Wide Awake 2025 Review – A Political Celebration of Music and Community:
Wide Awake 2025 Review – A Political Celebration of Music and Community: No surprises here – Wide Awake was brilliant. By Caitlin Taylor It was a shaky start – news of legal action against the festival for not following regulations meant rumours swirled that it would be cancelled just days before but Wide Awake brushed this off and carried on. After sadly missing out last year, I was determined to drag our founder Isla along to experience the best of London Day festivals and it was well worth it. Daniel Avery did an amazing job at curating the Dazed stage which took place inside a giant big top tent. The first act we caught there was Chanel Beads who were, as always, captivating and incredibly cool. As he did at their Pitchfork show last year, Shane Lavenders requested that the lights facing that band be shut off so that they were backlit, leaving the audience with a shadow puppet-esque view. Maya McGrory (who recently released her own solo album as Colle) was particularly enchanting whenever she was on the mic. They were also joined by regular King Krule collaborator Gal Go on sax. Shout out to Hello Mary who we unfortunately missed but heard great things about from others, they’re definitely on our radar for the future. A horrible timing clash meant that while I planted myself firmly at Fcuckers, Isla made a mad dash across the park to catch parts of deBasement, Mannequin Pussy and English Teacher – but I was told they were all definitely worth the sprint. Fcuckers were just insanely fun, they had the entire crowd jumping and dancing around, particularly to their opening and closing songs ‘Homie Don’t Shake’ and ‘Bon Bon’. We also caught Nadine Shah who was a powerhouse with bellowing vocals and a crazy stage presence. She even brought out Spider from the Pogues to perform ‘Boys from the County Hell’ which prompted certain people to join arms and dance around in drunken circles – no naming names. CMAT was the penultimate act on the main stage, riding the high of her recent TikTok virality. Everyone with an embarrassingly high screen time could be seen dancing along to ‘Take A Sexy Picture of Me’. After a while, I ran off to catch Cobrah who ended up being pretty late. I wasn’t complaining though as it meant Sega Bodega (who I’d sadly resigned myself to not seeing) had extended his set past his designated time. Her eventual appearance was worth the wait, however, giving the sexiest performance of the day even featuring a very brief Cou Cou Chloe appearance/lap-dance that left everyone in the big top tent hot and bothered. Wide Awake is an undeniably political festival as shown by their refusal to give into the campaign against their headliners Kneecap which was kicked off by their divisive Coachella set earlier this year and culminated in a terrorism charge against member Mo Chara. We caught whispers of a secret set which turned out to be a speech from Jeremy Corbyn on the main stage mid-way through. He championed grassroots music venues, the power of community, and Palestine. Headliners Kneecap reinforced similar messages during their set, really hammering into the audience the importance of standing up for what you know is right despite the consequences. The support Wide Awake provides to grassroots venues should also be championed, with them providing stages for MOTH Club and The Shacklewell Arms as well as the South East London DIY skate spot The Grove. The world feels like a scary place at the moment and it’s beautiful to see so much community still remains. Walking around the festival we encountered so many fellow journalists, local musicians, and industry people all of whom were keen to chat and share thoughts/cigarettes. Afterwards, Isla texted me to say she had “the bloody best day ever” and I wholeheartedly agree. You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
࣪⋆⭒ New Track ˚⟡˖ Mazare and Dead Pony – ‘Generation Gap’
˚⟡˖ New Track ࣪⋆⭒ Mazare and Dead Pony – ‘Generation Gap’ ‘Generation Gap’ – a bold genre blending track infusing the worlds of rock and bass. Words by Melissa Milsom 4 July 2024 https://www.youtube.com/watch?v=9ZCpgvbQUB8 Scottish Anti-Punk Four piece Dead Pony have joined forces with Italian DJ Mazare on this latest Rock/Drum and Bass love affair. Bringing us strong guitar riffs, wicked vocals and a high energy chorus that’s undoubtedly serving a little something for everyone. There’s nothing like when your favorite bands take a plunge into a new sound, will it pay off or scare us off? Well Fans of Dead Pony… you have nothing to worry about! This collaboration with Mazare’s High energy isn’t entirely new. Anna Shield’s vocals and Blair Crichton guitar demand our attention as much as ever. The band’s usual DIY hands-on approach feels very much alive and well as we can feel their signature all over. Overall very well throughout collaboration, that allows both parties to feel established without being mismatched. View this post on Instagram A post shared by Dead Pony (@deadponyband) You might also like ˗ˏˋ ★ ˎˊ˗ Recent Posts ⋆⭒˚.⋆
˚₊✥ ｡ ˚New Single Release ｡✥ : Mother Said “Stigmata”
˚₊✥ ｡ ˚New Single Release ｡✥ : Mother Said “Stigmata” A story about lying and cheating your way to the top and becoming a self-proclaimed martyr to the soundtrack of a powerful bass line. ‘Stigmata’ truly has It all. 12.03.24 Words by Jamie Shovelin https://www.youtube.com/watch?v=3xngrxChkw8 Mother Said has released their third single ‘Stigmata’. Following the trend with their previous single ‘Catholic Guilt’, the band is keeping in theme with the religious imagery. The song name itself is a term from Christian mysticism meaning bleeding, scars, or pains corresponding to those of the crucified Jesus Christ, that is on the hands, feet, near the heart, and sometimes on the head (to signify the crown of thorns placed on his head) or the back/shoulders (signify the carrying of the cross). The song tells the story of a public figure proclaiming themselves as a modern-day martyr after stealing and cheating their way to the top of the point of success. The single itself gives the feel of classic new age and punk music, not only musically but also the meaning and imagery used to promote the song. The song starts with an amazing, isolated bass riff before being accompanied by the rest of the band. Although the lead guitar takes centre stage musically you can still hear the bass riff subtly in the background which adds to the song. The cymbals repeatedly being hit throughout the bridge of the song and then being accompanied by a build-up in the drums helps to add to the breakdown of the chorus and match the vocals. This is best displayed at the big finish at the end of the single. The band’s vocals work really well for this type of song, the layered low voices from the two lead vocalists throughout the verses work incredibly well with the prominent bass riff as mentioned before. Pair this with the male backing vocals in the chorus of the song while the leads are almost shouting over them, and with the ending of the song having all of them loudly shouting over each other. Mother Said knows what works for their vocals and how to complement each other perfectly. View this post on Instagram A post shared by Mother Said (@mothersaidband) You Might Also Like
｡✦ New Single Release ✦ : Goat Girl “ride around”
｡✦ New Single Release ✦ : Goat Girl “ride around” Goat Girl announce new album Below The Waste with lead single ‘Ride Around’. 05.03.24 Words by Molly Gregson https://www.youtube.com/watch?v=kLVTnYXdXoY Goat Girl are back with a bang! The South London trio have returned with their first single in three years, ‘Ride Around’. The release of this new track accompanied an announcement of Goat Girl’s third album Below The Waste out on the 7th June via Rough Trade. The Band’s wry sense of humour has always been a feature of their musical sensibility, indeed their name stems from a play on the character of ‘Goat Boy’ by comedian Bill Hicks. This new era seems no different, with the amusing double entendre featured in the title Below The Waste. But on this latest release, Goat Girl seem to have branched into a confident new direction, embracing the playful whilst maturing into new depths. Goat Girl first gained traction after playing numerous shows at The WIndmill in Brixton, the South London venue that almost single handedly gave rise to a new generation of genre-bending post-punk and indie bands in the late 2010s. Alongside Windmill peers such as The Fat White Family, Shame, Sorry and Black Midi, Goat Girl proved themselves to be among the finest acts to come out of the UK. Similarly to their peers, Goat Girl have managed to build a sound that holds a distinctive and experimental presence, whilst not being afraid to showcase their sonic inspirations. On this new release, Goat Girl stay true to their south London roots with the music video for ‘Ride Around’, directed by South London production company, Foreign Body Productions, and filmed on the streets of Blackheath in South East London. ‘Ride Around’ begins as a straight forward attempt to deliver an industrial sound with understated vocals, but by the end of the track it builds into an expansive and gorgeous symphonic vocal arrangement.The band may have been branded in the post-punk genre, but this latest track sees them extending their artistry far beyond that label and venturing into a gloriously bizarre soundscape, landing somewhere between the realm of grunge and pop. ‘Ride Around’ is equal parts noise rock and equal parts delicately-layered harmonies, with the harsh guitar riffs and moody verse delivery complementing the melodic soft sounds of the chorus. There is also a Black Midi-esque layered instrumentation that pops up throughout the track – an interesting feature considering that this latest album is co-produced, alongside the band, by John ‘Spud’ Murphy who produced Black Midi’s 2021 record Cavalcade. Of the Album, Goat Girl have stated that they are “delving deeper into the extremes of their distinctive sound” and that Below The Waste “veers between expansive noise rock, delicate folk experimentation, satisfying synth-pop and everything in between” – so expect to hear many more genre defying, beautifully written and produced tracks from the trio’s forthcoming release. Check out the full track listing for Below The Waste below: reprise ride around words fell out play it down tcnc where’s ur <3 prelude tonight motorway s.m.o.g take it away pretty faces perhaps jump sludge sleep talk wasting View this post on Instagram A post shared by @goatgirlofficial You Might Also Like
｡✩New Single Review✩: My First Time “Workwear”
｡✩New Single Review✩: My First Time “Workwear” My First Time just recently released their first single ‘Wind Up Merchant’ in October of last year and at the end of last month they followed up with their new track ‘Workwear’. 28.02.24 Words by Caitlin Taylor https://www.youtube.com/watch?v=JLRzuDVnmr8 It has a similar snarky tone accentuated by vocalist Isaac Stroud-Allen’s theatric almost spoken word vocals but this time they take on the current political landscape. Speaking on the song, the band say: “‘Workwear’ focuses on the bizarre effect a few words or logo on a piece of clothing can have on people’s behaviour. When a model poses in a t-shirt that we’ll never look as good in, but we buy it anyway hoping we will! The song adopts the voices of three personas; ‘the over spender’, ‘the worried mother’ and the ‘marketing executive”. Overconsumption, consumerism, relentless advertising and body dysmorphia are constant companions for our generation.” Their influences are laid out bare: Blur, Marina And The Diamonds, and The Streets are all present in both the lyrics and style. They take on big themes like elitism, capitalism (ironically in their Bandcamp bio they describe themselves as “capitalist pigs” but do note that it’s because “rent isn’t free”), and mental health issues but don’t compromise on fun instrumentation and catchy choruses, “B-R-A-N-D, if you don’t have it then you must be less important than me” Stroud-Allen repeats throughout. Despite their reasonably quiet online presence, in their songs My First Time come across as unapologetically young and rebellious, screaming out their thoughts over an indie-punk/post-pop backing track. Along with Stroud-Allen, Jordanna Forsey (drums), James Mellen (guitar) and Niamh Jones (bass) are creating music that’ll stick in your brain. Their next few gigs will be in their homebase of Bristol, where they met at university, supporting TNAM favourites Lime Garden at The Fleece on March 6th then at Strange Brew on the 27th at a ‘Rabbit Party’. Sounds fascinating. View this post on Instagram A post shared by MY FIRST TIME (@my1sttime) You Might Also Like
｡★New Single Review✯: frances mistry “our blood”
｡★New Single Review✯: frances mistry “our blood” Longlisted for the Glastonbury Emerging Talent Competition 2022, Brighton-based Frances Mistry unveils her latest single, “our blood”. 26.02.24 Words by Madeleine Reynard https://www.youtube.com/watch?v=vY2aZqMJDKI A provocative sibling for the much-loved ‘pick at her skin’, it successfully whets her fans’ appetite before the release of her eagerly awaited second EP. Identifying herself as a ‘part-time Nintendo enthusiast,’ Frances supports her claim by shooting the music video for this single on a Nintendo 3DS amidst the woodlands of Brighton. Known for frequently featuring woodland photo shoots in her song promotions on Instagram (@frances.mistry), this choice aligns seamlessly with the whimsical essence of the artist. The forest backdrop becomes a sonic canvas for the ethereal vocals and heavy instrumental, creating a fitting atmosphere for this homegrown talent to bloom. Despite the seemingly nonchalant filming approach, Mistry’s lyrics delve deep into the complexities surrounding allegations against men. Frances shares, “This track is about how whenever allegations come out about men, people rush to defend these men and say the victims must be lying. Especially if these are men with a platform.” By implementing elements of female rage in the narrative alongside a haunting melody, ‘our blood’ captures this palpable sense of frustration perfectly. On this indie-rock tune, you are able to trace influence from Brit rock band Wolf Alice, through the tracks fuzzy guitar-led sound and the hazy vocals often associated with lead singer Ellie Rowsell. While influences are evident, Mistry transforms them into something entirely her own, creating a sound that stands out in its refreshing originality. View this post on Instagram A post shared by frances 🪐 (@frances.mistry) You Might Also Like
Gig Review: ‘Friends Crush’ Curated By Squid
Gig Review: ‘Friends Crush’ Curated By Squid Last week The Shacklewell Arms in Dalston hosted Friend Crush, a series of gigs each curated by different notable artists. 02.02.24 Words by Hannah Bently On Thursday, Squid (a post-punk band from Brighton) selected three Bristol-based bands to showcase their talent. It was a night of eclectic performances, radical music and experimental soundscapes. I walked up to the venue and opened the door, releasing the smell of beer and sweaty air onto the street. The pub was loud with chatter, everyone anticipating the forthcoming show. Old VHS tapes line the shelves behind the bar featuring an array of titles from The Jungle Book to The Thing. I grabbed myself a £5 pint (a remarkable feat in London) and headed through a nondescript door leading into the intimate concert space. Pink cut-out clouds hung from the ceiling precariously close to the speakers, and the walls were plastered with old band posters and stickers. The crowd began to grow as the first band filtered onto the stage. The night began with The Big Fuss Ensemble. Originally a solo project created by Harry Irvine, the Ensemble included the drums/accordion by Irvine, Harry Furniss on cornet, Natalie Whiteland on harp, Joe Lyon on sax/electronics, Charlie Purse on guitar, and the addition of Ted (Biped) Glendinning on clarinet and vocals. Irvine describes the Ensemble’s sound as “a mix of spaces ranging from noisy rhythmically minded texture to soft ambience […] There is chaos, there is beauty, there is drama and there is also softness.” The accordion featured heavily in the beginning of the set, playing behind a wall on stage. The crowd became hushed, trying to work out where this slow, eerie noise was coming from. Paired with the dark lighting, I couldn’t help but feel I was below deck on a pirate ship. Biped began brushing their teeth, white toothpaste spit spilling out their mouth. The smell of peppermint filled the room, and I was totally transfixed. During big crescendos, Biped lay down on their back furiously playing the clarinet. And at one point they smashed the microphone against the wall, creating a ricochet sound in time with the drumbeat. At first glance this cacophony of noise is harsh and overwhelming, but there is a method to the madness, signified by the audience all nodding their heads in sync. The mood of the music changed every 5 minutes as the band carefully mediated a vibe between ecstasy and agony. It was bewildering but enchanting all the same. Next up was Ex-Agent, described online as a ‘no-wave’ group made up of made up of Evo Ethel (vocals, guitar, sax), Alfie Hay (guitar, bass), Eve Rosenberg (bass, guitar), Aidan Surgey (drums, percussion) and Otto Wild (keys, sax). They have a punk-rock element in their music with hints of jazz- somewhat reminiscent of Black Midi. The stage was lit by an ominous lamp at the front and occasionally washed with green by sporadic flashes. During their debut single Clutch/5, it was revealed that the lamp was actually a person wearing a shining lampshade on their head. The lamp came down into the audience, sporadically danced to the frantic beat of the song’s bright drums and scratchy guitar. As the tension built, both lyrically and musically, the lamp began desperately pulling on their electrical cord that kept them tethered to the stage. Some audience members rolled their eyes while others pulled out their digital cameras to immortalise the moment. As Ex-Agent’s set came to an end with one final dreamy soundscape, the lamp dramatically turned their light off. This was an intriguing element to add, but not particularly entertaining or thought provoking. Ethel was certainly the most eccentric member of the band, dressed like someone’s Great Aunt with a crumpled black hat and a carpet-patterned waistcoat. They sang (shouted) into an old-school microphone creating a peculiar sense of nostalgia. Rosenberg, the bassist and only female member of the group, was seemingly isolated from the rest of the band. The stage is small and easily crowded by music equipment and instruments, so maybe the awkward spread of musicians couldn’t be helped. Nonetheless, it was disappointing to see her somewhat removed from the energy and action on stage. Rosenberg kept a stern face throughout the performance, sometimes using a violin bow to play her bass. The night ended with Minor Conflict, the most established band out of the three acts with singles reviewed by CLASH and So Young magazines. Natalie Whiteland (harp), Josh Smyth (bass), Robbie Warin (trumpet) and Marcus Jeffery (drums), produce an experimental sound, blending influences of jazz, punk, folk and electronics. Whiteland’s harp playing was entrancing and her voice angelic. Her fingers hopped around the harp strings with precision and elegance. Another standout was Warin. He had a methodical manner as he alternated between percussion, trumpet, and electronics. He was in total focus, always on time and in tune. I was particularly impressed with White Ring Binder, an unerringly propulsive near-five-minute single. Smyth spoke his lyrics in a monotonous tone, contrasting Whiteland’s ethereal, almost operatic, singing. The band’s record label, PRAH Recordings, explains the song is about “people sharing really intimate things with strangers through poetry. It’s also about the connection we make with musicians even when we’ve never met them: the power of music to connect with others and ignite their creativity but also the effect that has on the people involved.” Let’s just say the single was swiftly added to my Spotify soon after the gig… All in all, it was a fun night. It was refreshing to listen to music that pushes boundaries and interrogates musical genres. The Shacklewell Arms is a great venue with a laid-back feel and cosy venue space. You Might Also Like
New Single Release: Powerplant & Lauren Auder “Ride”
New Single Release: Powerplant & Lauren Auder “Ride” Powerplant and Lauren Auder’s rendition of Lana Del Rey’s acclaimed track ‘Ride’ is a mesmerising 4-minute rollercoaster that skillfully flips the 60s pop gem into a gorgeously sinister rollercoaster ride. 24.01.24 Words by Matilda Stokes https://www.youtube.com/watch?v=1r78-lXfoIA Compared with Powerplant’s electronic indie rock style depicted in their 2019 album ‘People in the Sun,’ the addition of Lauren Auder’s haunting vocals coats an alluring mischievousness to the entire track. It’s all a tickle-off-kilter in a neatly unhinged way. ‘Ride’ lyrically delves into the despair and release offered by the abyss or the ‘ride,’ this cover ramps it up a notch, with a dark intensity from the distorted guitars and crunchy, intimate vocals, coupled with Powerplant’s signature indie touch. The cyclical tension and release are palpable, with verses offering deep breaths before the chorus storms; punchy, hammer-it-home drums and tightly layered vocals, create an aurally tight squeeze. The crowning jewel croaks in at 0:51 with a dainty frog sound, painting a picture of serenity in solitude before the drums and guitar burst in at full force. This symphony of sonic transformation casts a spell over the listener, immersing them in a musical world of enchanting despair and exhilaration. In conclusion, this musical journey captivates, offering an enchanting exploration of emotions. To experience the magic, listeners can find it on Spotify or Bandcamp. View this post on Instagram A post shared by Powerplant (@powerplantxx) You Might Also Like New Releases, Single
New Album Release: Chemtrails “Bang Bang” from “The Joy Of Sects”
New Album Release: Chemtrails “Bang Bang” from “The Joy Of Sects” A track with identity, vibrance and an all-over catchiness which makes it impossible to dislike. 19.01.24 Words by Clara Denise Brown https://www.youtube.com/watch?v=f0j51h85Irs It has been a while since I have heard a track as refreshing as Chemtrails’s new release ‘Bang Bang’. This tangy single has all the elements of a great garage pop song, combining a solid hook, a sludgy guitar sound and an attitude which radiates throughout. This track has a quirkiness which I find indulgent, and Chemtrails have successfully pinpointed a sweet spot between garage rock and psychedelic pop. The rhythm section gives it a lively pulse, elevating the track by adding a certain funk and an all-around upbeat tempo. If I had to describe this single in one adjective it would be vibrant, as it feels like an aural explosion of colour. A New Wave influence is reminiscent, with a vocal style that channels the likes of the Altered Images vocalist Clare Grogan, specifically in the track ‘Dead Pop Stars.’ I have been holding out for a New Wave revival, so it is safe to say that this was heavily appreciated. The lyrics are fantastically written and catchy, you might find yourself listening on a loop due to the practically addictive vocals from Mia Lust. In 2023, Chemtrails also debuted three other electric singles from the LP ‘The Joy Of Sects’ which is released in its entirety on Friday the 19th of January 2024. ‘Business Class War Paint’, ‘Detritus Andronicus’ and ‘Join Our Death Cult’ will all feature alongside ‘Bang Bang.’ These tracks are cohesive, bold and demonstrate a strong identity, all attributes which are reflected in the accompanying artwork. ‘‘Bang Bang’ should be listened to loud or live, and luckily you can catch Chemtrails on their upcoming tour in London, Bristol, Manchester and more during February and March 2024. A band which is undoubtedly one to watch for 2024. View this post on Instagram A post shared by Chemtrails (@chemtrails_band) You Might Also Like
New Single Release: Velvetine “Everyday Masquerade”
New Single Release: Velvetine “Everyday Masquerade” Velvetine’s latest single is a dreamy shoegaze ballad with a gothic rock twist. ‘Everyday Masquerade’ is a self-referential confession about the highs and lows of what it means to be an artist. 18.01.24 Words by Olivia Bloore https://www.youtube.com/watch?v=OnBxtB_UohA Velvetine are a four-piece band based in London, who describe themselves as blending influences of post punk, art rock and alternative music. Composed of Mia Scarlet, Ross Fernyhough, Joshua Rowell and Gabriel Powell, the band has so far released three singles: ‘Curtainsong’, ‘Hideaway’, and most recently ‘Everyday Masquerade’. Their latest single is an ‘ode to inspiration’ – the song pays homage to restless artists, and their bittersweet, constant need to create. With over five minutes of ethereal textures and a slow harmonic rhythm, we feel as if we too get lost in the inescapable masked ball of daily life. The most memorable feature of the track is its disorientating, lucid dream-like production. The song begins with a prominent bass hook riffing over a relaxed drum beat, supported by a rich shoegaze texture of synths and guitars. The guitar drawls are symptomatic of the Southern Gothic ‘dark country’ genre; with heavy reverb and panning, they add further space in the dreamy mix. Scarlet’s ethereal vocal is saturated with delay, reverb and sounds as if it is double tracked with whispers – a technique commonly used by My Bloody Valentine. She sings ‘hiding in my room from the world outside’ with a half-spoken vocal fry to encapsulate the boredom of an artist’s rut, and the monotony of everyday life. The vocal line becomes more melodic as the verse develops; the chorus sings a rumination ‘the need of creation, inspiration is dressed up, wasting time’ over soaring backing vocals. Scarlet’s voice is rich, with an edge of grit and power, whilst seamlessly blending into the dreamy rock instrumental. The bridge builds suspense, as the bass line picks faster rhythms and the drums punch through the texture. The vocal line rises in pitch, as we feel a climactic sense of rage at having to perform at this monotonous ‘masquerade’. However, before long the song collapses back into the familiar chorus, as we are eased back into the familiar feeling of wishing for ‘inspiration’. ‘Everyday Masquerade’ establishes Velvetine’s unique sound as a post-punk take on art rock and shoegaze music. We look forward to further releases from the band, and hope for an upcoming debut EP or album. You can catch Velvetine at gig venues across London, including at Two Palms on 26th January. View this post on Instagram A post shared by Velvetine (@velvetineband) You Might Also Like Dream, General and Greater London, New Discovery, New Releases, Post Punk, Shoegaze, Single, Velvetine