Enjoy our top 25 albums of the year chosen by the BOOT - - - MUSIC team...
Honeyglaze - Real Deal
Inspired by their South London counterparts Goat Girl, Black Midi, and Dry Cleaning, in their second album ‘Real Deal’ Honeyglaze fuse plucky Post-punk with acerbic and ironic lyrics about heartbreak and incisive social commentary. Akin to their winsome 2022 self-titled debut, ‘Real Deal’ is characterised by the cathartic pairing of Anouska Sokolow's angelic vocals with darker and at times hypnotic hooks in songs like 'Cold Caller' and the outstanding 'Pretty Girls'.
Elsewhere, ethereal guitars radiate in the slower, measured moments of 'Ghost' and 'I Feel It All' whilst energetic, peppery percussion propels the tracks 'Don’t' and 'TV'. As such, Honeyglaze’s more mature sophomore effort takes cues from artists across the contemporary Post-punk spectrum without neglecting the group’s distinct charm.
Words by Ben Cole
Gen and the Degenerates - ANTI-FUN PROPOGANDA
Gen and the Degenerates are an exhilarating band redefining the sounds of Alternative music. The band’s authenticity and individuality is evident in their music, with their latest album, ‘ANTI-FUN PROPAGANDA’, being no exception.
The opening song ‘Kids Wanna Dance’, holds a punchy hook, is incredibly relatable, and perfectly sets up the rest of the band’s debut album. The whole album embodies a feisty, authentic tone with electric riffs and honest vocals. The eponymous track, ‘Anti-Fun Propaganda’ is short but sweet, arguing with societal norms and creating a ground-breaking new scene for their fans to dive into. ‘That’s Enough Internet For Today’ and ‘Famous’ in particular reflect an energetic determination to thrive against the odds. The album screams to today's youth about the difficulties of navigating adulthood in a society that seemingly doesn’t care and is as talented musically as it is powerful in making a statement.
Words by Eve Waterhouse
Hinds - Viva Hinds
Like so many people, Hinds watched their lives fall apart during the pandemic; right after dropping their third album ‘The Prettiest Curse’ in 2020, their tour got cancelled, their label and management abandoned them, and half of their band quit. That left Carlotta Cosials and Ana García Perrote alone, in the kind of crisis where most bands would admit defeat. But not Hinds.From the ashes, they’ve emerged with ‘Viva Hinds’, their fourth and finest album yet—a defiant, joyful half-hour of swaggering, sarcastic Indie Rock.
The pair have embraced their Spanish roots in their songwriting, delivering the moody ‘Mala Vista’ and the more lively ‘En Forma’ both sung entirely in their native tongue. Meanwhile, tracks like ‘Coffee’ channel the cheeky irreverence of Wet Leg or Elastica in a bouncy ode to the independent-woman lifestyle: “I love black coffee and cigarettes/And flowers from boys I’m not sleeping with”.
And then there’s the heavyweight collaborations... Beck joins the party on the standout ‘Boom Boom Back’ while Grian Chatten of Fontaines D.C. makes an unexpected but seamless appearance on ‘Strangers’ his dark, gravelly vocals weaving effortlessly into Hinds’ sunlit harmonies. ‘Viva Hinds’ is more than just a comeback—it’s a statement of intent. Heartache, setbacks, and a global pandemic didn’t derail the duo; they transformed those challenges into fuel for reinvention, emerging with their best album to date.
Words by Donovan Livesey
PIXEY - Million Dollar Baby
Liverpool Indie Pop star PIXEY'S debut album ‘Million Dollar Baby’ lets her vocals and musical abilities shine through beautifully, with energy and sparks coursing through each track. Powerful basslines, funky drum beats, and Shoegaze-inspired guitar are evident in every single song. The stylistic reverb lends an air of summer nostalgia to the album, encapsulating hot car rides with friends to festivals.
The album is mostly about PIXEY's experiences as an artist, navigating the industry whilst also trying to figure her place in it. In a DIY interview, she explains how “the album delves into a lot of things I’ve learned”, and it certainly feels like a celebration of all she has achieved. The stand-out track is no doubt ‘Bring Back the Beat’, the upbeat track that will have you dancing around your room like you’re in a coming-of-age film.
Words by Tabitha Rowland
DEADLETTER - Hysterical Strength
Hailing from the quiet corners of North Yorkshire, the six-piece recently uprooted to London where they’ve forged a style that’s as rhythmically intense as it is intellectually charged. 'Hysterical Strength' isn’t for those seeking easy escapism; instead, it challenges listeners to confront uncomfortable truths, tackling themes that resonate beyond the dancefloor. The tempo rarely falls below high-octane or fiercely confrontational, with each track infused with a raw energy that speaks to the band’s tightly wound intensity.
Frantic drum tones are accompanied by grungy guitar elements that provide a strong foundation for vocalist Zac Lawrence’s lyrics that deliver wry, observational takes on human nature and societal stagnation. But perhaps the album’s most distinctive feature is its use of saxophone—not just as a supporting instrument, as in many bands, but as a central force in DEADLETTER’s sound. The sax doesn’t merely decorate their songs but shapes and drives them, often taking the lead role over a guitar, setting the band apart from their post-punk peers.
With 'Hysterical Strength', DEADLETTER has crafted a debut that not only keeps pace with their rapid ascent but offers a unique balance of foreboding and fun. While the album will certainly captivate fans throughout the long winter months, it feels destined for a larger stage. By the time DEADLETTER inevitably hits the festival circuit in 2025, these tracks will be ready to ignite live audiences, delivering the high-voltage experience they’re meant for.
Words by Donovan Livesey
STONE - Fear Life For A Lifetime
Having released a string of powerful singles and EPs since 2020, STONE's debut album ‘Fear Life For A Lifetime’ was hotly-anticipated and did not disappoint. The album cover was inspired by lead vocalist Fin Power’s two childhood fears - heights and water - both of which he conquered in creating the visual. It sums up exactly what the album is about; being a young person trying desperately to navigate the world with all its loves and losses whilst also having fun in the chaos.
With elements of anthemic Indie songs of the 2000s, Fin’s vocals cut through rolling basslines and catchy riffs with his unmistakable scouse twang. The styles created by the band demonstrate their growing maturity as musicians, with the album ranging from mosh-pit heaven ‘Save Me’ to a Cigarettes After Sex sounding ‘Say It Out Loud’. There’s something for everyone, which is what the band intended when creating the album. “This album is now yours to take as your own and relate to in your own way”, the band wrote in their release-day Instagram post. Their lyrics offer an important message to many - you are not alone.
Words by Tabitha Rowland
Abbie Ozard - everything still worries me
‘everything still worries me’ calls to young adults as it explores struggles around change and the rockiness of establishing one’s identity as they grow up and form relationships. Stuffed full of dreamy Pop anthems, Abbie leads us to escape into our worries, embrace them and eventually make peace with them.
The album is enriched with raw lyrics that are embellished through the musical choices such as the upbeat tempos that drive songs like ‘how are you holding up?’, ‘monsters’ and ‘party 4 1’ forward or the multitracking that embellishes upon Abbie's light and playful vocal tone on ‘the window’, ‘night time’ and ‘miss american dream’. However, her creative process for the album began acoustically which is ultimately what creates the authentic bedroom Pop aesthetic that is underlying in every song, almost as if we are flicking through pages of her diary.
This personal insight is most prominent in ‘anything for you’. The third track of the album, yet the first where we delve into Abbie's desires. The track embodies the way one can lose themself when wanting and worrying about someone else through the building of texture, rich harmonies and repeated hooks that capture this complexity through imitating dizziness and obsession through such musical choices.
Overall, ‘everything still worries me’ feels nostalgic despite being Abbie Ozard’s debut album as even if you have not experienced what she describes, you would have experienced the feelings she captures so perfectly within each track. Therefore, ‘everything still worries me’ is an ideal listen to bring comfort to our worries.
Words by Lula Ljamalari
IDLES - TANGK
It seems the punks are in love. IDLES’ fifth album 'Tangk' is a far cry from the politically charged Post-Punk screamers of their earlier work, taking a more introspective and, at often times, slower approach. 'Tangk' is a love album, a concept that seemed incompatible with the sound of IDLES, until we heard it, unveiling a sonically matured and progressive experience, compared to their previous work. “I give myself to you/As long as you move on the floor”, sings Joe Talbot on the album’s single ‘Dancer’, accompanied by James Murphy and Nancy Whang of LCD Soundsystem, an albeit unexpected but impressive collaboration.
In deep exploration of their emotions though they may be, that is not to say all is politically sound in the world, and Joe finds ways of expressing this, without detracting from the romantic themes of the album. In the track ‘Gift Horse’, perhaps the heaviest on the record, he throws an F-Bomb at the monarchy, declaring “He ain’t the king, she’s the king”, in true romantic style.
Finally, the album concludes with the slow, stripped-back ‘Monolith’, seeing the forty-minutes off with an unaccompanied saxophone solo, sounding like a sunrise of a new sonic era for IDLES.
Words by Sam Horsfield
Goat Girl - Below The Waste
Goat Girl lean into personal messiness on their third album ‘Below the Waste’. It is always exciting when we get to watch a band truly evolve in style. Goat Girl’s latest album dives wholeheartedly into Grunge and Neo-psychedelic production. They create a cacophony of soundscapes that meld together to create a deeply atmospheric album, heralding an almost Southern Gothic style of storytelling. Their use of less common instruments like the taishogoto alongside cows mooing and orchestral symphonies create a deeply complex album that reflects their discussions around social expectations, the uncanniness of life, and the surprising joy that can be found amongst it all.
They do not hold back from the weird and it works. The rolling riffs with ethereal (and occasionally guttural) vocals make for a trance-like listening experience. In an interview with Dork Magazine, drummer Rosy Jones explains how “this record was hard to write… A lot happened to us personally”. The album’s title reflects this sentiment - the idea of waste and all its connotations and how we must go beyond that to find peace and connection.
Words by Tabitha Rowland
Courting - New Last Name
This year, Liverpool based band Courting released their second album ‘New Last Name’. In their Electronic and Indie-Rock fusion, their project encapsulates their audience with its magnetic riffs and sonics. It’s a total outpour of contradictions, which Is what makes the album so distinctive amongst many this year. The band have wrapped transparent lyrics and sensitivity in instrumentals that scream a summer-time drive, displaying a sense of carefully constructed artificiality. The band’s stylistic choice of ironically auto-tuned vocals not only adds to the retro aura of the album but adds layers of depth to that clever contradiction.
‘Emily G’ is a stand-out track. A fast paced, upbeat tune combining song and spoken word, Courting illustrate a story within our minds. A moment of introspection is allowed when the song is reverbed in the outro, finalising the story like credits rolling after a film. Their nostalgic, unrestrained yet chaotic sound of the sophomore album pushes the boundaries of our library of playlists. It’s just totally cool.
Words by Rachel Puk
The Libertines - All Quiet On The Eastern Esplanade
This year saw The Libertines return with their first album in almost a decade, 'All Quiet On The Eastern Esplanade'. The new album arrived amidst a long and ongoing period of truce for the band, who have been touring seemingly harmoniously and without issue for the last five years, and despite the chaotic but infamous development periods of the band’s previous releases, (which included burglaries, prison stints, feuds, tattoos and reunions) the record seems to fare all the better for the band’s newfound harmony, being just as playful, inspired and compelling as their three previous studio albums.
The album opens strong with its first single ‘Run Run Run’, which stands out as a reckless, impulsive anthem of escape fuelled on promises of spending tomorrow’s happiness tonight. ‘Night Of The Hunter’, the second of the album’s singles, is a melancholic, haunted, sobering track. Describing a struggle with the law, the track incorporates the familiar melody of Tchaikovsky’s Swan Lake and evokes Laughton’s famed noir classic in its title and lyrics to desolate, atmospheric effect. Similarly sobering and poignant is the fourth track, ‘Merry Old England’, which addresses the reality of the migrant crisis. "I know you came the long way round", are the knowing opening lyrics of the track, highlighting the struggle to get to the country contrasted alongside its "greying" reality. Another standout track is 'Baron’s Claw', which features intoxicating saxophones, trumpets and trombones to evoke a slyly classic jazz vibe.
At no point does the album seem particularly rote or played-out. It’s distinctively ‘Libertines’ without feeling too derivative of or reliant on the band’s past releases. It stands alone nicely as its own project, another solid album in the infamous band’s already relatively strong discography, with its own ideas to bring to the table. The album’s gentle closing track, ‘Songs They Never Play on the Radio’ ends on playful laughter and singing between the band’s members, which very well describes embodies the newfound harmony the album was produced in. If there’s one thing that’s undeniable about 'All Quiet on the Eastern Esplanade', it’s that the album benefits from this new reign of peace for the band and its members, and exemplifies that The Libertines are capable of putting out exciting and rousing albums detached from the turmoil that initially boosted some of their infamy as a group.
Words by Ava Williams
Blossoms - Gary
Stockport's finest Indie hitmakers Blossoms have returned with their fourth record, 'Gary'. Album opener ‘Big Star’ felt like an ode to Arctic Monkeys' ‘Star Treatment’, switching the ‘Tranquillity Base Hotel and Casino’ for synths and a pool bar. This track then sets the tone for the rest of the album – a reinvention of their sound that still retains the Blossoms essence we all love.
‘What Can I Say After I’m Sorry?’ was teased earlier this year, with video cameos from Rick Astley and Sean Dyche (a question we assume many Everton fans would be eager to answer). The song encapsulates Blossoms’ catchy melodies and infectious rhythms, later solidified in ‘Nightclub’, and the Damon Albarn channelled ‘I Like Your Look’. The titular track ‘Gary’ continues the theme of unlikely crossovers, merging a Beatles-esque storytelling with a SpongeBob inspired Bridge, to call for the return of an 8-foot fibre glass gorilla stolen from Lanarkshire Garden Centre in 2023.
Their excellent storytelling is not just reserved for the absurd, with ‘Mothers’ telling the fated friendship of the mothers of frontman Tom Ogden and drummer Joe Donovan. They continue their world building in ‘Cinnamon’, transporting the listener into a record store playing Squeeze’s ‘Cool for Cats’, as we follow his new-wave love leading him up the junction. ‘Perfect Me’ and ‘Slow Down’ are excellent live performance contenders, you can almost already hear an audience returning the chorus’. The album ends with ‘Why Did I Give You The Worst of Me?’, a quintessentially Blossoms song, taking listeners back to 2016 and encapsulating what they have achieved with this album – a modern revitalisation of their sound that still remains authentically Blossoms.
Words by Olivia McAnaney
The Snuts - Millennials
Scottish Indie-Rock heroes The Snuts are back and better than ever. While ‘Millennials’ is The Snuts third album, it’s their first away from Parlophone, released instead under the band’s new independent label Happy Artist Records - a name that says it all. ‘Millennials’ is far more poppy than their previous offerings, with upbeat lyrics and a fresh sound, but without losing any of the signature Snuts floor-filling, festival anthem style. ‘Gloria’, the opening track, sets the tone for the album, combining an upbeat sound with a chorus you want to belt out with an arm around your best friend.
There are some incredible lyrics across the album, filled with joy and optimism as well as astute commentary on digital living. ‘Butterside Down’, a song about toast, positivity and healing, is an album highlight. Ending strong with ‘Circles’, this album feels like a new era for The Snuts, and we’re excited to see what’s they come out with next.
Words by Beth Turner
Amyl & The Sniffers - Cartoon Darkness
Amyl and the Sniffers' third album, ‘Cartoon Darkness’ takes listeners on a wild ride through the darker side of their brash and untamed energy. The Aussie quartet, known for their boundary-pushing sound and chaotic live shows, continue to push their own limits with this album, blending their usual Punk sound with more melodic and emotional vocals.
The explosive opener ‘Jerkin’ is provocative yet humorous, however these themes are contradicted by the following song ‘Chewing Gum’ which take a more vulnerable and polished approach. Throughout ‘Cartoon Darkness’, Amyl and the Sniffers flawlessly balance light-heartedness and sensitivity to create a well-rounded album that all listeners can enjoy.
Compared to their previous records, ‘Cartoon Darkness’ presents a positive shift in the band – improving on vocals, lyrics and production whilst remaining committed to providing listeners with raw and angsty Punk tunes.
Words by Em Abbott
Kneecap - Fine Art
Kneecap have been causing chaos on the underground scene for a few years now, landing condemnation from government officials due to their politically charged lyrics and recently making headlines for going to court with the British Government who illegally blocked £15,000 of funding that was intended to support their new album project 'Fine Art'. The highly anticipated album ‘Fine Art’ takes inspiration from a wide variety of genres such as Irish Folk, Drill, and Drum and Bass and tastefully blends them into a compilation of visceral and boundary-pushing tracks.
Lyrically, Kneecap continue with their use of satire and absurdity whilst incorporating messages on social and political issues; thus, informing and entertaining the listener simultaneously. Overall, ‘Fine Art’ is a must-listen for anyone looking for an uplifting and eye-opening musical experience.
Words by Em Abbott
Home Counties - Exactly As It Seems
Long one of our favourite live acts on the underground Post-Punk / Indie-Synth scene, Home Counties stepped things up a level this year with their debut album ‘Exactly As It Seems’. With the addition of vocalist Lois Kelly, they added a sharp melodic finesse to their vibrant, dance-worthy soundscapes that range from playful Funk grooves to high-octane, Punk-spirited heavy-hitters.
You can feel the spirit of their live performances through the record while lyrics that depict the disenchantment of city life somehow make their tangled electro madness feel extremely relatable.
The Last Dinner Party - Prelude To Ecstasy
The Last Dinner Party were undeniably one of the biggest breakthrough acts of 2024, following up their international hit ‘Nothing Matters’ with their debut album ‘Prelude To Ecstasy’ to widespread acclaim. The album covers themes of femininity, power dynamics and art in all its forms while exploring maximalism through sound, performance and lyricism.
The dramatic flair of songs like ‘Caesar on a TV Screen’ and ‘Sinner’ provides a listening that feels more than sonic; you feel transported into complex theatrical realms that you can’t help but sing along to. However, their ‘Acoustics and Covers’ follow up album proves that their flamboyance is far from just a performative veneer by highlighting the beauty at the heart of their songwriting.
Jack White - No Name
After a series of more experimental and explorative projects, Jack White seemingly returned to his roots this year with his mysterious new album ‘No Name’. In typical style, he first released the record without any prior promotion, making it available only on physical vinyl from independent record stores.
However, the album then emerged on streaming platforms and it was a godsend for any old-school White stripes fans. Jack has stripped everything back to its bare bones and delivered a ferocious Garage-Rock record that is about as raw as it gets. Big riffs, thrashing drums and a soulful Blues swagger. Everything on the album is huge and we’re here for it!
Yard Act - Where's My Utopia?
After offering one of our favourite debut albums this side of the millennium back in 2022, Yard Act returned this year with their second record ‘Where’s My Utopia?’. Although their 2023 single ‘The Trench Coat Museum’ didn’t make the album, it paved the way for their new sound, full of big bass riffs, thick Indie-Disco grooves and moments of warped electronic expressions that are ever-present throughout the record, giving it a distinctly different feel to their debut.
Two of the album’s standout moments come in the form of singles ‘We Make Hits’ and ‘Dream Job’. The latter showcases the more expansive and bright tones that this record utilises. The chorus of backing vocals and the cinematic string sections bring a tongue-in-cheek euphoria, perfectly capturing the sentiment of the album title. The former has to be our favourite track on the album, detailing the band’s trajectory and their internal battles between what they want to be and how they want to be perceived. The lyrics are intricate and fantastically formed both in meaning and phonetics yet the music is just as good. The scatter gun electronic drums pack a punch, the guitars have a rock swagger and the chorus has a fine balance of Post-Punk cynicism and Disco-Funk energy which makes for an infectious sound.
Fans of the slow burning, lyric-sentric style of ‘100% Endurance’ will love the contemplative musings of ‘Down By The Stream’ and ending track ‘Blackpool Illuminations’ which completely entrances you in an 8-minute long childhood story filled with endearing relatability and charm, with poignancy as well as a customary dose of cynical humour. Meanwhile, the newfound Disco-infused rhythms, funky grooves and immersive electronics make ‘Where’s My Utopia?’ a wonderfully immersive and vibrant follow up that successfully explores a new distinctive sound.
Everything Everything - Mountainhead
Manchester’s experimental Indie Pop quartet have been a mainstay on the national scene for over a decade, known for their unique approach to vocal layering and love for exploring the unknown. They are an act constantly in a stage of metamorphosis, always pushing the sonic boundaries of both themselves as a band and of the Indie fanbase. 14 years on from their debut record, we believe they have released their best album to date with their latest offering ‘Mountainhead’.
On this new album, they combine their unpredictable and captivating vocal performances with wonderfully textured instrumental grooves and lyrics that are unique both in theme and flow; it’s not often you get to experience the words “Elvis sitting dead on the toilet” being sung in such an awe-inspiring manner. Their trademark Electro-Pop style gives the album a shimmering, otherworldly quality. Yet, there are tight, driving drum beats that give this album more of an energetic, angsty drive than some of their past work and some beautifully contrasting tonal choices that give a darker underlayer to the atmosphere, namely the haunting Rock guitar line in ‘Buddy, Come Over’ which sounds like its taken straight from The Blinders.
The fuzzy riff and harsh guitar textures at the start of the album opener ‘Wild Guess’ hint at the more complex tonal choices to come. ‘Cold Reactor’ is an infectious Indie hit and a lyrical masterpiece that you can’t help but sing along to…if you can keep with the pace that is! ‘Mad Stone’ leans into their wonderfully theatrical nature with its sharp strings while tracks like ‘R U Happy?’ and ‘City Song’ manage to make everything around you melt away as you become completely absorbed in the delicate emotive soundscapes that have gut-wrenchingly relatable lyrical sentiments
A fantastic record full of instrumental and lyrical complexity that begs countless relistens!
Fontaines D.C. - Romance
Following singles that made appetites roar, Fontaines D.C. released their fourth record, ‘Romance’ earlier this year. Grian Chatten, together with his ever-proving dynamic bandmates used this record to bring a spiky and revitalised sound to their already impressive discography.
Lyrically, the album explores an abstract and intangible place in an imaginary realm rather than a physical one. The opening track illustrates this opportunely, leaving the words “maybe romance is a place” eerily yet beautifully looming over our heads for the rest of the record.
The album embodies a spectrum, and this concept is solidified by the album cover painted by artist Lulu Lin. A metallic and machine-like façade, yet a beating heart blankets the project. Single ‘Here’s The Thing’ cements this concept. Silvery riffs and a tangy hook immerse your senses with a certain breathiness between Grian’s vocals, alongside Coll’s explicit drumming. The perky lyrics “she threw me out like I was a wedding bouquet” in ‘Bug’ alongside the groaning “I live meretricious, you shattered” in ‘Death Kink’ demonstrates the variety within the same poetic latitude of the record, that Grian never fails to appoint.
Using the project to focus on a more abstract and symbolic part of their identity, Fontaines D.C. have successfully proven their ability to transcend to an alternative direction in their music. Advancing on their sometimes ruthless and politically nuanced ballads has allowed the band to explore another level of emotional depth whilst still encompassing their identity and purpose, which is evident in their music and performance of ‘Romance’.
Review by Rachel Puk
BIG SPECIAL - POST INDUSTRIAL HOMETOWN BLUES
The gritty debut by Black Country duo BIG SPECIAL is an album so visceral that you can almost feel the saliva hitting you as each word is snarled with the canine intensity that the album artwork suggests.
Albums this biting often become all about intensity over intricacy but this record has complexity both in lyricism and instrumentation. Punk preacher poetics spiral throughout the record; playful and witty one moment, strikingly poignant and beautiful the next. Meanwhile, textured backdrops blend thumping Garage Rock with absorbing electronics.
‘BLACK COUNTRY GOTHIC’ and ‘DESPERATE BREAKFAST’ offer the most straight-down-the-line heavy hitters that fans of Shame, Wunderhorse and Fontaines D.C will love, still showing the immense vocal talents of the duo. On the other hand, songs like ‘MY SHAPE (BLOCKING THE LIGHT)’, ‘BROADCAST: TIME AWAY’ and ‘MONGREL’ lean into their lyrical talents, providing swirling soundscapes for them to spit their whirlwind lyrical bouts on top off. The latter of the three is one of the most blood-curdling spoken word performances that we’ve heard!
However their debut single ‘THIS HERE AIN’T WATER’ and the contemplative ‘BLACK DOG / WHITE HORSE’ add yet more strings to their bow. The former barrels through angsty spoken-word verses before making way for gut-wrenchingly soulful vocals in the chorus that almost break but never quite do, pushing the dial of emotion to the full. Meanwhile, the latter shows swooping Country, Folk and Blues influences with its beautifully haunting chorus.
The record is then rounded off with our favourite album enders of the year ‘DIG!’, a song that blends all their best elements into a finale that could soundtrack the last minutes of your favourite indie film. The beaten-down grit is present yet what really burns through is a lasting sense of hope and optimism with the rising synth chords that ring of Public Service Broadcasting. It makes the whole album feel like something more, something that will last on past the final note and something that will stay in your heart for a long time.
English Teacher - This Could Be Texas
For nearly a decade, the Mercury Prize, arguably the UK’s most prestigious music award, has been reserved for acts hailing from London. Yet, this year, a refreshing break from tradition occurred as Leed's English Teacher won the coveted prize for their debut record ‘This Could Be Texas’ which is packed with artistic flair, exploring sounds from gritty Post-Punk to lucid Alt-Jazz and hypnotic Synth-Pop.
The band said representing the North as part of their win was “so important because otherwise the music industry becomes really homogenous and really boring”...and they’re right. As they’re the first non-London act to win the title since Edinburgh's Young Fathers took the award in 2014. The win signals a significant triumph for the North. For a long time, aspiring northern artists have felt the need to migrate south to access the opportunities needed to elevate their career. A recent poll by Youth Music UK found that 10% more young people in the south of England view themselves as musical in comparison to the north.
The lack of creative infrastructure in the north has long been a barrier, yet there are promising signs of change on the horizon. Last year, plans for a second BRIT School in Bradford were approved, whilst the Labour government promises more arts funding is now being given to organisations outside of London "than ever before". The recognition of English Teacher’s incredible album, as well Nia Archives and Corinne Bailey Rae who - from Bradford and Leeds respectively - were both also nominated for the Mercury Prize this year, is crucial for long term representation.
When northern artists succeed, they show young people from their hometowns that success in the arts is achievable without moving to the capital, inspiring the next English Teacher to stay rooted in their communities whilst pursuing their creative ambitions. These recent developments point to a future where regional diversity is celebrated, and where artists from across the UK can succeed without feeling pressured to move to the capital.
English Teacher’s Mercury Prize victory is not just a win for the band; it’s a win for regional diversity, for working-class artists, and for the belief that creativity can flourish anywhere. The North is rising again, and the industry is starting to take notice.
Words by Donovan Livesey
Wunderhorse - Midas
With the release of ‘Midas’, Wunderhorse have delivered an exceptional sophomore album which both matches and subverts the expectations set up by their debut ‘Cub’. ‘Midas’ combines the refreshing rawness of roaring, distorted guitars with moments of quiet reflection and serenity, skillfully intertwining the two in a brilliantly cohesive album. The opening double-barrel attack of ‘Midas’ and ‘Rain’ is a perfect way to start. Both are packed with energy and catchy guitar riffs, filling listeners with anticipation for what is to follow. The raw production and gritty textures bring a heightened sense of intimacy and authenticity, which sets the tone for the record.
The album is as strong lyrically as it is sonically, best demonstrated on tracks such as ‘Silver’ where the relatively sparse instrumentation in the verses allow us to fully appreciate the poetic talent. The band have revealed that “Silver is about that ugly side of yourself you try to keep hidden but you know it’s there as it makes your skin crawl sometimes” and these lyrics convey this complex notion perfectly.
One of the standout tracks, ‘Arizona’ is a melodic and hazy song with an oddly nostalgic quality which gives it the feeling of a timeless classic. It is easy to imagine this being sung back by crowds at concerts for years to come. Placing the relaxed tempo of ‘Superman’ with its tender vocals which eventually soar into an emotional build up, next to ‘July’, one of the most powerfully raw songs on the album is a testament to their ability to explore any emotive soundscape with great depth. The brash guitar and Grungy contrast between stripped-back verses and dense, noise-filled choruses on ‘July’ reflect the raw emotion present in the vocals. This emotion reaches a cathartic peak as singer Jacob Slater bellows the lyrics “I’m ready to die” again and again in the explosive and thunderous climax which is an undeniable high point of the album.
The album is ended by ‘Aeroplane’ and the slow tempo, pure vocals, acoustic guitar accompaniment and an extended meandering electric guitar solo are in stark contrast with much of the record. This is part of what makes ‘Aeroplane’ so effective as a final song. It expertly ends and gives a sense of closure to the intense outpouring of emotion we have witnessed in the previous nine tracks, while simultaneously offering an emotional depth of its own. Overall, ‘Midas’ excels as a cohesive but varied album which is indicative of Wunderhorse’s many talents as a band. The order of the tracks seems carefully planned to cultivate an immersive and poignant listening experience which constantly ebbs and flows.
Words by Holly Bacon
Fat Dog - WOOF.
Fat Dog have been the name on everyone’s lips this year, with unforgettable live performances at Glastonbury, London’s Electric Brixton and on Jools Holland to anthemic singles that baffled, bemused and excited the entire UK scene, making them instant BBC 6 Music favourites. This hype is well and truly deserved too. Their sound has a completely unique blend that captures a grimey Punk spirit, injects some stanky brass textures and wraps it all up in a whirlwind of electro-synth madness while frontman Joe Love spits out tangled streams of surrealist lyricism.
Their debut album ‘WOOF.’ captures the poetically-infused angsty spirit of acts like Shame, the artistic, and oftentimes bizarre, flair of Black Country, New Road, the absorbing electro hypnotism of Underworld and plenty of dance worthy drops that are sure to be taking over the Alt club nights. It’s a hectic listening experience bursting with euphoria and is undeniably our favourite album of the year!
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