“Society Is Sick”; Dutch Mustard Obliterate Convention with their Brand New Single

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

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!)

Exclusive Premiere: “I Think You’re Funny” – listen to the debut single from new indie quartet FRAMATICS


Vocals – Mads

Bass – Liam

Lead guitar – Zach

Drums – Adam

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:


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A vehement blur of enigmatic post punk: J.W. Paris release Rapture

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: https://goo.gl/4HtgGZ

Rating: ★ ★ ★ ★ ☆

Scathing and raw: False Heads release Yellow ahead of upcoming EP Less Is Better

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

Single Review: “The Queuing People” – ARCADES

A shiny belter of forceful indie rock, Arcades are taking the industry by a storm with new single The Queuing People. With a hefty Miles Kane/ Courteeners bite, the track is packed with a vigorous energy and riotous nature, front man Tommy Cobley having an infectious, insatiable passion which transmits through the track stunningly. His vocal has a certain grit to it, a bulky raspy undertone amplifying the old school post Britpop sound the band encompass so well. The Queuing People stands out due to the glowing boldness it has, confidence and fortitude rippled throughout it, a tough rock’n’roll explosion elaborately embedded in the core roots of the track.

Arcades- Lauren McDermott
Arcades playing for Some Might Say, by Lauren McDermott

The guitar is wonderfully Last Shadow Puppets-esque, with delicate smooth riffs paired with a darkly amplified bass line, built up to act as an interlude in the bridge. Tommy’s voice is soothing and light as well as gritty and surly at the same time, a certain snarly rawness injected into the track. It’s a groovy cocktail of pop, indie rock, and Britpop, with a Jagger-esque inspired vitality to it, inducing a mesmerising quality.

Listen below


Some Might Say Issue Three has exclusive coverage of the single, 2 pages of musical bliss in the zine dedicated to Arcades. Purchase a limited edition copy of the zine here

Snarly and vicious in nature, False Heads release new single RETINA

Hanging on to their nasty post punk bite, False Heads have released an unflinching, harrowingly cold new single, Retina. Brimming with an aptitude for DIY vitality, anger, and raw passion, Retina is a brutal, perfectly brewed combination of nasty lyrics and incredibly hooking riffs. The track is a moodily brooding cocktail of arrogance and wit, the triad recklessly disregarding the formula and standard ‘rules’ many bands on the verge of making it tend to embody in their music. False Heads have been gigging relentlessly for over a year now, dropping the Gutter Press EP along the way, as well as formulating and crafting to on-stage perfection tracks such as Fall AroundWrap Up, and Yellow. What makes Retina so tight and dreamy to listen to is the insatiable passion the band possess. The track has an element of finesse about it, a very delicate refined feel of meticulousness to it, every sharp detail from Jake’s thudding bass line to Barney’s cocky back up vocals intertwining with each other in jaw dropping perfection. Vocalist and lead guitarist Luke wrote the bass line, and came up with the lyrics which set the dark tone of the track; “it was kinda like an acid trip to be fair that inspired the lyrics…it’s about manoeuvring your way through your own mind”

False Heads
False Heads

Lyricism is key to False Heads; Wrap Up and Slew in particular stand out, as examples of the band’s core, uniquely identifiable sound. These tracks are built on the foundations of heavy riffs though, and the riffs and bold thrashing aggression they channel on stage can often disguise the lyrical quality Luke comes up with; it’s important to take note of the evocative lyrics he scribes though, and especially to engage with the stunning lyricism in Retina.


Lines such as “Flicking through a dream, hoping for a theme” and “set my retina off, tastes like metal” have thought provoking broodiness to them, the grit and muck of the band forcefully projected with lines like “sew the other shut, mongrel or a mutt?” and “you could shoot away, we’ve all seen better days.” A pure genius in his lyrics, which have a trippy quality of mad, twisted insanity to them, Luke writes like a true poet. There’s no camaraderie or falseness behind them, simply pure in your face honesty, which he takes to a more personal level, giving the lyrics as a result a gritty dirty bite. The snarly rawness of Retina gives the track a viciously ear splitting demeanour, one which is hooking and gripping, and in nature stunningly enticing to its listeners.

Listen to Retina here

© photo by Luke Marcus Nugent, & single artwork by Chris Hanvey

Meet a riot of twisted, distorted guitar punk with new single from The Slumdogs, “Nightmare”

‘I’ve got people telling me I need to get out and do more. But that’s what I left school for. I got the time in my hands and it’s running through like sand, will I ever be able to keep up with it?’

Indie punk four piece The Slumdogs are causing a riot in the underground music scene right now, with release of new single Nightmare. From Blackpool/ Leeds, The Slumdogs are fast becoming a genuine favourite new band of mine, purely through the new breath of life they are giving punk music. Shaking it up and giving punk a more energetic and intense sound, their new single is a perfect showcase of how promising young bands at the moment are.

Lead vocalist Bobby spits the opening line into the mic, before that thudding bass from Will and rolling drum loop from Gaspar kick in. A gritty punk infused mess of blurred riffs and scratchy vocals, Nightmare is The Slumdogs’ best single to date in my opinion. Produced by Bobby Bentham from Strange Bones, the track has a really raw abrasive feel of uncaring post punk rock. The energy and intimidating attitude is blinding, the toughness and gritty gravel of the lyrics layering perfectly over the raw darkness of Cameron’s guitar. ‘I’m sick of people always being a FUCKING NIGHTMARE’ Bobby screams, the line coated in punk savageness. There’s so much cockiness and confidence in the track too, both of which are integral to punk authenticity. There’s an emphasis on the vocals with a conscious push on over annunciation, giving the track a proper bite and riotous edge. The thrashing nature of the chorus too makes it rowdy and hectic, with enough chaos packed in it to cause mosh pits at gigs.

There’s something youthful and energetic about Nightmare too, amplified by the raucousness of the video which reflects the thudding punk edge to the track musically. The video was produced by the legendary Jack Bentham, who plays lead guitar in Strange Bones and makes films and music videos for bands too. The shakiness of the camera and blurred background which fades in and out of a distorted image reflects the chaotic nature of the track, with a pure punk edge built up by the visuals. This is similar to videos from Strange Bones like Big Sister Is Watching and Spitfire; the Blackpool lads’ influence is clearly felt here. There’s a lot of grit and anger to Nightmare, the build up of the guitar and those crashing riffs amplifying this. It’s fresh and new and exciting, and I’m now desperate to see these lads play live at some point. In terms of what they sound like, there’s something fresh and unique to their sound, but it does to me draw similarities to bands like Demob Happy, Yak and King Nun.

the slumdogs
The Slumdogs

Go give ‘Nightmare’ on iTunes a purchase here