Coated in the dressing of discomfort that we’ve come to expect from Humour, ‘In the Paddies’ explores a reflective narrative of dead characters examining their now lived life. Rich with the dynamic Post-Rock instrumentation that Humour have perfected since their debut EP three years ago, ‘In the Paddies’ is fronted by a chaotic and alien-esque vocal performance from Andreas Christodolidis. ‘In the Paddies’ doesn’t rip through you like previous hits ‘Yeah, Mud!’ or lead single ‘Neighbours’, but Humour prove their versatility here packing ‘In the Paddies’ with the same level of technical ability and punch while also toning things down.

On the track the band add, “‘In the Paddies’ is from the point of view of a character who summons various members of the dead throughout history to rise in a muddy field and asks them what it would take to allow their souls to rest peacefully”.

Photo by Rosie Sco

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On the lips of every indie music fan in the country, Westside Cowboy have become something of a cult phenomenon after the success of their blistering debut ‘I Never Met Anyone I Thought I Could Really Love, Until I Met You’, which bonded Americana influences with indie-rock nostalgia. Westside Cowboy aren’t afraid to change it up though, with ‘Alright Alright Alright’ feeding straight from a western as the lead guitar line and drums move together in a chase-scene rhythm, with additional siren guitar effects and screaming back up vocals to make sure that every second of potential is filled.

‘Alright Alright Alright’ coincides with the  announcement of the bands debut EP ‘This Better Be Something Great’ due on August 8th after what has been nothing short of a breakout year for the band. 

Photo by Joe Moss

So Young is a new music magazine and our new issue is out now. Buy in print here. Subscribe here.
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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Working with GRAMMY winning producer John Congelton for the first time, ‘Cutthroat’ is more of the same signature Post-Punk that Shame have come to perfect but with a renewed commentary on the state of the world. Vocalist Charlie Steen brings his pompous charismatic energy- matched suitably by the rest of the band who create a fierce sound that bellows beneath.

Though Shame have a handle on their sound, they still find ways to leap forward and experiment musically. Where their last record ‘Food For Worms’ was a slower, more self aware record, new album, ‘Cutthroat’ pulls no punches and is a direct response to “The cowards and the hypocrites of the world, let’s face it, there’s a lot right now” Steen proclaims.

Accompanying the bands return is a fantastic music video directed by Ja Humby which gives Shame the live setting of a motorcycle wall of death; standard practice for a band like Shame. The energy and intention poured into part one of the bands new album is a glaring indicator that we’re in for a fantastic new record.

Photo by Jamie Wdziekonski

So Young is a new music magazine and our new issue is out now. Buy in print here. Subscribe here.
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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Quickly becoming a crown jewel in the UK alternative scene, ‘Drains’ is another new direction within a versatile collection of songs from mary in the junkyard. ‘Drains’ is their darkest yet, digging through the underworld of bustling London and needing the support of friends to be lifted out. The band illustrate this with dark guitar chords, tender singing and the fierce screams of Clari Freeman-Taylor, a suitably deep bassline from Saya Barbaglia and some fresh technical drumming from David Addison. Despite working hard to maintain the delicate energy they’ve come to hone, the band demonstrate they aren’t afraid of exploring the potential of their sound.

On the track, Clari says, “I am curious about the bowels of the city, we don’t see what’s below, but there are many pipes and caves. And my friend once said, ‘If you bury yourself, I will dig you out again’, and I wanted to immortalise it because it made me feel so warm”.

It will soon be two years since the band’s debut single ‘Tuesday’, and since that point the band have been associated with the phrase “It’s been a big year for them” – a testament to their meteoric rise and the widespread adoration and anticipation for the music of  mary in the junkyard.

Photo by Vittoria Pagliaro

So Young is a new music magazine and our new issue is out now. Buy in print here. Subscribe here.
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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Bursting out with an underground feel, the London trio bash out with new track ‘My Teeth’ which thrives in enough filth to give anyone a cavity. ‘My Teeth’ is not for the faint of heart, with lead singer Max Mason’s vocal performance and lyrical content being enough to give you night terrors as he rambles about the burdens of life, as well as his dental health.

The track is  accompanied by a David Lynch-esque music video. On the video, the band say “the video offers a surrealist collage of religious imagery and dream logic. It’s also the most ambitious and complex video we’ve created so far, chronicling a tooth having a very bad day. Close friends, including members of For Breakfast, DAAY, Burden Limbs and Black Bordello, helped design and craft the costume, filmed, set designed, acted and appeared as extras. It was exciting to have so many people come together and pour their energy into the shoot.”

Photo by Max Mason and Melody Wayfare

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Just over a month from their comeback single ‘Besties’, the Sextet go from strength to strength on new single, ‘Happy Birthday’. This track, written and performed by Tyler Hyde, see’s the band explore their frustration towards young people and the social weight created by generational differences. Written over a sprightly piano part and married with a call and response duet between mandolin and noodly guitar, the track has a whimsical feel. In BC,NR fashion, ‘Happy Birthday’ reaches a large break after an immense sustained note from Hyde, backed by an ensemble of wordless singers making for a truly epic release.

The track was written after many listens through ‘Besties’ and Hyde says herself “The structure of it is heavily influenced by it”. This helps ‘Forever Howlong’ flow seamlessly between songs as Black Country, New Road perfect writing a record in their new formation. It’s clear they’ve worked hard to keep the focus away from any individual singer and more on the group as a whole, honing in the styles and mannerisms that each vocalist brings. ‘Happy Birthday’ is proof that Hyde is a fantastic songwriter, but more so is proof that Black Country, New Road are a once in a lifetime band.

Photo by Eddie Whelan

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After the success of their impressive debut, ‘Wake Robin’, The Orchestra (For Now)’s new offering, ‘Skins’ carries over the same level of musicianship and class. Marrying their grand instrumentation with Joe Scarisbrick’s witty lyricism, the track details some form of journey with Scarisbrick suggesting “Take your brothers car and drive it out to sea” while the Orchestra pedal along for the whole song to take flight. A staple in their live set, ‘Skins’ builds masterfully with each of the band taking a momentary solo opportunity as the track progresses subtly to its finish line.

This release comes with the announcement of their debut EP ‘Plan 75’ and with these first two tasters we have full that their debut will be one that is baked with precise quality.

Photo by The Orchestra (For Now)

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Pebbledash arrive into the new year with the swampy ‘Slowly Slowly’. The band are making a fierce statement this month, with their debut EP due for release on January 31st and their debut run of UK shows, including our We Are So Young night at The Social on. January 29th.

‘Slowly Slowly’ is significantly darker than previous offerings from Pebbledash, with unsettling moments of guitar feedback complimented by raw vocals and synth sections causing a fierce musical whiplash. Yet its in the softer moments that Pebbledash thrive with Fionnbharr Hickey and Asha Egan McCutcheon’s vocal harmonies bringing a serene colour to the verses. Lyrically, the band encapsulate frustration and isolation – something they brought to the studio with the recording session being completed in pitch black.

On the track, the band say ‘Slowly Slowly’ is a song about the desire to belong, be seen, and in many ways the selfishness of needing recognition. The lamenting tone of the vocals and harmonies glide upon the guitars and this frustration builds to the brief release of feedback at the choruses before returning to the echo chamber in the 2nd verse. Recorded in complete darkness in an attempt to capture that feeling of isolation and translate it to the music ‘Slowly Slowly’ jumps between Catharsis and Longing, it is our statement of the ‘beautiful ugly’ the things you want but know you shouldn’t and the heartbreak when things don’t happen like how you dream, and I guess this is us saying its fine to be selfish sometimes about these kinds of things”

Related read: The Scoop – Portals of Discovery: Ireland’s Next Generation

Photo by Emilyn Cardona

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Oozing with psychedelic charm, the London/Oxford Collective announce their long-awaited debut LP ‘Earth-Sized Worlds’. With four years, multiple tours, and two critically acclaimed EPs under their belts, it’s fair to say Mandrake Handshake have perfected their wacky but wistful sound – a sound that is ever so prominent on latest cut, ‘The Change and the Changing’.

Sitting at just over 5 minutes, Mandrake Handshake work to make the most of every second filling the track with luscious backup vocals, polyrhythmic drumming, twinkly synths and breezy guitar that sit below an unassuming yet simply gorgeous vocal performance from Trinity Oksana.

On the track, Trinity says “The lyrics were inspired by a solo trip to Edinburgh during a transitory period of my life. They are a reflection on returning to Self after being changed by the Other, on connecting with the ultimate autonomy of the Self as a form of empowerment beyond relational turbulence, and a testament to the healing power of nature. My words found their musical home in the classics of Musica Popular Brasileira and is a love letter to the greats of that period.”

Their debut album “Earth-Sized Worlds” is much of the same, a left-field masterclass that arrives on February 21st the week before they play their biggest London headline to date at Number 90, Hackney Wick. 

Photo by Jeanie Jean

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