The Cork-based four-piece are back with a new track that builds sounds on top of one another like seams of sediment in the earth. Layers of gauzy indie rock give way to each other, cresting and breaking as waves upon the shore. Borne onward by singer Fionnbharr Hickey’s gentle vocals, there’s a forward movement throughout the entire song that forces the gaze forward. Although the song is ostensibly about anxiety, sonically it’s more freeing than suffocating. Hickey’s vocals pair beautifully with co-vocalist Asha Egan McCutcheon’s, the two providing shades which melt into one another, oscillating between being both unhurried and urgent.

Making a name for themselves as a dynamic live act, too, Pebbledash have a stretch of live dates ahead of them in 2025, including seven nights on the So Young tour in September. With a catalogue that contains notes of shoegaze, folk, rock, and a host of other sounds, you’ll be straining to pick out the different tastes welded into their music.

Photo by Emily Cardona

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The song feels wide-reaching and disparate, with each sound dissipating outwards, whether you’re focusing on the murky depths of a bass or the bright fragility of lead singer Pearl Amanda Dickson’s vocals. Each listen begets something new, a new sound drifting up out of the fog. There’s a nervous, elegiac space between the song’s sounds and textures, a whole world to hide away inside.

Sex Week seem to have matched their sound to the longer, lighter days, with this new track feeling like a brighter iteration of their previous shadowy singles. ‘Coach’ lifts off the ground, and with shows planned at Green Man and Manchester Psych Festival this summer, it feels like the band know exactly what they’re doing. Open your window and take a big gulp of fresh air.

Photo by Jason Isip

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Opening to thrumming, humming guitar lines and mechanical undertones, the layers of melodies quickly start to race ahead, tripping over each other in a buzz of storytelling. With all the sharp delineations and crisp outlines of an Andy Warhol, the song is driven by a playful narrative that tracks a friendship characterised by deep-rooted obsessions and blurring identities. And it’s a friendship that eventually launches itself off the deep end with a gleeful shout. “Almost everything is autobiographical, except for the murder”, the band have said of the track.

Bottling the lightning intensity of live shows and steeped in musical influences ranging from disco to punk, the single positions Hot Stamp as a group who know who they are and how to have fun. It’s a song that is drenched in a lurid blood red colour, and one that will make you want to get your hands dirty too.

We host Hot Stamp at The Elephants Head tonight (June 3rd 2025) with support from Bathing Suits. Free Entry.

Photo by Michael Jolly

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Issue Fifty-Five features Model/Actriz, YHWH Nailgun, The Orchestra (For Now), Westside Cowboy, Car Seat Headrest, Real Farmer, School Fair, Elias Rønnenfelt, feeble little horse, Kissing On Camera, Pooneh Ghana and Rhi Dancey.
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The song opens with twee guitar lines that meander like a long walk in the countryside – one that inevitably results in a trip to the pub at the end, as the track becomes more unpredictable as it progresses. Melodies like citrus bursts, sharp and sweet, are layered on top of one another, the sound becoming richer whilst keeping one muddy boot stuck in a simple, reflective mode. By the end of the song, its layers have built up like sediment in the earth, through which we dig like dogs to unearth the nugget of emotion at its core. It’s an exercise in understanding one another as much as it is a mediation on the impossibility of that same thing.

Both sweet and restless, ‘Like a Dog’ heralds Conus sp. Bent’s second album, ‘To Within an Inch’, which promises further storytelling and the singer’s signature brand of eclectic musicianship.

Photo by Ike Gray

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There’s a sense of serendipity to the band that stitches together their music like golden thread; Reid’s Scottish hometown shares a name with Fraser’s Montana one, an oddity that embodies the transcontinental pull that drew the two artists together earlier on this year. Despite their fairly new pairing as musicians, their musical styles meet nicely in a single that reflects back the grungy aesthetic of 00’s American rock, wound up with a wraithlike quality that flickers in the background throughout. The open-road expansiveness of the song’s instrumentals unfurl again and again like a kaleidoscope, twisting open and pulling the listener deeper in. Despite the sense of limitlessness that this prismatic quality affords the song, it’s all packaged up in a neat sub-three-minute runtime.

Photo by Parker Love Bowling

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Recorded at Fuzz Brain Studios, ‘replication’ locks drawling vocals inside a manic soundscape. That central image of ‘replication’ – of the same things happening, day in, day out – haunts the vocals, the frustration it triggers manifesting in the thrashing instrumentals. The whole piece is drenched with a sense of ennui, which clings to your skin like last night’s perfume. Despite its angst and chaos, there’s something quite tender at the song’s heart, with the subdued vocals belying a sense of longing. Given a lift by meandering guitar lines, the track builds and builds to its cliff- edge conclusion, when it begins to break up, becoming as fragmented as a dream. This soporific state is one augmented by the accompanying video, directed by Rodrigo Morán, and by reverb so thick and sticky that your eyelids will struggle against it.

As the track peters, out, you are left with a sense that you’ve run out of ground and have just stepped out into air. Its as freeing as it is arresting; time to fly or fall.

green star will celebrate the release of their new single on December 5th at The George Tavern. Tickets on sale now.

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Part of a golden new troop of indie talent in the capital, the track comes tricked out with production by Honeyglaze’s Yuri Shibuichi. Clear-cut vocals are stamped onto a fuzzy-edged soundscape, like the distinct outline of a brightly coloured raincoat against a mist of rain. There’s a driving rhythm to the song that could be equally enjoyed striding down the street, gulping in fresh air, or by furiously tapping away at your keyboard at whatever desk job you deem appropriate for the track’s cynical title.

But is it all that cynical? There’s a double sense throughout the track that pointlessness might in fact be freeing, a suggestion that’s woven into the fabric of the song’s arms-wide-open musicality. Something to ponder at their next gig as you head there, straight from the office, rolling back shirt sleeves and pushing your way to the front.

Photo by Lewis Graham

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Sports Team’s bright, unruly guitar lines evoke the muddy fields and warm beer of British festivals, a sound that feels strangely nostalgic during the slow slide into Autumn, but which gleams in the earlier nights. The crowded, swaggering sound created by the six-strong band is newly baroque, a summons to the dancefloor as the world around us taps away through the endless stream of sex, death, and ‘Minions’ memes proffered up by social media.

Lightly sordid lyrics demand to be sung along with, lead singer Alex Rice telling us ‘I can taste the sweat dry on your face’; hot and cold images intermingle throughout. The track’s accompanying video epitomises the DIY decadence that has become the bedrock of the band’s public persona, pearl necklaces and bunches of grapes rubbing shoulders with shirts and ties. It’s an aesthetic that will soon be translated to the sweaty whir of their onstage presence, with ‘Condensation’ surely a track that wants hearing live.

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Carnivalesque guitar lines career and wheel around whilst lead singer Lara Minchin’s vocals cut through with incisive commentary on the pervasive nature of sexual assault and harassment. Aping the kind of crude, suggestive comments that are bartered and traded as social currency in clubs and on street corners, she sings “I’ve got something to show you” in a chorus that is as lively as it is chilling. The track’s raucous exterior infuses melody with hot, glowing rage, which works to underscore the bright lights, blurred vision approach to the issues at hand in a cutting marriage of sound and meaning.

The song’s satirical approach mimics the cavalier attitude that sexual violence is greeted with, translating horror into a shoulder shrug in a way that reflects society’s widespread inability to address issues head on. Joking about awful things has always been a way that people cope, but at what point does it cease being a useful way to get people talking, and start being something that undermines the issues at hand? This song aims to continue the conversation, bringing it to the forefront.

A playful spectacle, the song ultimately feels liberating; it’s time to shake off our niceties and say no when we want to say no. And if the lyrics of ‘Supermum!’ are right, and disagreeing really has become an art, then this song exemplifies the creative potential of that simmering rage.

Also Read: ADORE – Postcards

Photo by Paula (fnati.c)

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