Single Review: ‘Cut Off Point’ – Part-Time Model
Single Review: ‘Cut Off Point’ – Part-Time Model A dazzling debut with a hint of darkness from new Leeds alternative four-piece By George Bicknell 16 October 2026 Despite how easy it is to put any music you’re working on social media for the whole world to see ages before it’s even out, it’s still quite a rarity for a band to build up the level of excitement Leeds’ Part-Time Model have before one song has been officially released. Similar to the early hype surrounding The Last Dinner Party before they released the now-classic ‘Nothing Matters’, the immense buzz surrounding Part-Time Model has been built off outstanding live performances and the subsequent word of mouth. The early success has so far culminated in sold-out headline shows across the north of the UK and the band signing to LAB Records, who boast artists such as South Arcade, The K’s and Antony Szmierek as part of its roster. ‘Cut Off Point’ has now finally arrived as the perfect demonstration of the unique blend of grunge, jazz and psychedelic music the four-piece is bringing to the alternative rock scene that is understandably grabbing everyone’s attention. On the verses, the punchy rhythm section provided by Ben Smith’s drumming and Rafael Menes-Browne’s bassline contrasts perfectly with Lucy Tessier’s soaring vocals and the sultry, mysterious guitar leads from Charlie Wilberforce. The chorus then opens up beautifully, with these huge, atmospheric guitar chords shimmering over the track as Tessier uses some spoken-word vocals to drive home the song’s poignant themes about the anxieties of growing up. Misha Warren Detailing the message of the song, the band said: “It’s about grieving childhood and reckoning with a dependency that never really gets cut off, especially when all you’ve known is your parents’ support regardless. As a band, in recent years, we’ve all had to leave home for new cities, and leaving our parents behind in the process brought this question to light.” One of the first bands that came to mind when listening was Wolf Alice, which I know is the lazy comparison that gets given to most up-and-coming female-fronted bands from the UK, but something about the band’s perfect blend of grooviness and noisiness, as well as the confidence in Tessier’s performance, has me thinking of ‘Visions Of A Life’ era Wolf Alice for all the right reasons. By the final chorus’s whirlwind of gorgeously fuzzy guitar chords that bolster Tessier’s truly commanding performance, I knew that this would be a track I keep coming back to for a while to come, and I will get just as immersed in this band’s captivating sound every single time. ‘Cut Off Point’ is now available on all digital platforms via LAB Records. You Might Also Like Recent Posts
Single Review: ‘Borrowed Time’ – ladylike
Single Review: ‘Borrowed Time’ – Ladylike It’s dreamy, rustic and folky, there’s a lingering nostalgia [Support ladylike on Bandcamp] By Niamh Hughes 3 October 2026 Ladylike are so beautifully poignant. The Brighton-based quartet’s new single ‘Borrowed Time’ is no different to their past releases, proving equally as affecting. I saw an interview online where vocalist/guitarist Georgie Butler recounted a time when they attempted to cover fun or happy songs, and how it didn’t sound quite right. I remember watching this and thinking that this is no bad thing. Some of the greatest bands are those that know how to get sadness right. Whether intentional or not, the song ‘Borrowed Time’ achieves this. It’s dreamy, rustic and folky, there’s a lingering nostalgia to the track. It feels very ‘coming of age’, not just within the lyrics, loosely inspired by losing contact with someone as time passes, but also within the sound itself. Vendy Palkovičová The rising and falling between momentous rushes of slowcore and the stock-stillness of folk mimic that swelling and settling of real life. There’s something bittersweet about those shifts, like the feeling where you suddenly stop and realise how much time has passed. It’s a reflective song, one which you’d listen to lying down flat on the floor, wherever that may be, whether staring at ceiling or at the sky. Recorded with producer Balázs Altsach in a renovated chapel studio in Pembrokeshire, the band tracked the song together in the same room, recording, mixing and mastering it within three weeks. You can hear that immediacy. It doesn’t have that overly pristine sheen, that overproduction that can sometimes make a recording feel strangely distant. Instead, everything feels exposed and raw. https://www.youtube.com/watch?v=ZkY35Ngs64s Its accompanying video captures that same feeling. Shot with the grainy intimacy of VHS, it feels deliberately unpolished, like a home movie set out with the intention of preserving memories. Ahead of Ladylike’s biggest headline tour yet, ‘Borrowed Time’ proves that the best songs do not have to be dramatic with their handling of emotions to linger. It’s exposed, it’s elegiac and for me, it’s one of those tracks that quietly hangs around. You Might Also Like Recent Posts
In Conversation with M. Woodroe
IN CONVERSATION WITH M. Woodroe Jana sits down with the lead singer of the Brighton four-piece to chat about their new EP [Support M. Woodroe on Bandcamp] Interview by Jana Cservenka 18 September 2026 After alt-rocking their way around Brighton’s most notorious venues for almost three years, the genre defying four-piece M.Woodroe have released The Treatment of Fractures, their debut EP. Comprising material that dates back to lead singer Marcie Garwell’s adolescence, the EP traverses themes of desire, rage, queerness and acquiescence. It strikes you with its wavering tempo; from the gritty and grungy ‘Carte Blanche‘ to the gently tragic and introspective piano ballad ‘Statue‘. Reminiscent of Wolf Alice and Bright Eyes’ early material, The Treatment of Fractures is raw and arousing. It challenges socio-political discourse with a breath of fresh air. Ahead of the release on Venn Records, I caught up with Marcie to better understand its meaning and we ventured into topics like the intersectionality of fear, cultural influences and support in the grassroots scene. Arune Daukantaite How are you feeling about releasing the EP next month? What does it mean for you? M: Well, I’m so glad because we recorded these songs so fucking long ago. We recorded them at the end of 2024. Ages ago; I’m so glad that we waited. But I’m happy to get this out and then start working on some new stuff. To start writing more. It’s our first proper release, but because it was recorded so long ago, it doesn’t feel that big anymore. Even though I know that it is, I know that it should be. I’m really excited. The Treatment of Fractures has this kind of darkness, a slightly Lynchian eeriness. Did you draw this inspiration from anywhere in particular? M: One of my biggest loves is, well, pretty nasty films. I really love [directors like] Michael Haneke. I think about those guys a lot when I’m writing songs like ‘Stalacites‘, it’s such an eerie song. I’ve got to mention David Lynch as well when I’m talking about those kind of weird and nasty films. I especially think about those guys because [their films are] kind of about perversion. I wrote about feeling like a pervert because of queerness, growing up with a queer identity. You feel like, well at least I did, I felt like a pervert because of it. I just like thinking about that, I love films that engage with that kind of stuff. It sounds really wanky, but it’s such an interesting way of thinking about desire and just human nature in this really unconventional way. Arune Daukantaite Are there any musicians that you feel have influenced you in the making of this EP? I think one of the main pieces of work that has inspired the EP is Letting Off the Happiness by Bright Eyes, which is a very raw and very sad album. When I was 15 or 16 I would listen to this album kind of religiously and it’s very difficult. I find it very difficult to listen to. I still do. Whenever I play it, my partner always asks me “are you okay?”. One of those ones. I think that’s such a big inspiration because it also just flip-flops. It gives you that whiplash, which I love. Who is The Treatment of Fractures for and what do you imagine it soundtracking? So I’ve been thinking about this recently; the speaker/singer/voice is the teenage angst part of me where all of my emotions are at their peak. I guess you kind of characterise it in your teenage years; all of your emotions are just so much. I think it’s for all of the teenagers that are still in everyone, I guess. The people who feel too angry, they feel too confused, they don’t know who they are, they feel too scared. They feel too cross at the world and can’t do anything but blame people, and obviously they should. I guess that’s who I imagine is singing the EP and it’s who I imagine is listening to it. I imagine someone listening to it whilst crying in the school toilets between classes or at lunchtime. I’m curious to know how you approached writing ‘Statue’? Why did you choose for it to be a gentle ballad when you could have channeled so much rage into it? Well, the song has changed a lot since I wrote it. I wrote it when I was 16. I originally wrote it on the guitar and I used to gig it a lot solo. There used to be a whole other verse in it that I cut out. I think it used to have a lot more rage in it and I still think it does have a little bit. It’s turned into a more introspective thing. I used to go really loud with that bit at the end for the “is it my fault” part. I really enjoy how much the band has given it that whiplash. I really enjoy that. I like fitting into all these different camps of music, different styles. I would say that there is still rage in it, but I think it’s a different kind. It’s the confusion as to why you’re feeling that way. You might feel angry and upset and scared and it all coalesces into this confused feeling. You ask why has it become this soft song? I think it’s just because I wrote it that way. It’s such an old song. When did the idea for the music video come to you? Was it during or after the songwriting process? The idea of the video came last year. It was just [the director] J and I talking about it and it took on a lot of different forms. We always wanted it to be about expression. Originally, I wanted the idea to be close-ups of people looking uncomfortable, like a tense shoulder or their hands or maybe part of their chest breathing. J and I talked
Album Review: ‘It Goes On’ – Westside Cowboy
Album Review: ‘It Goes On’ – Westside Cowboy A technically brilliant and creatively fantastic piece of art By Cara Rawson 25 August 2026 Westside Cowboy, a band hailing from Manchester, have recently become the acclaimed indie band of the city. An opinion which has now only been expedited by the release of new album ‘It Goes On’. ‘It Goes On’ is the kind of album that makes you fall in love with the beauty of music again. The melodies are concise and filled with Aoife Anson O’Connell’s unique vocal harmonies. The guitars sound fresh and warrant a modern touch. The album is an ode to feeling too young for the world but tired enough to know where you are. The lyrics of ‘It Goes On’ don’t focus on being poetry; they don’t need to. They feel like an echo of the world, there is no grandiose meaning hidden between the words. They are exactly as they appear on the tin. It’s an honest expression from a band wanting to make something nice to listen to. It’s a clear, well-spoken album. Photo by Clementine Schneidermann ‘It Goes On’ is a marker of change for indie music in this decade. The fuzz and muffled sound of the rhythm section has moved to the bass while the guitar has become polished and melodic. The album holds its genre of alternative indie without trying to prove it. The drums maintain a soft percussion which works incredibly well with the driving bass. The guitars lead the build-ups and vocals accentuate in all the perfect places. All instruments play their part and converse with each other. It’s an album that entails a sense of togetherness. The soft intro of ‘Kick Stones (The Boys)’ with the electric guitar, vocals providing a catchy melody and Aoife Anson O’Connell showing her voice in perfect detail. The drums iconic rolls and fills create a song that nearly requires clapping along to. It’s a big sound that feels like you’re in the room with the band and an audience. Westside Cowboy have well and truly proven that they deserve every single one of their flowers within this album release. They have created a technically brilliant and creatively fantastic piece of art. You Might Also Like Recent Posts
EP Review: ‘never really here’ – Chest
EP Review: ‘never really here’ – Chest Five brilliant tracks, utilising different energies and sounds and styles, without a single wasted transition. By Sankavi Naresh 14 August 2026 Norwich-based indie band Chest are back with their EP, ‘never really here’. It’s frenetic and punchy, packed with standout hooks from beginning to end; there’s a wistful ache running through it, the kind I thought we’d lost to the 2010s. The EP opens with ‘SO BETTER NOW’, which is fast paced and guitar heavy from the first bar, building momentum, not allowing for wasted space. The last 30 seconds particularly stuck with me; the riffing builds and builds, allowing a neat transition into ‘GOSPEL’ which is slower and broodier, a proper gear change. Chest never seem to run out of fresh ideas; the hook “I haven’t slept in a couple hours” is an instant earworm that you’ll be humming without meaning to. The line “over and under, kicked out” runs through the track like a half remembered encounter, something you can’t quite place or shake. “I have a vision,” vocalist Joel Reader declares partway through; it feels prophetic. ‘MACHINE’ is aptly named, mechanical in the best way, tightly wound without ever tipping into clinical or cold. “It’s all a bit obscene” is a catchy hook that takes a step back to examine just how strange it is to be this plugged in all the time. The track is restless. It feels tuned to something bigger, a sense of permanently being switched on, and having no way to switch off. ‘JULIA’ is a completely different register, melancholic and slower. There’s a reference to Julia’s mother that hints at hurt that runs deeper than what’s happening in the song. Reader calls out for Julia across the chorus, again and again, but the music tells you what the lyrics won’t say outright: she’s long gone and calling isn’t going to bring her back. Last but not least, ‘NUMB’ slows everything right down. It’s comforting and resigned all at once, weary but doesn’t indulge in self pity. It’s numb but never empty; we feel every underlying emotion beneath that numbness. Chest let the pain linger rather than looking away from it, echoing the same restraint ‘JULIA’ showed: small stretches with no vocals at all, the instruments are left to do the talking. A relationship has been abruptly severed here, and the track can’t quite move past it. The section beginning “I had the strangest dream” strikes a chord; it’s a line that stops you in your tracks, searching for something it already knows it’s lost. Five brilliant tracks, utilising different energies and sounds and styles, without a single wasted transition. ‘never really here’ knows exactly what it is; it’s a living, breathing entity in its own right and it thrums with hurt and confusion. You can hear it in the way ‘JULIA’ can’t stop calling out for someone that won’t answer, or the wordless stretches on ‘NUMB’ that say more than the lyrics do. Chest are definitely ones to watch. You Might Also Like Recent Posts
Review: RADAR Festival 2026
Photo by @oli.duncanson REVIEW – RADAR FESTIVAL 2026 Everything the world of progressive music has to offer under one roof [2027 Ticket Link] By George Bicknell Header Image by Oli Duncanson 9 August 2026 The thing I was immediately struck by upon arriving at the O2 Victoria Warehouse in Manchester was how much everyone attending absolutely loves RADAR Festival. Whether it was in the crowds of either stage, sat amongst everyone in the outside courtyard, or browsing the stalls at the extensive music and gaming market upstairs, everywhere I looked I could tell that the care put into tailoring every aspect of this event has successfully built such a strong sense of community. It’s easy to see one of the reasons why everyone who comes to RADAR has such an affinity for the festival, and that is the incredibly interesting lineups that the organisers curate from the worlds of progressive metal and modern heavy rock. I was only able to attend the Saturday of this year’s festival, but even then, partly thanks to the festival’s no-clash set-up, I was still able to catch such a variety of different bands. Amongst the likes of Welsh nu-metal legends Skindred, current rock radio darlings unpeople, and Australian metalcore trailblazers Northlane, there was an incredible collection of exciting smaller bands ready to explode onto much bigger stages. Photo by @likeanao “I think we might have some weebs in this crowd,” suggests frontwoman Emma Shippen before launching into a rapturously received cover of the Attack on Titan theme. If there was ever a band that’s going to feel at one with the delightfully nerdy RADAR community, it would be Dacara, who expertly weave the aesthetics and sounds of video games and anime into their energetic brand of electronic-infused metal. Dacara harnesses a level of controlled chaos for their live performances that amplifies their already lively songs to sound absolutely huge. Shippen shows off some dynamic, soaring vocals, and all of the band have great chemistry with each other onstage. For the first set of a long day of music, it was thoroughly impressive to see Dacara command such a high level of energy from the crowd, and you can only get that kind of reaction with an absolutely killer set of tunes. Photo by @oli.duncanson Someone may have visited the stage while EVILLE were powering through their set and not gotten their head around the sight of frontwoman Eva Sheldrake rapping about how good she looks in her new bikini top and dancing in said bikini top to the tune of chugging modern metal instrumentation. I can only imagine how boring life would be as that person. Luckily, RADAR is a festival that embraces individuality and uniqueness, so a band like EVILLE, who are willing to embrace fun and femininity in a genre that can be overcrowded by a lot of self-serious men, are a more than welcome presence on this stage. It helps that EVILLE’s tunes have the perfect balance of catchiness and genuine power. One minute you’re shuffling your feet to some incredibly groovy riffs and glitchy production, and then you’re being blown away by the combined harsh vocals of Sheldrake and bassist Jude Richards. EVILLE refer to their sound as ‘brat metal’ and, based on the fact that a room full of bearded metalheads were screaming along to a song called ‘BR4T MBL’, I think many people would happily hear more of something like this. Photo by @charliebluck I have been listening to Glass Bridges for a couple of years now, and one of the things I was most looking forward to was hearing Simona Cutifani’s gorgeous vocals live, and I certainly wasn’t disappointed. Indeed, atmospheric and propulsive alternative rock anthems like ‘Breathe’ and ‘Pray’ reach new heights live thanks to Cutifani’s emotional performance. For such a short set by a band that has only been active for a few years, you feel like you are seeing a well-seasoned live act power confidently through a string of certified classics, with guitarist Sam Canfield a particularly commanding presence onstage. With songs and performances like these, Glass Bridges are only going to continue their rapid rise, and by how busy the crowd got as the set progressed, RADAR definitely proved fruitful in getting even more fans on board. Photo by @claire.alaxandra I got right to the front for this set, which I feel like was the best possible place to take in the full majesty of Royal Sorrow’s theatrical brand of progressive metal. Getting to be up close and watch each member of the band expertly perform some of the most technically impressive instrumentation was a truly exciting honour. The band’s command of crafting addictive metal melodies was on full display; songs like ‘Samsara’ and ‘Release Your Shadow’ sounded like they could blow the roof off arenas thanks to the imposing, professional performances, particularly from the frontman and guitarist Markus Hentunen, whose vocals effortlessly slid between smooth and soaring. I know there will be many curious attendees in that crowd who won’t be able to get those choruses out of their heads after that set, and the sight of the band triumphantly headbanging over their guitars in perfect synchronicity is an image I won’t be able to get out of mine. Photo by @charliebluck If you came to the festival looking for a party, London nu-metal sextet BLACKGOLD were the band to provide you with everything you could’ve hoped for. A fair few ‘masked’ bands tend to shrink behind the costumes that hide their identity, but that is certainly not the case with BLACKGOLD. All the band members were bursting with so much charisma and energy that the small stage could barely contain them, which, between that and the several enthusiastic crowd-surfers they inspired into action, surely gave the brilliant security team quite the headache. The hard-hitting guitar riffs combined with frontman Spookz’s old-school hip-hop flow to create a delightfully nostalgic yet irreverent sound that would get even the most cynical listener bouncing
Ones to Watch: RADAR 2026
Ones to Watch: RADAR 2026 It’s that time of year when mind-bending riffs and sweaty circle pits fill the O2 Victoria Warehouse as part of RADAR Festival. 2026 promises to be another celebration of everything metal and progressive, but here are TNAM’s picks for who you should definitely keep your eye on. By George Bicknell 29 July 2026 Graphic Nature This London quartet has spent the entire 2020s dropping banger after banger, taking the sounds of nu-metal and giving it a distinctly modern, British edge. Having experienced their sets first-hand a few times now, I can’t wait to hear that crushing guitar sound signal the opening of a truly terrifying mosh-pit again. Eville Describing their trademark sound as ‘brat metal’, EVILLE has combined hyperpop and metalcore to create an incredibly addictive sound, and the commanding, attitude-filled presence of frontwoman Eva Sheldrake makes them a true must-watch. Maebe Hearing the work of instrumental progressive metal and math-rock band Maebe is an utterly transportive experience that mostly reminds you of the joy you get from witnessing musicians who have truly mastered their craft get the chance to show off their skills. Royal Sorrow Blending elements of theatrical, symphonic pop with intricate, progressive metal instrumentation, Helsinki’s Royal Sorrow sound absolutely huge, but the scope of their sound never stops their songs from being emotionally and sonically hard-hitting. rozemary Coming hot off the release of their scintillating second EP, ‘it’s harder now to breathe’, Merseyside’s rozemary are bringing metalcore back to its hardcore roots in excitingly manic fashion. Glass Bridges An alternative rock band firmly on the rise, Glass Bridges seem destined to conquer much bigger stages very soon with their atmospheric instrumentals, gorgeous vocals and choruses that sound like they should be raising the roof off arenas. – Buy tickets here – You Might Also Like Recent Posts
Single Review: ‘Zero’ – Long Distance Runner
Single Review: ‘Zero’ – Long Distance Runner ‘Zero’ opens with a swell of rising feedback, howling like wind through the trees before independent guitar lines gradually emerge. By Eli Callingham 14 July 2026 ‘Zero’ is the debut single from West London instrumental outfit Long Distance Runner. Comprised of members of Mandrake Handshake and Dead Dad’s Club, the track offers the first glimpse into the band’s improvisational and immersive sonic world. Over the past eighteen months they have become a fixture of London’s grassroots circuit, selling out The George Tavern for just their sixth ever show and holding a month long-residency at Dream Bags Jaguar Shoes, establishing themselves as a formidable live act. Photo by Jude Jansen – @jude.jansen With a three guitar lineup that summons the vast scale of post-rock, intricate interlocking parts weave around one another forming a sonic tapestry in real time. Echoes of Mogwai and Explosions in the Sky sit alongside the delicate, twinkling gleam of Midwest emo, while the clattering breaks and rhythmic precision evokes the motorik pulse and spirit of Jaki Liebezeit. ‘Zero’ opens with a swell of rising feedback, howling like wind through the trees before independent guitar lines gradually emerge. The track unfolds with great patience, drifting between frenetic surges and moments of quiet restraint. Each instrument feels locked in conversation with the other, as ideas emerge, dissolve and reappear with effortless fluidity. It carries the listener across imagined landscapes that feel at once wistful, expansive and quietly transporting. The band’s improvisational spirit is central to ‘Zero’. Originally conceived as an impromptu addition to their first live set, existing without set structure and changing shape with every performance. Even in its recorded form it retains that openness, offering an introduction that feels alive, fierce and wholly absorbing. Long Distance Runner Support Alt-rock veterans Swervedriver for a first UK tour later this year, starting with Village Underground on 23rd October. [Tickets Here] You Might Also Like Recent Posts
Video Interview with Ain’t
Video Interview: Chatting Music with Ain’t Alternative,Rock After our stage with Still Listening at The Great Escape, we caught Ain’t for quick chat on the pier. They let us know their favourites from their own catalogue as well as their recommendations for what we should be listening to. Watch the interview then listen to everything they mentioned on Spotify here. You Might Also Like Recent Posts
Ain’t Recommends
← Back Artist Playlist,TNAM.UK Playlist AIN’T A playlist featuring artists chosen tracks and our TNAM staff picks from the rock band Ain’t. Alternative,Rock {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts