Down in the gritty and authentically retro venue that is The Macbeth down in Shoreditch, last night saw This Feeling’s best showcase in a long time, as Sophie & The Giants, BlackWaters and Yonaka took to the stage, the cramped intimacy of the venue combined with the eclectic genre of live music creating a very special atmosphere. There’s a dominant confidence that resonates live in each artist, who all have a indie base to their music, Sophie & The Giants infusing this with a cocktail of swirly pop synthetics, with BlackWaters and Yonaka leaning towards a vivacious punk eccentricity

Sophie & The Giants opened up the night, their enigmatic energy flitting between dreamy indie pop and synthetic choruses, screaming of low-fi ambience. Whilst not as jagged or avant-garde as a lot of new bands stealthily circling the music scene at the moment are, Sophie & The Giants have maintained a consistency in their sound and image, their pop haziness eluding a very interesting on stage aura. Intriguingly catchy and with an instant melodic appeal, Sophie & The Giants are perfect for pop fans who are craving something a bit more edgy and vibrant, an elegant aesthetic warmly intertwined in this band’s entire aura

Sophie & The Giants

BlackWaters were next, scarring the audience with their scatty chaos. They have always embodied a raucous, messy passion when playing, and manage to create an old school punk vivacity almost effortlessly. This uncaring, abrasive sharpness is paramount to the evocative nature of punk music, and BlackWaters have a sleasy brawling riotous edge which amplifies their disorderly, jarring grit. Given their rowdy punk flare, it would be intriguing to see the band explore something slightly more avant-garde, as their sound has matured into something a lot more eclectic since the last time I saw them – it would be interesting to see this grow into something more innovative


Brimming with an eccentric wildness, fuelled by dazzling grungy furore, Yonaka’s headline set was savage. This band are one of the most special live bands that I know, their live sets feeling almost biblical in that they are a pure experience. Ear splitting, broody riffs are used to evoke a burst of gritty post punk, Theresa’s sharp vocal overwhelmingly matching the deafening riffs and shock-wave drumming perfectly. The band played a variety of tracks, old tracks like Drongo and Ignorance making their way image1into the setlist, as well as Fired Up, Waves, Creature, and brand new track Rock Star. Genuinely one of those bands I could never tire from seeing live, the power of Theresa’s voice, accompanied by the confidence and sultriness of her on-stage presence evokes a raw, formidable presence, inspired by the lightning bolt of fiery energy that comes from the grungy riffs and bass lines, aggressive and rich in essence. From seeing them at The Horn two years ago to selling out The Electric Ballroom at the end of last year, the growth of this band has been incredibly inspiring to watch, and they have gone from supporting Frank Carter & The Rattlesnakes and Bring Me The Horizon, to being sell out headline material in their own right. Seeing them in such an intimate setting once more was oddly nostalgic, as I know it is rarely going to happen again – a huge thank you to This Feeling for curating such a special night.

Gig rating: ★ ★ ★ ★ ☆


Photos: no photographer source (please message if they are yours!)


Another year of eclectic music has come to an end, the last twelve months tracing out the story of something very special within the music industry, particularly the blossoming strand of it which is the DIY circuit. The development and growth of new bands like Happy Hour, Legss and The Howlers has unveiled a perplexing and intriguing branch of the industry’s psych rock artists, and it has also been a pleasure to follow the growth of bands whom we tipped as ‘Bands Of 2018’ back at the end of last year, such as Calva Louise, Strange Bones, The Blinders, and Yonaka. 2019 promises a lot for new music; the next few months are poised to make their mark in music as tantalising and hedonistic months of growth, as new bands have a breathtaking foundation to build upon, one of abrasive creativity, and unorthodox flare. The new wave is coming, and you best be prepared. Here are our top Ten New Artists to watch in the New Year

The Howlers

Fulfilling a murky, post punk attitude of brash uncaring rock, The Howlers embody a raw, vividly angry rejection for mainstream convention in their music. Full of snarls and spits, the band use distorted grungy guitar riffs in a psychedelic twisted hallucination to build up a feel of darkness and savage rawness. Their sound has remained scathing and twisted, both the lyrics and riffs building up hyper, erratic stoner-rock balladry

the howlers
The Howlers


Clearly vibing of an influence from the South London artsy prog-rock scene, Jerry are an immense thrill to watch on stage. They have a feral roughness to them, blistering, incisive, fuzzy punk played in a meticulous yet wild manner. Full of unhinged surprises, their tracks take many twists and turns, leading you on a winding, sonic trip of a journey


A nod to the groovy elegance and spirit of 70s indie pop, FUR are a retro masterpiece. They bind sublime mellow pop with a modernised indie edge, infusing their sound with something old school and vintage, richly combining Magic Gang style lyricism with vibrant neo-psychedelic old school pop riffs. Their entire essence is charming; a pure delight to listen to

FUR by Julia Nala

The Mysterines

Fronted by the ever so bad-ass lead vocalist Lia, The Mysterines are a forceful punch of new wave furore, hailing from Liverpool. Their psych-rock grit is intense, especially in a close knit live atmosphere, where their deep riffs and rich bass lines bounce shakily from wall to wall – The Mysterines possess a hunger, a vivid passion, and are naturally extraordinary live

Milk Disco

An 80s style art-pop ensemble who experiment with synths and post punk influences, Milk Disco mix the bleakness of punk with the ambiguity and brightness of 80s pop synthetics. The clever usage of disco distortions and elusive post punk riffs takes you right back to an underground warehouse rave in 1984

Gently Tender

Sonically eluding you into a kaleidoscopic daydream, Gently Tender are one of the purest, most interesting bands to have emerged this year. They use choirs and a series of string instruments alongside soft harmonies and vocal layering, building up an almost holy image of the band. The psychedelia nods to a warming 60s-esque hypnosis, fuelled by an evocative and overpowering presence on record

gently tender
Gently Tender

Happy Hour

A dynamic four piece who formed in the scene in and around New Cross’ notorious Five Bells, Happy Hour are an artsy concoction of post punk and creative psych indie. They blend garage and punk in a very clever way, creating something that writhes with chaos and disorder. Rather than musing on the past, Happy Hour are building upon the foundations of old school punk to create something fresh and eclectic

Happy Hour, by Lina Zabinskaya

Uncle Tesco

Brooding and scathing, Uncle Tesco emit a perplexing scarring broodiness through their moody, abrasive lyrically witty pieces of music. Their dynamic is controlled, and very blunt and straightforward, the band using a careless vocal to add a brooding layer to their sound. Speaking rather than singing gives them an interesting edge, built up by the chanting of riffs (most notably in stellar track Meal Deal)


Witty and compelling, Legss produce with ease an eclectic fusion of so many different sounds and emotions, creating a vivid, sonic sound. They are overpoweringly good, a fuzzy authentic punk sound rippled through their sharp goriness. I particularly enjoy the well balanced combination of indie punk with a more mellow shoegaze element – they are immense live, and I would strongly suggest getting out to see them in the New Year

Legss, by Lina Zabinskaya

Pip Blom

Melodic and enticing, Pip Blom are an Amsterdam based four piece who have a glowingly addictive sound, one which resonates with you in a really special, impactful way. There’s a scuzzy swagger to their music; as a band they are keeping something fresh and revitalised in their strand of the industry, and it’s refreshing to see a young band recklessly making these steps

Indie Underground’s further picks for 2019 …

Projector, Haze, Phobophobes, Haze, Blue Bendy, Lumer, Luxury Apartments, Mice Ön Mars, Serene, Forever Cult, Squid, & Sorry

Mice On Mars, by Lina Zabinskaya

Top Ten Albums of 2018

Acts Of Fear And Love – Slaves

Tranquility Base Hotel And Casino­ – Arctic Monkeys

You Say I’m Too Much, I Say You’re Not Enough – Estrons

Joy As An Act Of Resistance – IDLES

Songs Of Praise – Shame

Friendship Music – Surfbort

Columbia – The Blinders

Coup De Grace – Miles Kane

A Better Life – Spring King

Black Honey – Black Honey

Top Five EPs of 2018

Less Is Better – False Heads

People Street – BlackWaters

Hate Music Last Time Delete – HMLTD

Blood On Suits – LUMER

Teach Me To Fight – Yonaka

Highlights of 2018…

Some Might Say ran launch parties this year for Issues Two, Three, Four and Five, as well as celebrating our One Year Birthday, and we were lucky enough to have the following bands play; Strange Bones, Arcades, Mummy, Calva Louise, Dirty Orange, Concrete Caverns, The Surrenders, The Americas, Monarchs, False Heads, Nana White Pepper, SONS, Freakouts, The Strawberries, The Wholls, Mice Ön Mars, Leggs, Happy Hour, & Luxury Apartments

Arcades- Lauren McDermott
Arcades, by Lauren McDermott
Calva Louise- Anna Smith 1
Calva Louise, by Anna Smith
Strange Bones- Anna Smith 2
Strange Bones, by Anna Smith
The Surrenders, by Jessie Morgan
The Surrenders, by Jessie Morgan
The Americas, by Eleanor Freeman
The Wholls, by Eleanor Freeman
FREAKOUTS, by Eleanor Freeman
The Surrenders, by Eleanor Freeman
False Heads, by Eleanor Freeman


All five issues of the Zine have sold out, and in 2018 we released three issues; Issue Three had Strange Bones on the cover, Issue Four had three split covers with The Scruff, Avalanche Party and The Surrenders, and Issue Four launched as the new square A5 edition, with Haze on the cover


It has also been a very proud year – artists we tipped last year have been making waves in the music industry; Strange Bones, False Heads, Anteros, Yonaka, Hotel Lux and The Blinders have been killing it this year, to name but a few, both in terms of album and single releases, and playing live all over the world

& MASSIVE love to fellow zines – Denim & Leather / Live Circuit

Listen to the Sound of 2018…

Scathing and vivacious, Rapture is the latest single release from grit infused indie punk three-piece J.W. Paris. Immersed with a scatty glare of sharp lyrical wit and blaringly raucous guitar riffs, Rapture is a pounding, brilliantly deafening piece of music. The bass from Aaron keeps a sharp element of intricacy to the track, a contrasting mirage to the blurry haziness of the vocals. The use of old school distortions tie in perfectly with the dark bass, the sharpness of Dan on lead guitar cleanly slicing through the track

J.W. Paris

What I love about the band, and this is an element which has always struck me as intrinsically enticing, is the way that Dan and Aaron play together; to play the bass as if it’s a lead, and carefully balance Dan’s more delicate vocal with the grit and scathing rawness of Aaron’s shows an impeccable skill. Josh as always is immense on this track; his drumming is thunderous and passionate, a tinge of aggression seeping through the track. The way he plays adds a new dimension to the sound of J.W. Paris, which is a uniquely raw and eclectic one. The band take elements of indie rock and punk, molding together this eclectic mix of genres, a blues edge subtly rippled throughout

Rapture has been a firm fan favourite for years now, yet the track has developed and matured in its own way since the band first started playing it live, and the new recorded version has been produced and mixed with such immense precision that it’s a commendable craft in itself how well Blaggers Records have worked on it. The DIY production of the track helps the band retain their classic sound, one which I fell in love with when I first saw the band. It’s scathing and vehement, incredibly catchy, and just an all round beauty

Listen here:

Rating: ★ ★ ★ ★ ☆

Issue Five of Some Might Say is now on sale for your perusal, 100 limited edition copies printed into 44 pages of the best new music.

This copy of the zine is a visually artistic venture, featuring illustrations, artwork, live reviews, photography, and interviews with the best new bands on the scene at the moment. Featuring Happy Hour, Blue Bendy, HMLTD, Sorry, MOLD, Pleasure Complex, Strange Bones, & more

Purchase via Some Might Say here – copies are limited to 100 print editions, and exclusive content and photos inside the zine won’t be posted online (ever) so hurry up and grab a copy! Zines cost £4 only so treat ya self

Scathing and brutal in their sarcastic blur of scatty DIY enigma, False Heads have released the long awaited EP Less Is Better. The EP is made up of lead singles Retina and Yellow, as well as Help Yourself and Wrap Up. As a whole, the EP has a sharpness ingrained in it, the lyrics and riffs seeming to compliment each other in a rather structured, rounded manner, before the three piece inject a classic scatty aggression into it, ripping apart convention and cliches by tearing their tracks to shreds and rebuilding them into something enigmatically bold and hedonistic. Catchy and very riff heavy, Retina has been re-recorded, which gives the EP a feel of maturity; it’s not just thudding punk noise; it’s a disc’s worth of carefully crafted tracks, wittily meaningful lyrics comfortably sitting on top of glassy slabs of riffs

false heads jessie m
by Jessie Morgan

It’s vehement and cutting, a sharp slice of cynical off-handedness layered in Luke’s lyrics. Lyrically, Help Yourself is brutal, a mocking and blunt concoction of attitude…it emits a frustration of some sort, Luke snarling the line ‘and if you want you can stick around…you can’t help yourself

Similarly, Yellow is just as bold and staggering, the pop chorus an intriguing contrast to the garage rock sound infusing the verses. ‘Are his guess work?’ Luke ponders, before screeching effortlessly ‘my head hurts!‘ just before that thudding riff kicks in, amplified by the grungy mess of Barney’s drumming. The whole EP is a broody, sulky grudge, a more scathing bitterness giving the band a sound vaguely reminiscent of The Slits in terms of attitude, and Them Crooked Vultures in terms of sound.

Overall it’s not going to be a popular EP; it’s unconventional, it’s nasty, it’s cynical. The three piece don’t care about impressing people though, and if anything, that’s what makes fans crave this band even more

Listen to Less Is Better below

Wilkestock festival…sick as alwaaays

Once again the festival was a blitz of immersive, scathing post punk music, this year’s lineup playing host to a plethora of intoxicating and talented bands on the upcoming DIY scene. Indie Underground covered the Saturday of the festival for the upcoming issue of Some Might Say Zine, hanging with Strange Bones, Cabbage, 485C, and The Scruff both on and off stage. Check ’em out

Strange Bones
Strange Bones
Strange Bones
Strange Bones
Adam of 485C
Adam & Jack, The Scruff
Strange Bones
Strange Bones
Lee of Cabbage with Bobby of Strange Bones
Strange Cabbage
The Scruff
The Scruff
Jack, The Scruff
The Scruff
Strange Bones
Balaclava Clad: Strange Bones
Jack, The Scruff
Bobby, Strange Bones


All photos by Sahera Walker 

Yellow is False Heads’ second single of 2018; with a six month break from releasing music, it was crucial for the Retina follow up single to be just as blinding and gritty as the band’s previous work has been, and of course it is. Yellow is an interesting track; its dynamic flits between pop and grunge, a gritty punk aura resting in the verse and pre verse, whilst the chorus is pure pop, fuelled by the backup vocal from drummer Barney

It’s the pounding riffs in the verse which keeps the track a vivacious, dark one. Luke’s scathing screams of ‘my head hurts’ and ‘I let my hair down for you to tear out’ build up an abrasive, tough anger, which keeps a garage bluntness to Yellow. I hope the band can keep this DIY blunt crassness to their music, as their abrasively unique attitude is what fuels their music to be so good

False Heads, by Trust A Fox Photography

What the band have created with Yellow is something effortlessly enigmatic and intense, the tune bleeding out a combination of punk vigour and pop sensibility. This raucous, boldly in your face punk track is an excitingly promising indication of what is yet to come for the band; False Heads release the Less Is More EP next month on the 21st, featuring Yellow, Retina, Help Yourself and Wrap Up. Come party with the band at the official EP launch on October 5th at London’s Dingwalls, and catch them live on their upcoming tour; full details here

Opening with a venomous, spitting sneer of ‘Oi! What are you doing?,’ Acts Of Fear And Love is the third studio album from Kent old-school punk duo Slaves; it takes you right back to 2015 Slaves days, their classic old school punk feel back for good. Isaac’s ballsy as hell on the album, shouting and spitting into the mic in an almost intimidating way, Laurie’s shouting background vocal more like a second lead vocal. The album draws back a vivacious garage feel, a certain grit embedded throughout. Retaining the DIY hardness of debut album Are You Satisfied?, Acts Of Fear And Love has pushed Slaves back into their original sound, shoving their music into the core of the punk sphere, which their last album Consume Or Be Consumed drew them so far away from.

Laurie and Isaac have managed to deploy something a lot heavier, an element of abrasive skin-headed anger thrashing about in each track. Opening track The Lives They Wish They Had ends with Isaac screeching ‘slaves…slaves!’ over an vividly grungy riff from guitarist Laurie. The band have amped up their use of reverb and distortion on this album, creating something a lot slimier and messier than their last album. Cut And Run is more of a pop track (definitely not ‘pop-punk,’ though), pop as in they use the element of a chorus to create a catchier piece of music; the interesting thing about Slaves is how they’ve always managed to fuse a variety of sounds and sub-genres with their core punk bite. ‘All talk no action, all work no play’ Isaac sings broodily, building the bridge up with his drumming (which he always plays using the wrong end of the sticks).

slaves one

In a search for something more original, the Kent duo have gone down a heavier route in terms of riffs, Laurie’s riffs suggestively leading to a grungy, more old school punk sound. Isaac’s vocal is scratchy and grating; yet the scathing wiry nature of his voice is definitely an overcompensation for the basic nature of the lyrics. Lyrically, there isn’t much intrigue engrained in the album, but is this such a bad thing? Critics may knock Slaves for lacking nuance in their music, and sometimes with a punk band it’s exciting to have lyrically evocative and thought provoking tracks blared out at you, yet Slaves have always been straight up, in your face, and the riffs and enigmatic energy they bring to the album makes up for this. The snarling bite the album has is sonic and electric, the anger and brutality giving it a Sex Pistols/ Slits feel. Punk is an attitude, not a sound, but the 70s punk genre created this wonderfully angry, aggressive sound which is being bought back by the duo.

Daddy has a more acoustic element to it; stripped back guitar, and  a raw exposure of Isaac’s voice. There’s a delicate softness on the track too, induced by the scathingly subtle backing vocals from Ellie Rowsell (Wolf Alice).  It’s a disconcerting, random track, and whilst it is good in the sense the lyrics tell a weirdly twisted and entertaining story, it feels very out of place on the album. There’s a lot of integrity to this album though, and Slaves seem to have regained a confidence in what they do, and they seem more comfortable and self assured with their sound; it takes me back to debut EP Sugar Coated Bitter Truth, back when they were reckless and abrasive with their music, before having managers and labels to please. Chokehold is one of the best tracks on the album, the classic sharp licks of guitar from Laurie paired with his cocky back up vocal. A lot of the tracks on the album have a fun, take the piss feel, whilst still being serious contenders as proper, punk tracks. The band then brings a bass line in, which adds an extra dimension to the track, giving it more of an eclectic aura. The back up vocal elements are ramped up on this album, Laurie explaining “I wanna play more rock songs, I wanna play power chords, I wanna sing more. We’ve always been dubbed a ‘good live band’ and I want to prove that we’ve got the tunes to back it up.”

I love the anthemic, constructed aspect of Photo Opportunity; it’s been written like a song, rather than a witty, banter infused rant, and if anything, this album has given Isaac and Laurie a new found status as serious songwriters, Isaac explaining “I wanted toslaves two.jpg challenge us, see how far our song writing could go.” Isaac sings more on the track too, bringing his screeches and shouts in, but in a more controlled way which is catchy and compelling. ‘What shall we do today?’ he yells, Laurie softly repeating the question in the background. Artificial Intelligence is already compelling; the name sparks such interesting political questions and connotations, bringing a newfound element of awareness to the album. Old tracks like Cheer Up London and Sugar Coated Bitter Truth exposed an articulate and knowledgeable side to the band, therefore the political and social undertones are welcomed, but not surprising. Opening with a blare of distortion, the guitar is a lot heavier, riff-wise very reminiscent of Wow!!!7am. Laurie shouts blurrily in the background, a style used by bands like H0nkies, LIFE and YOWL. Definitely my favourite on the album, Artificial Intelligence is a lot tougher, a scratchy heaviness grating away at you as a listener. Closing track Acts Of Fear And Love is a perfect finish to such a diverse, complex album. It features pop licks of guitar, unusual chord progressions used alongside Isaac’s low vocal which talks broodily over the music. ‘I was looking out the window, I was watching colours change’ he muses… ‘It’s funny you forget things’. The chorus is a punch of power, the element of contrast in the closing track being sonically gripping and innovative.

Say what you like about the album, it’s impossible to deny it is blazing with confidence and a witty, abrasive humour. What we loved about Slaves when they emerged into the DIY punk scene has returned into the mainstream, and about time too.

Despite the age of digital and online media being the generation we are in, there is a generation of under the radar bands taking the industry back to the scatty DIY nature of 70s punk and 90s grunge, creating an immersive and exciting reputation for themselves, and the DIY scene in turn. The growth of self made zines, as well as a rise in DIY rock promoters and club nights around the UK, has helped fuel the DIY element of the rock industry, and many psych rock, grunge, and punk bands are putting releases out on vinyl now, as well as via online platforms. The remarkable thing about the shiny 7″ disc is the immense nostalgia and history that comes with it; the modernism, the romanticism, the authenticity. DIY labels like Flying Vinyl and Vallance Records are pushing more and more new bands into scratching their music into physical wax copies, whilst underground bands are working with smaller producers and studios to recreate their scatty, punk grit on record. I’ve picked out some of my favourite DIY labels within the industry, including my top releases from a few of these labels

Confidence/ Water – Dead Pretties – Big Score Records

Released as the band’s last 7″ before splitting up, Dead Pretties released Confidence and Water as a split A-side last year on Big Score Records. The label has an impeccable reputation regarding their work with smaller, grungier bands who bring an element of shouty 70s punk to their abrasive, sweaty tracks. Bands like Yowl, Gently Tender and Hotel Lux have put out releases on the label,  as well as Crewel Intentions who signed to the label last November


My Obsession/ Cheap Date Expensive Drugs/ Piece of Strange – Table Scraps/ Black Mekon – self released

Of all the records I own, this 7″ is definitely my favourite aesthetically speaking. The artwork is blurred with red and blue lines and comes with a pair of 3D glasses, giving the split front and back covers a 3D look. This is such a unique and intriguing thing for a band to do, yet not something unsurprising as Table Scraps have always managed to shock and excite with their music. My Obsession is the raw, scatty single from Table Scraps, with the b-side of the vinyl playing Cheap Date Expensive Drugs & Piece Of Strange from fellow Birmingham band Black Mekon

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Swine/ Ramona Flowers – The Blinders – Rockart Records

Despite now being signed to the more mainstream label Modern Sky, 2016 saw the release of Swine and Ramona Flowers by three piece The Blinders. The abrasive social commentary and intelligent view of politics projected in their music has always been a point of discussion and at times, controversy. The DIY rawness to the band was matched perfectly by Rockart Records who released the 7″, working alongside Art Beat Promo (run by Caffy St Luce, who is one of the most perfect examples of a media visionary who cares about new bands, currently working alongside 485C and The Velvet Hands)

I’m Gonna Do Well/ Getting Closer – Calva Louise – Flying Vinyl

Released on limited edition pink vinyl, Calva Louise released their debut single I’m Gonna Do Well and follow-up single Getting Closer through Flying Vinyl. Flying Vinyl apply the old school ethic of releasing physical music by picking out five new singles each month and pressing them into 5 individual 7″ records which then get boxed up and posted to subscribers. The two Calva Louise singles were recorded by Margo Broom who runs Margo’s Living Room (perfect for new music exposure) and released by Craig Evans who runs Flying Vinyl. Through his company, I am also lucky enough to own limited edition records from artists like Estrons, Free Money, and Willie J Healey

Retina/ Said and Done – False Heads – Vallance Records

Elliott Hale runs one of my favourite DIY labels, Vallance Records. Sisteray and Strange Cages are signed up to his roster, but he also releases singles from other bands, including False Heads who released Retina at the start of the year on red wax. He also works as an A&R for 1234 Records, who have put on bands like Thee MVPs, Frauds, Table Scraps, Haze, and Milk Disco at live events. Based in East London, the label rarely puts out standard black 7″ records; more so, they release coloured discs, splatter vinyl and tapes, bringing a proper old school authenticity to his releases

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A few of the best DIY Labels: 

1234 Records – Scab Hans, AKA Matador, Factotum

The label also runs free entry showcase events in South London and East London, with some intensely hedonistic and exciting live bands playing for them over the next month

16/8/2018- POSA / Slags / Sleaze / Mr Marcaille @ The Victoria, Dalston

29/8/2018- Artificially Yours / Italia 90 / Scab Hand / CXR @ The Old Blue Last, Shoreditch

Rough Trade Records – Goat Girl, Sleaford Mods, Starcrawler

Fat Possum Records – Yak, Fat White Family, YUCK

Clue Records – Avalanche Party, Forever Cult

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Roadkill Records – Projector, The Sly Persuaders, Weird Sex

Roadkill Records are run by Josh Cooper, and put on some of the best live events. Very scatty and fuzzy in nature, the nights are purely DIY, with an abrasive fun feel to them. There’s a focus on grunge and psych surf rock with the artists signed up to Roadkill, and live nights and weekender events are put on in London regularly

24/8/2018 – Muertos / Déjà Vega / Never Never Man / Something Leather @ The Shacklewell Arms, Dalston

10/11/2018 – Projector @ Moth Club, Hackney

Transgressive – Blaenavon, Pulled Apart By Horses

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