Speaking on the single, the band reflect: “’Next To Die’ was the obvious choice for Ugly’s return, a year after the release of our EP and a year of intense gigging – it’s a song we’ve been playing relentlessly for a while now. It is a story of compromise and trying your hardest to make something work even if it’s ultimately doomed. It feels rejuvenating and transitional – emotionally and also sonically for the band moving forward. Because of this we wanted it separate from the album which we’re currently writing.”

‘Next To Die’ feels like a highpoint for Ugly to pivot on, with its seriously accomplished vocal harmonies (as is their superpower), coupled with beautifully textured percussion and excellent acoustic guitar playing. Their debut EP ‘Twice Around The Sun’ has been on my heavy rotation, and selfishly, I wouldn’t want to witness too much of a sonic departure. The band have already grasped an incredibly accomplished and definitive sound – a rare achievement for a band with such a small discography.

Ugly will be embarking on a tour next month, including a headline show at YES in Manchester on the 7th May, Village Underground in London on the 8th May, and Brudenell Social Club on the 9th May. You can also see them at Wide Awake towards the end of May. Trust me, you won’t want to miss them.

Photo by Seren Carys

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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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Although òrain started as the solo project of Fraser Johnston, ‘Little Flea’ sees a stunning vocal appearance from Molly Ingleby – who sings about the beautiful naturalism found in rural Scotland. Her voice perfectly captures that kind of yearning feeling that we all hold about certain places we adore and are continually drawn back to. 

Reflecting on the track, Johnston remembers: “Little Flea was originally titled Mialum, the Gaelic translation of its name, inspired by the beautifully strange place-names on the island where it was written. The song was born from a summer spent listening to Sylvie, Jessica Pratt, and Neil Young—but instead of Laurel Canyon, we were in the Hebrides. We wanted to capture that sun-faded postcard feeling, a sense of time slipping through your fingers.” 

òrain are embarking on a Scottish tour in celebration of the release of their EP at the end of this month. Starting at Art Bar in Dundee on the 25^th, followed by LTD Ink Co. in Edinburgh on the 26^th and The Poetry Club in Glasgow on the 27^th.

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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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“What’s a mere mortal to do?” asks Deadletter’s lead singer Zac Lawrence in this ska-infused post-punk ballad. Written as a personal homage to a close friend lost to suicide, Lawrence’s message is trepidatious, not a cheesy ‘it’s going to be ok’; rather, his message is tinged with a nihilism which enthrals all our experiences of grief.

‘Mere Mortal’ is a punchy introduction to a highly anticipated debut record titled ‘Hysterical Strength’. Speaking on the album, Lawrence notes that “being able to take something disgusting or disgraceful and make it sound nice through the power of music, that juxtaposition appeals to me.” It’s an important maxim and songwriter’s challenge – to make those subjective, challenging experiences brighter for a wider audience. In ‘Mere Mortal’, Deadletter certainly succeed.

Accompanied by a stunningly noir music video directed by the prolific Laurence ‘Laurie’ Hills, ‘Mere Mortal’ is a track set within the smoke-filled streets of East London. When I next find myself at Bethnal Green’s legendary Pellicci’s Cafe (where the video is primarily set), I’ll be looking for a framed photo of Deadletter. In the back of my mind, I’ll be wondering whether they ever left (see final shot to understand this Kubrickian reference…)

Photo by Daniel Delikatnyi

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Fontaines D.C.’s unstoppable rise over the last five years has never left those die-hard early fans bereft. You know that overused phrase (I find most commonly used in the context of Fleetwood Mac’s back catalogue), which goes something like “I liked their early stuff, before the big budgets and solo albums.” Well, I must admit, I was a little sceptical after catching wind of Grian Chatten’s record ‘Chaos For The Fly’ last year. Regardless of this however, this ground-breaking band are stronger today than ever, setting the tone for an unforgettable fourth record titled ‘ROMANCE’, out in August via XL Recordings. Despite all odds, the aforementioned phrase is irrelevant when it comes to Fontaines D.C. Why? Their vision has been unwavering from the start.

This new single ‘Starburster’ is their most personable yet, recounting a panic attack Chatten experienced at St. Pancras station. This track, and the album more broadly, tries to grapple with one’s experience of reality; whether that is something we find in the tangible world, or in our subjective minds. Underneath this is the bands’ relationship to Ireland, and how their current lifestyle has warped the nostalgia they feel toward their homeland. As Connor Deegan says, “We’ve always had this sense of idealism and romance. Each album gets further away from observing that through the lens of Ireland”.

The music video for ‘Starburster’, directed by Aube Perrie, brilliantly echoes this loss. It sees the band returning to Ireland, but it’s not as it once was; here it’s sparse, derelict and empty. Beginning with a punchy drum break and a simple-yet-effective guitar lick, Chatten’s recognisable delivery is broken by sharp intakes of breath and inhaler puffs. It’s a five-star introduction to perhaps the most highly anticipated album this year. ‘Starburster’ is the best thing I’ve heard from Fontaines D.C. since ‘Dogrel’.

Photo by Theo Cottle

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Photo credit/costume Design: The New Eves

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This track leaps over that pothole as it begins with the lyric “boys don’t cry.” Sustained open chords form the foundation of this track, and a little feedback is more than welcome. The lead guitar part echoes the style of Albert Hammond Jr – confidently played single notes which add texture and dynamics. Without any unexpected twists or turns, ‘Unreal’ is easy to digest. It wouldn’t be an imposter on the track list for ‘Is This It?’

Cardinals have been praised by many, including Fontaines D.C’s Grian Chatten, who named Cardinals as one of his favourite news bands. Cardinals have clearly followed the pre-requisitioned recipe to achieving brilliant guitar music.

Also Read: Cork Newcomers Cardinals Share New Single ‘Roseland’

Photo by Emilyn Cardona

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Announced yesterday, Drahla’s ‘angeltape’ is due to land in early April via Captured Tracks. According to the band, the record aims to reflect the variety of change and unfamiliarity experienced during the last half-decade. Laden with grief and loss, it’s been no easy ride for the band, who have returned with a noticeably darker and ‘tonally complex’ sound heard in ‘Default Parody’.

This track has that muted string strumming technique typically an ingredient in the Crack Cloud recipe for a solid hit. Although it’s the bass which drives the song forward, an irresistible lick. “It’s controlled chaos”, says vocalist Luciel Brown, “lots of different ideas that resolve at some strange harmony. It was the first realisation of writing something from start to finish with the addition of Ewan on guitar so there’s more freedom of interplay and from our previous roles in the band.”

Photo by Drahla & George Brown

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Described by singer Verity as ‘lyrically bleak and cold’ (much like this torturously freezing weather spell in the UK right now), this track expands on the already robust shoegazey canon developed by the Edinburgh based duo over the last few years. Although this track draws on Selby’s Requiem For A Dream to create feelings of dread and isolation, ‘Song 01’ sounds remarkably hopeful. Morgan’s woozy, distorted guitar melody rises up the neck resolving satisfyingly at the end of each phrasing. There’s even an excellent acoustic middle eight! The final verse witnesses the song breaking down, here is where we descend into chaos.

As ever, brilliant, mature songwriting from a duo who simply don’t miss. Cannot wait to hear what’s next.

Photo by Humble Film Productions

Also Read: The Scoop: Edinburgh’s No Windows – Distortion, Isolation and Beauty

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Following up their debut single ‘Imitation’, which was credited by many as possessing some of Old Greg’s famous funk juice, Gloop Unit return with their latest offering ‘Robotic Man’. Whilst this track certainly retains a strong funky essence, it seems that the Unit have added many more ingredients to their potion. There is a clear nod to Kraftwerk, a wink to Devo, and a subtle shuffle towards Primus. If that’s not already sucking you into the black hole out of which Gloop Unit emerged, what kind of new music intergalactic explorer are you?

Reflecting on ‘Robotic Man’, the band suggest that the tune’s “hard love-groove arrives as the band plant their slimy-flag on a planet which is about to see a few changes here and there.” For a premise strikingly similar to the plot of Walk Disney’s ‘Wall-e’, this track differs (thankfully) in its rejection of a pressure in contemporary music to project some kind of social or political value/agenda onto a song. Whilst a Sleaford Mods tune exists to fuel some kind of frustration with ‘the man’, a Gloop Unit song is just a properly banging groove to get your feet tapping. People, beware of that person giving you an ick on the train due to ferocious head bobbing, they are probably listening to Gloop Unit…

Photo by Smiltė Fadėjevaitė

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