Post punk & psych rock music blog for new music, based in East London

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© All copyrights reserved to Sahera Walker 2019

Familiarise yourself with the hottest new band in London…distorted reverb, grungy prowess and cynical  lyrics are what makes Dutch Mustard, and in turn their new single Society Is Sick, so captivating. It’s a brooding and scathing piece of dirty powerful grunge music, the London based four piece blending screechy vocals with experimental riffs, layered over intricate and distinctive chord progressions

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Dutch Mustard, by Keira-Anee 

Dutch Mustard are one of London’s most exciting new bands, cultivating a formidable reputation around the UK as a dynamic live presence, their sets known for capturing an energy and force unique to their shows alone; they released their debut single, Weeping Willow, back in March, and new release Society is Sick is the perfect follow up. It’s far more scatty and nasty, a heavy element of recklessness adding an air of 90s vivacity to the single. What Dutch Mustard do so well is they create a unique aura by mixing together an array of different immersive qualities; the bass from Alex and lead guitar from Neyl have an air of meticulous articulacy to them, whilst drummer Arlen and lead singer Sarah-Jayne have a more thrashing sense of aggression; combined into just one single, you feel a wave of fiery passion and angst, as well as a clear understanding of the art and creation that has gone into creating and producing Society Is Sick. Bringing back a feel of 90s grunge, yet nodding their head to a more refreshed and nuanced modernised sound, Dutch Mustard have triumphed with this release. Listen here

Single rating: ★★★★☆

Catch them live for Indie Underground with MUMMY, Scary Lemons, & Priestgate this Thursday 13th at Cafe 1001 on Brick Lane (free entry!)

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A night of pure euphoria, immersive psychedelia, and a trippy feel of love glowing around the O2 Arena, Saturday night saw psychedelic royalty Tame Impala grace London for the first time since last summer

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The project is led by Kevin Parker, who creates, records and produces every piece of Tame Impala music; translated on stage, he uses an immense band who mix guitars with dreamy synthetics to create a subtle psychedelic pop aura. The meticulous tightness of the way Tame Impala play is astounding; every last note played in perfect synchronicity, which creates a strange and weird bubble of glowing synths, the music alone giving audience members a definite high feeling. Swirling his day dream vocals through each track, Kevin Parker performs like a true creator and artist; quite shy and reserved in his playing, yet the daring confidence and vibrancy of his music glowing around the entirety of the sold out arena

What was most mesmerising about the performance was the light show Tame Impala put on; in the backdrop of the stage, a psychedelic arts screen was playing, filming the band in motion, whilst distorting it into an array of vibrant rainbow colours. The first time I saw Tame Impala, it was supporting Arctic Monkeys in 2015, and on the stage-screens they had a more realistic image, projecting surreal images up, such as a skull being used as a fruit bowl, and so on. The current backdrop they have is just as surreal and psychedelic, but far more immersive and stunning. This was accompanied by a magnificent laser light show, each piercing light beaming out into the arena in exact sync with the music. It was reminiscent of a shower of shooting stars, each laser beam glimmering through the venue like fairy dust. As hazy and lucid as the set was, amplified by the consistent use of reverb and fuzz effects, the sharpness and brightness of the lasers pulled the entire audience into their light; the feeling from this was just one of pure magical euphoria, their set one cosmic explosion. The most spectacular part of the performance for me was the last six songs, where the lights and music seemed to hit in a different way, a wave of complete euphoria splashing over the crowd as they played Eventually, It Is Not Meant To Be, Borderline, Why Won’t You Make Up Your Mind?, Feels Like We Only Go Backwards, and finally ending their stunning set with New Person, Same Old Mistakes; to me, this last fraction of the show was the most breathtaking and magical part of the night

Tame Impala also played tracks like Elephant, The Moment and Apocalypse Dreams, opening with the famed crowd pleaser Let It Happen

The whole night was full of precious vibes, and my memory of the gig still feels like a euphoric high. Bands like Tame Impala really make you believe that magic is real

Gig rating: ★★★★★

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Photo: Ethan Weatherby (Gigwise)

With an impeccable reputation for live music, DIY venues, and thrilling punk gigs, Camden is one of the UK’s strongest towns for rock music, and Camden Rocks festival each year helps solidify this. With 400 bands playing over the weekend of June 1st & 2nd, the festival is split over 20 of Camden’s finest venues, from mosh-pit indulging DIY spaces like The Dublin Castle, to the intimate Hawley Arms, to larger club spaces like The Electric Ballroom. This year, the lineup is a fantastic mix of indie, punk, and rock’n’roll, and we have narrowed the lineup down to our top 5 Bands to Watch

  1. Strange Bones Dingwalls, Saturday 1st, 6pm-7pm

A deafening formidable riot on stage, Strange Bones fuel vivacious punk scat with a grungy foundation. Their sets are always fuelled by an insatiable feel of chaos and urgency, their manic deranged tracks undercutting a politicised edge. Expect intense mosh pits and crowd surfing, with front man Bobby known to jump from amps directly into the crowd beneath

Top tracks: Here Come The Wolves Give Me The Sun

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Strange Bones, by Sahera Walker

2. Projector The Monarch, Saturday 1st, 4pm-4:30pm

Cleverly blending grunge with an indie pop sensibility, Projector create a beautifully complex shoe gaze vibe with their music. The dreamy indie breeziness is undercut by deafening bass lines, which builds up an interestingly 90s based sound

Top tracks: Go AheadBreak Your Own Heart

3. False Heads Camden Assembly, Sunday 2nd, 4:15pm-5pm

Scathing and raw post punk trio False Heads are the most exciting live band at the minute, their music vigorous and powerful, their gritty punk rigour riveting and dynamic. Front man Luke has the passion and attitude needed to convey the band’s ballsy angst perfectly, and his messy riffs slice through the deafening bass lines from Jake and the furore of drummer Barney. They have cultivated a special reputation for themselves as East London’s most exciting band, their live sets fuelled with power and dynamism; certainly not a band to miss live at this year’s Camden Rocks

Top tracks: Slew Fresh Ink

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False Heads, by Luke Marcus Nugent

4. Dirty Orange Music And Beans, Sunday 2nd, 6:30pm-7pm

Merging together old school rock’n’roll (think Hendrix, Rolling Stones, and The Strokes) with a fresh indie-punk vigour, Dirty Orange are always wonderful live; they use retro reverb effects and distortions when playing to amp up a 70s rock sound, accompanied by the accented vocal of lead singer George, yet they still manage to maintain a freshness to their sound. Incredibly catchy on record, and extremely fun live, Dirty Orange’s set will be a very special one

Top tracks: Council Estate Time Again

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Dirty Orange, by Sahera Walker

5. Gaygirl The Good Mixer, Sunday 2nd, 9:15pm-10pm

Brooding and abstract, Gaygirl blend a messy punk aura with shoegaze indie psychedelia, a very new and innovative sound to get from a band. What I love about Gaygirl is their ability to blend their dreamy indie-pop cloud with a more scathing and intricate punk bite, a rawness and messiness softly layered over their sound. Live, the band are sonic and gripping, and they create a wonderfully hedonistic atmosphere

Top tracks: Sick Note & Paralydise

Additional bands to catch… JW Paris, The Black Roses, Cavalcade, The Pigeon Detectives, King Nun, Pretty Vicious, Brain Ape, Rascalton, Asylums, Queen Zee, Juicebox, Hands Off Gretel, The Gulps, Rews, The Pearl Harts, The Howlers, Panic Island, Dutch Mustard & The Scruff

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The Scruff, by Neil McCarty

Hear our Camden Rocks playlist below…

Camden-Rocks-Festival-2019_05.02.19_Flyer-Size_Web-Res-768x1086Tickets for Camden Rocks are only £40 per day, or £70 for the whole weekend – this festival is really one of the best for new music, and it plays such a pivotal role each year in its support of the DIY scene, so go and grab a ticket now!

Available here

Last night, London’s Scala was packed for what was arguably the most anticipated gig of the year, certainly of the month; upon selling out The Lexington and The Garage last year, The Blinders returned to the capital with a blinding Scala headline. Ambitious and bold, yet naturally triumphant, the Doncaster trio blew the roof off the venue, with support from the formidable Kid Kapichi and The Ninth Wave

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Kid Kapichi by Keira Cullinane

Kid Kapichi opened the gig, and set an incredibly powerful precedent for the rowdy punk vigour which was to follow when The Blinders took to the stage. Full of valour and a nasty grungy zest, the heaviness and deafening riffs from the four piece was overwhelming, monstrous and unruly in nature. I saw them last week supporting Frank Carter & The Rattlesnakes, and seeing them jump from a 200 capacity venue to an 800 capacity one had a very natural feel to it; you can tell by the passion and angst embedded in their music that the band feel their music, and this resonated brilliantly with the receptive and passionate audience, a good few of whom had clearly attended the gig just to catch the band who are on everyone’s lips right now (myself included). The band’s set list was comprised of tracks like 2019, Glitterati, Jack Jones, Take It On The Chin, and personal favourites Puppet Strings and Revolver. Demolishing the stage in their heavy footed vicious stride, the energy and wild vigour Kid Kapichi possess live is dynamic, and the ear-splitting valour they have is bold and impassioned. They have a very special and unique dynamism to them, and it’s the lyrically forceful brutality and scarring, emphatic heaviness of the riffs which makes them so engaging and truly brilliant. Kid Kapichi – you are a fucking special band.

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Kid Kapichi by Keira Cullinane

Next to play were The Ninth Wave, a band who are being hotly tipped left, right and centre. They lacked the scatty edge and punk DIY grit that Kid Kapichi embodied so heavily, but were more so a vocals based, artsy synth-punk band. Immediately resonating an 80s aura in terms of their look, they focused on harmonies and actual singing a lot more; the tuneless shouting and cocky punk screeches a lot of bands encapsulate at the moment is one of my favourite elements of rock music, but it was quite refreshing to see a band whose auras focused around the paired vocals of Amelia and Haydyn, Haydn’s vocals extremely reminiscent of HMLTD vocalist Henry Spychalski. The Ninth Wave used a lot of guitar licks layered over heavy synth patterns, which, whilst lovely to listen to, did seem to merge into one sound overall, which I would have liked to see adapt and evolve as their set went on.

And finally for The Blinders; a band Indie Underground has tipped for years now. Seeing them in a practically sold out Scala was incredibly overwhelming, as was seeing the overzealous crowd who seemed to crave the band, moshing and singing away to every track – you know you’re on the way to something special when people sing your own riffs back at you, a crowd reaction most prominent when they played Swine and Ramona Flowers. The Blinders’ talent really is immense; they possess such a wonderfully retro punk sound, which when played live just crashes into a raucous bubble of dirty riffs and slitting scarring vocals.

Black paint smeared down on his face, Thomas repeatedly took to the crowd in his unique stance, taking in the audience with his sultry gaze as he screeched political sirens at them. The politicised darkness to the band, fuelled by moaning sirens and anti-authoritarianism mantras which ran for a good few minutes before the band took to the stage, gives them a certain sense of depth and interest, which is always extremely exciting to see on stage as crowds react differently to them each time they play. Last night’s crowd was full of moshing, the insatiable urges of fans at one point turning the entire standing section of the venue into one huge circle pit. Sweaty and rowdy, The Blinders played a ridiculously good set list, including performances of Hate Song, Brutus, ICB Blues, and a couple of new tracks.

Deafening and violent, the band were blinding, and seeing them in the iconic Scala was a very proud moment; keep up to date with The Blinders here

©Photos by the incredible Keira Cullinane

 

Thunderous, sweaty moshpits at any gig are always something special; try that at a secret Frank Carter & The Rattlesnakes gig in East London’s tiniest underground venue, the Sebright Arms. Presented by Jack Saunders, whose radio show on BBC1 and Hopscotch gig nights have a seminal reputation for introducing people to the best fresh new talent the DIY scene has to offer, the event featured live sets from Frank Carter & The Rattlesnakes, and support from three bands who could all battle it out for the prize of best new artist in the UK (and come out even); Calva Louise, Kid Kapichi, & Weird Milk. In attendance, members of Nova Twins and Strange Bones were at the gig, as well as a multitude of DIY writers and photographers who have always played an integral part to gigs at the Sebright Arms, and the live circuit it supports

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Calva Louise by Keira Cullinane

Opening up the night, we were introduced to Weird Milk, a wonderfully tight and vehement act. So tight and meticulous in their playing, each track was ethereal in nature. Weird Milk create a very unique and special strand of music, with each track twisting and evolving as it goes on; this quality is extremely elusive as it requires completely perfect synchronicity in a band, something Weird Milk do with ease. What struck me most about their set was how strongly they felt the music. To love and enjoy playing is one thing, but you could see the passion and emotion on their faces as they physically felt and understood the music, a feeling which certainly translated across to the audience. Their sound embodies, on a first listen, am ambiguous retro vibe, each track nodding its head to 60s/70s rock’n’roll, yet the freshness and youthfulness of it makes it feel a lot more modern; dreamily ethereal, the band’s sultry hedonism is delicately tapped back into a more sharp focus, and the clean and clever way in which their tracks work could entice me forever. The vocal range of Zach and Alex was a joy to listen to also, flitting from dreamy harmonies to more scarring and vivacious projections – Weird Milk have today released their new single Anything You Want, and it’s a beauty. Listen and stream here

Kid Kapichi were the next band to play, and they bulldozed ahead, obliterating the stage to shards in the process. Striking and provocative, there was a naturally feral, raucous angst embedded in their set. A distinctive contrast to Weird Milk, the vocals are a lot more hammering and aggressive, wild old school punk shouting used to build up hype and a sense of violent on-stage anguish. The energy Kid Kapichi have was unbelievable, the untamed raw intensity no doubt fuelled by the mosh pits and head banging in the audience with ensued the second the band took to the stage. The cramped sweaty nature of the venue was all the more accentuated as they played, with the audience getting rowdier and more passionate as their set went on. Almost like cult-classics, each track Kid Kapichi played was drowned out by deafening audience reactions, fans screaming along and moshing in perfect sync with the thudding riffs and spitting lyrics. It was a cocky and abrasive set, wonderfully punk in all senses of the word. Howling and explosive, please keep an eye on the band who are building for themselves a shit-hot reputation in the world of alt-punk

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Kid Kapichi by Keira Cullinane

And the ‘headliners’ of the night were old favourites, Calva Louise. Fresh off the release of their debut album Rhinoceros, Calva Louise have spent the last couple of months storming through the UK with sold out shows and blow off live events, including a string of dates with Kid Kapichi prior to last night. As always, the band excelled, and they seem to do this every time I see them live; the tightness of Alizon and Jess (bass and lead guitar respectively) was particularly strong last night, the impeccable sharpness of Ben’s drumming complimenting every fuzzy twist and turn Jess chose to take. The band played a chunk of their album material, Getting Closer and I’m Gonna Do Well naturally making an appearance, as well as favorites of mine No Hay, Outrageous and Cruel Girl. The sonic buzz saw riffs paired with Jess’s screeching glass shard vocals give the band a gritty scathing edge, and paired with the impeccable sound engineering from the band’s sound guy Alex, it’s near impossible for this band to sound bad. They fuse clever pop licks with a dirty punk valour, and this buzzing distorted sound shook the venue to bits last night

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Calva Louise by Keira Cullinane

And then, for the final act of the night. This act had been announced and advertised as Tyrant Lizard King, which is actually the title of a 2019 Rattlesnakes track, and there was a lot of speculation as to who this band was in the run up to the gig – there had been a few rumours flying around, and certainly some word of mouth buzz, but no one could have predicted that they would be spending their Tuesday night watching Frank Carter & The Rattlesnakes in a 150 capacity venue. The intimacy of the set was overwhelming, mostly due to the fact that the Rattlesnakes inevitably have rowdy circle pits, crowd surfing, and moshing, which was amplified a hundred times over in such a small space. Sweat and blood bounced off the ceiling, which as gross as it sounds was an integral part to the wonderful atmosphere inside the room. Drenched in sweat, Frank Carter was crowdsurfing from the first track in, his hands and feet climbing along the ceiling as crazed fans moshed and jumped underneath him, in beat to the hectic riotous riffs from the band. They played one of the best set lists I’ve seen them play, their set including tracks like Juggernaut, I Hate You, Wild Flowers, Lullaby, Devil Inside Me, and Crowbar. Pounding and intense, nothing really beats a Rattlesnakes pit; when the band played Jackals, lead guitarist Dean jumped out into the middle of the pit, with fans running a circle pit around him. And in true Frank Carter style also, he had a girls only mosh pit at one point in the gig, whilst imploring the vital importance of gigs (of all places) being a safe space for women. As intense and wild as ever, this was easily the best, and sweatiest, Rattlesnakes gig I’ve been to

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Frank Carter & The Rattlesnakes by Esme Bones, courtesy of Discovered Magazine

Blinding and raucous from the very start, Jack Saunders smashed it with his line-up, and remains one of the best people in the rock industry for discovering new bands…or just for helping you see four of your favourite artists for free in a tiny venue. Keep up to date with him and his wonderful work here here

Photos by the incredible Keira Cullinane & Esme Bones

Meet FRAMATICS…

Vocals – Mads

Bass – Liam

Lead guitar – Zach

Drums – Adam

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FRAMATICS by Eleanor Freeman

FRAMATICS are quite possibly the most exciting new band on the indie circuit. Currently unsigned and on the brink of debuting their first single, the new four piece create an eclectic blend of synth pop with twists of indie, and sparks of a more deep-rooted rock influence.

I Think You’re Funny is the upcoming single release from FRAMATICS, and it’s blinding; the swirly kaleidoscope the band create eludes a touch of Sophie & The Giants finesse, the breezy lightness of the track still evoking a raw and brooding undertone. Perhaps this is down to the heavily weighted riffs, or in turn the cynical nature of the lyrics. The band have used synth elements smartly, delicately balancing out a more refined synth aura with a fuzzier DIY boldness induced by Zach and Liam. Vocally, Mads flits from light dreamy whispers to more deafening sharper tones, tricking you as a listener as the track grows in prowess. Theresa Jarvis and Sophie Scott would be fine vocal comparisons, the clever drum licks and edgy synth evoking a likeness to Yonaka quite strongly.

I Think You’re Funny, for a debut, is truly special; sonically gripping, and a very catchy piece of well crafted music. On the track, Mads explained;

‘I Think You’re Funny’ originated from a demo Liam had before I’d joined the band. I’d say initially it was more a punk rock/indie kinda thing, but after experimenting with the beat and some sounds collectively in a rehearsal room, it evolved into what it is today. That process took time; plenty of demoing happened and we all experimented with ideas we’d probably have disregarded in previous bands. That open-minded attitude enabled us to achieve the sound we wanted. We recorded and produced it at Liam’s place, all DIY, and we’re pretty fucking proud of it, not gonna lie.

The lyrics to the song are pretty sultry. I wrote them fairly quickly, over the space of a couple of days, and somehow it clicked quite naturally. When I listened to the demo Liam had, I thought of a story in my head about a girl being approached at a night club by a guy who thinks he’s hot stuff, but from the girl’s perspective he’s just kind of a bit desperate. I wanted to make it a subversion of the classic “guy-sings-about-a-sexy-girl-in-the-club” pop song, where the girl is unimpressed by (and more powerful than) the guy who thinks he’s a catch for her.

For me the chorus is kind of a warning to the guy – she is in control, she’s not bait. When girls go on dates with men they’ve never met before or go home with guys from clubs, I think there’s always the fear that you’ve gone home with the wrong person and you could end up hurt. So the girl basically says: “how come you’re not afraid of me, as a stranger? Why am I not powerful to you?”

Listen exclusively here:

 

Follow FRAMATICS here:

Facebook: http://tinyurl.com/FRMTCSxFB

Instagram: http://tinyurl.com/FRMTCSxINSTA

Twitter: http://tinyurl.com/FRMTCSxTW

Mailing List: http://tinyurl.com/FRAMATICS

Swirly kaleidoscopic pop encapsulates you in a hazy rock bubble, undertones of punk seeping through the dreamy shell that Calva Louise have so meticulously crafted with their debut album. Entitled Rhinoceros, the album is a power house, a combination of previously released singles, old remastered tracks, and innovative new ones. The album is eclectic to say the least, subtle genres swirling in and out of each track, flitting from crafty indie pop, to more twisted ecstatic punk.

I first saw this band about two years ago, playing a tiny all dayer at the punk hub that is the Windmill in Brixton, first seeing Jess herself when she played alongside Wonk Unit, supporting Slaves in Camden. The growth of the band since 2016 has been so incredibly special, their sound maturing and growing in a very interesting direction. With Rhinoceros, Jess, Ben and Alizon were faced with the challenge of creating an album with its roots planted in punk, yet still with the aptitude to grow into a more indie pop sounding record – to create something well produced and crafted, yet still retaining the DIY authenticity which established their adoring fan base in the first place. And what they have created is truly spectacular – we see a fusion of genres, and in turn influences, which has built their debut into a blinding monster of an album.

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Calva Louise, by Annie Warner 

It opens up with catchy, witty pop tune I Heard A Cry, leading nicely into previously released singles I’m Gonna Do Well, Tug Of War, and Getting Closer, tracks two and four respectively being storming punk tracks, scathing with a snarly vivacity. In complete contrast, No Hay and Down the Stream embed a more subtle, almost acoustic lightness into the album, delicately balancing out the savageness of the first half of the album. For me personally, it’s the last few tracks on the album which really are magical. Wondertale and Cruel Girl are packed with scatty buzzsaw riffs, the craft of Jess on lead and Alizon on bass creating a bubbling electricity. Ben’s drumming is particularly prominent on Cruel Girl too – this track would have to be my favourite on the album, my love for it coming right down to the scathing grit behind Jess’s vocal and the blinding riff throughout, which loops round and round in a crazily infectious manner

It’s so refreshing to have bands like Calva Louise releasing music into the messy stratosphere that is the concept of ‘post-punk,’ particularly as they are building on the success of prominent bands last year, such as Shame, Goat Girl and The Blinders. The album is a fun, raucous adventure to listen to, and the band’s sound has rounded itself into an authentic, daring one. A true homage to what punk fans want, and what the indie industry needs

Purchase/ stream here: https://www.musicglue.com/calvalouise/

 

 

It’s that magical time of the year again – Independent Venue Week. A yearly occurrence where DIY venues, artists, and fans dedicate themselves to supporting the grassroots scene which as we all know, comes under threat time and time again. The Horn last year had a spectacular week of gigs, with bands like Spring King & Fizzy Blood playing the venue, the year before that having artists like Strange Bones, Concrete Caverns and BlackWaters playing. This year has kept up the venue’s impeccable reputation for IVW, in particular last night with Pip Blom blowing the packed-out venue away with their sultry, authentic rock’n’roll quirkiness.

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Pip Blom

A wave of delightfully nostalgic indie, Pip Blom were enigmatic and electric on that stage, a breezy ripple of fun energy and light heartedness emitted throughout. Their sound transmits an overwhelming feel of nostalgia, quite similar to artists like The Big Moon, Zuzu and The Magic Gang. On stage, their set had a cute quirky feel to it, which was refreshing; lead singer Pip fuses a cheeky teenage angst with something vibey and spirited, her fresh licks of guitar mirroring the buzzsaw riffs and loops from the rest of the band. Tracks like I Think I’m In Love and Pussycat feel so 70s in nature, pop-tinged beauty flowing effortlessly as the band played. The dizzy hazy pop sound Pip Blom create is really special, as it meshes their cheecky indie bite, a whirlwind of emotions stirred up in their sound. The Amsterdam quartet are revolving in a very special little bubble, and excelled perfectly on The Horn’s stage; yet another excellent addition to the venue’s IVW legacy

 

 

Some old, previously long sold out copies of Some Might Say have been unearthed, and are being sold now for only £4 each! Left in our archive, we have found…

1 x Issue 2

Bands to Watch in 2018 special, featuring Yonaka, Strange Bones, The Blinders, & more. Cover band are False Heads

3 x Issue 3

It’s Only The Underground Revolution…featuring Black Midi, Milk Disco, Calva Louise, & more. Cover band are Strange Bones 

3 x Issue 4 (The Scruff cover)

Featuring Serene, Freakouts, The Pale White, & more

3 x Issue 4 (The Surrenders cover)

5 x Issue 5

Featuring Blue Bendy, Happy Hour, Mice On Mars, & more. Cover band are Haze

Grab the very last of these issues now, before they’re all sold out for good

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Issues One – Five

 

To purchase – follow the links below!

Issue Two

£4.00

Issue Three

£4.00

Issue Four (The Scruff)

£4.00

Issue Four (The Surrenders)

£4.00

Issue Five

£4.00