anywhere near you, go and see her. Her music treads a very well-judged line between post-punk, and accessible and melodic alt-rock and she really packs a punch.
Lossline - I Can't See Past Monday The Manchester duo are perennial gloomcore-spreading favourites of this blog. They've been a bit quiet on the new release front for a while, but came back in early October with this reflective, and at times clamorous number. It starts with low pitched gravel tones, expressing poetic thoughts of the everyday, before bursts of chaos interrupt the flow.
An irresistibly uncomfortable but ultimately satisfying listen.
She's In Parties - Velveteen This band really understands how to deliver 80s-infused, modern dream-pop: they do it with such convincing consistency, creating gorgeous, soaringly-euphoric songs which really draw you in and take you away to a special place.
This one opens subtly, fading in to introduce a buzzy electric guitar before Katie's trademark floaty vocals fly in; the rest of the song is like being led by the hand through a dusky garden of layered sound-colour.
The Boxer Rebellion - Powdered Sugar I'm very late to the party with this band - they're another one that have swept in to my playlists to bolster my hope in music. Many of you will know that they've been doing that for many years, but better late than never for me.
They produce and then lovingly tend euphoric sounds, nurturing them into something therapeutic and sweepingly uplifting. This song strikes as more upbeat yet deeply emotive nevertheless.
Sigrid - Ghost This is surely one of the best and most beautiful songs to be released this year: it's pretty much perfect in its simplicity and well-crafted development. Timeless, soothing but absolutely not background music. Sigrid's pure, coolly-crystalline vocals do most of the work, aided by careful production.