As we hurtle into another month, Getintothis’ contributors share the best new music for October.
Expectations are a funny thing.
We can read, and write, endlessly about “second album syndrome”, or apparent ‘lost’ albums of years gone by. But, by and large, it is not the end product that causes this issue. It is what comes before.
By the time 1994 came for one Manchester band and their fans, 1989 and their debut album seemed a world away. The Stone Roses were dealt criticism from all angles for their Second Coming, and perhaps it was only latterly that it was given the respect it deserved as a work.
Perhaps, if The Stone Roses hadn’t been so monumental, their second LP would’ve been met with a more positive response.
This month, Liam Gallagher has released his second solo album. Gallagher is one that has rode the wave of expectation. Following Oasis, his Beady Eye project was sneered at by all music press, and those who took the side of his brother too.
Despite being no more than an extension of the great Mancunian icons, when Beady Eye split there were sniggers of celebration. Sniggers that were wholly unjust.
Then, As You Were was given perhaps the biggest build up of any album last year. The promotion, the gigs, the marketing content was intense. When the album arrived to positive reviews, there must’ve been a relief in those offices and perhaps even in Gallagher‘s home.
His new album is heading the other way, and its no surprise. Perhaps there is no winning for artists in terms of expectations.
Last week I was thrilled to read that Getintothis’ Rick Leach had himself had the experience of great expectations. He spoke about Red Rum Club and, well, he put it best:
“There was always a risk that performance in 2016 was a one-off. That they’d peaked too early and, to use a football analogy, were like a talented young player you’d seen on a YouTube video and thought they’d be the next Messi only for them to be profoundly disappointing the moment they’d signed for your side. Yet something told us they wouldn’t go that way.”
Since those early RRC performances, they have managed to pull in sellout crowds off the back of their indeed exhuberant live sets. The talk of Liverpool, the band just sold out their hometown O2 Academy last week, another huge set with the release of their latest single Kids Addicted only adding to the hype.
Here is a band who have thrived in the face of expectation, and thus far seem not to be deterred by the added pressure that it brings.
I’ll conclude, appropriately, with a band that will feature at this Thursday’s Deep Cuts gig. It is the alive and kicking sister to this column, and as we set out to provide another night of fantastic new music, we’ll be joined by The Merchants.
I said what I thought, and have high hopes of this week’s set and of them in the future. I, like Rick, would guess the expectation won’t weight heavy on these, either. – Lewis Ridley
- Deep Cuts takes place Thursday October 3 featuring Podge, Hammerhead Snails, Echoes, Abby Meysenburg and The Merchants. Tickets are available here.
Lewis Cromby: The Sun Shines Now
The Sun Shines Now is the brand new three track EP release from Liverpool singer songwriter Lewis Cromby.
The opening song, teased last week, is the melancholic Don’t Dream It’s Over Now. A gentle yet anthemic track that sees Cromby ebb from domestic verse to glistening chorus.
Second track A Song About You is a love song in all parts. A story, a confession, a bear-all three minutes that is constructed to invite. A musical page turner – the track is carefully crafted lyrically, and by the end feels warm.
The last of the trio is Settle Down. Perhaps it’s the follow-up to the previous, it certainly contains a similar lyrical quality that many writer would envy. It is in this track that Cromby‘s vocals show off a textbook Merseyside harmony, too.
A real jewel. – Lewis Ridley
BADLAWS: I’m Not Myself
BADLAWS have this month released their single I’m Not Myself and it sure does not disappoint.
A riff led dark pop outfit, the Brighton band have returned with a more melancholic track. It’s emotionally charged and may well be their big breakthrough.
The band formed in 2017 and have very much become notorious as their first single Circles gained over 1000 streams within the first day. Pretty impressive, especially considering the band remain unsigned.
Perhaps this is the beginning of a new stage for the band, I’m Not Myself would indicate there are great things to come. – Courtney Hughes
Sonny Winnebago: Take Me For A Ride
As summer skulks away and autumn elbows its way in it feels so timely the debut from Welsh-Australian Harvey Jones aka Sonny Winnebago has arrived, to warm our hearts.
Reflecting on regrets of a friendship come to an end and the fallout of such a loss, yet kicking any sourness to the kerb, Take Me For A Ride hits the sweet spot, a devotion to melody twinned with observational lyrics (‘There were times I was sure I couldn’t take it anymore…’ he confesses) combine with stylish, percussive uptempo backing, courtesy of an impressive supporting cast.
The line-up for the recording of this, the first of four Sonny Winnebago singles to look forward to over the coming months, resembles a contemporary Welsh supergroup of sorts.
Boy Azooga’s Davey Newington, invited in by KEYS’ Matt Evans, is a welcome addition, Sweet Baboo’s gently sobering clarinet interweaving with and shadowing Jones’ easy, honest vocal. It’s not clear who provides the hand claps – maybe Jones himself – but they keep the good feels going.
Produced by Charlie Francis (R.E.M, The High Llamas) it’s great to have names on your debut but happily, it’s not a stretch to predict Sonny Winnebago with material such a this – forthcoming single Lemonade is as fresh and fizzy as the title suggests – championed by the South Wales emerging artist programme the Forté Project – snapping up supports with Michael Kiwanuka, Joel Baker and Pete Murray, and spots at FOCUS Wales and Swn Festival, will join their revered ranks sooner than he may think.
Take Me For A Ride is on streaming platforms on October 18. – Cath Holland
Oliver Spalding: Novemberism
Soft dance and electronic beats make up the foundations of this track with Oliver’s eerie, calming vocals keeping everything grounded in the mellow tone and not becoming yet another cheesy dance-pop blend of super happy vocals and remixed instruments.
This track blends the mellowed out feeling you want from a summer tune with a more mysterious autumn sound. With a title like Novemberism, the track just had to tick all the boxes that it does.
This is one of two singles that Oliver has released this year, this song and Bow Creek. Both stand firmly separate and yet hold hands with one another to share the electronic backgound and folk-like spook that oozes through in Oliver’s vocals. I’m hoping an album is soon to follow because I need more songs to listen to back to back. – Megan Walder
The superb Etiquette by GIT Award 2017 nominees God Colony alongside Izambard clocks in at a mere 2:33, which for a dance track in particular is practically nonexistent – yet the group really do show that it’s quality rather than quantity that actually matters.
The soft, whispered vocals of the track immediately draw a connection to dance icons Faithless, with the dark, brooding drums and bass synths underneath just itching to get going as the verse ambles along restlessly.
And boy oh boy, when it gets going – it GETS GOING.
The track moves from a fairly docile, slow-paced song to a state of all-out sonic warfare and back in a matter of seconds, which sees ferocious vocal delivery expertly paired with a cool, crisp instrumental.
And as abruptly as it began, Etiquette comes to a stark end – the best and possibly the only way to finish such a fierce track.
The pairing between vocal and instrumental on Etiquette leaves nothing to be desired, with the blend of instrumental and vocals achieving that unique degree of chemistry which is so hard to come by.
Etiquette is simply a masterclass in ambience and character, with God Colony expertly showing other producers how it’s done. – Max Richardson
Bisch Nadar: Wink Murder
Alt-rock heads Bisch Nadar have returned with the intense fireball that is Wink Murder this month.
While the track begins in harmony, it’s a false dawn as the Liverpool outfit blaze into a frenzy of riff and bellow. There’s chance for a few breaths as the dust settles part-way through, but the track is dominated by a furious chorus and crashing drums.
It’s exasperating, and by the time the track ends it’s easy to feel overwhelmed. But Getintothis knows that in Bisch Nadar‘s city that’s always a positive thing. While liknesses could be drawn to Liverpool’s outcasts, the musciainship that provides an undercurrent for Wink Murder grounds it well within popular turf. – Lewis Ridley
LOCEAN: CHAV ANGLAIS
Consisting of members who have collaborated with GNOD, fellow Manchester collective, Locean, are the bastard cousin of their hellish Mancunian noise-makers. Trust us, this a good thing.
Consisting of Lauren Bolger (vocals), Jefferson Temple (guitar), David McLean (bass), Neil Francis (tapes & electronics), Jon Perry (drums), Locean present to us Pussycat, the first offering from their forthcoming album, Chav Anglais, set for release on November 1 via Texas based label, Artificial Head Records and distributed through Box Records (Matt Baty of Pigs x 7‘s label) here in the UK.
Pussycat is a track that explodes with an unhinged riot grrrl sensibility. It’s an artistic statement that pays homage to early Siouxsie and the Banshees and Teenage Jesus and The Jerks.
Not miles away GNOD‘s sonic template, however Bolger‘s vocals provide an unsettling milieu that makes the listen sit and writhe in discomfort for all its seven minutes- forty-five seconds.
Their sound is singular with booming motorik krautrock leanings. Tribal, even. Those who like their sounds drawn out and heavy will have found their poison here. – Simon Kirk
Thigh Master: Mould Lines
Aussies Thigh Master have their second long-player Now For Example released at the end of September on Goner Records.
This track, and another entitled Entity, trailed the album, which is their follow-up to Early Times from October 2016.
This tune is a compelling mix of jangly indie pop and slightly more atonal Sonic Youth-esque guitaring, with their origins reflected in the hints of classic 80’s indie of The Go-Betweens
There’s also a flavour of the likes of The Loft from London and The Bats from Dunedin in New Zealand.
In fact, it wouldn’t have seemed out of place at The Living Room in the mid-80’s, or drifting through the airwaves from a John Peel show. – Will Neville
Holodrum: No Dither
Now here’s a track to get you moving.
Thumping drums that echo disco at its most intense. Clocking in at 4:22 it’s quite the musical extravaganza.
With a beat not too dissimilar to Billie Jean, it’s only when the guitar and bass kick in that you realise this ain’t going where you originally thought.
Throw in floaty vocals and a chorus catchier than a Hookworms riff it gets the blood pumping relatively quickly.
We mention Hookworms because this is the first material by ex-members Matthew Benn and Jonathan Nash, who have teamed up with Emily Garner – a name many on the Merseyside underground scene will know during her time with previous outfit Bathymetry, current band Vide0 – and more recently, the designer behind the retro-futuristic animation for Stealing Sheep‘s Big Wows.
But back to the track. Before we even hit half way is where the magic kicks in. Stripped right back to bare rhythm what follows is a two minute instrumental dance soundtrack.
The flow is seamless and clever using synths, cowbells to build on the locked-in rhythm and. channelling echoes of Talking Heads and The Rapture leaves an infectious combination. – Howard Doupe
Liverpool-based black metal trio Dawn Ray’d return to once again bring us songs that rage against the social injustices wrought by capitalism. Their first single from forthcoming album Behold Sedition Plainsong takes no prisoners.
Drawing inspiration from the anarchist uprising during the 1920s in Kronstadt, Russia, its searing, bleak message is immediately delivered via a shriek of distortion followed by furiously fast guitar riffing and vocalist Simon B’s icy rasps.
Relief comes temporary from some melancholic folk interludes, these complement the poetic quality of the lyrics, which speak of the jarring dissonance involved with life in which work is a “shackle” but in which we maintain the belief that it will provide warmth and happiness.
Dawn Ray’d are a necessary, vital voice of anger and indignation in contemporary metal and this is very much music for our times. – Ned Hassan