Sad Boys Club Interview

We were recently lucky enough to get the chance to interview Sad Boys Club, an upcoming band hailing from Crouch End. Read our interview below and check out their record ‘Know’.

How did your debut track ‘Know’ come about?

Just as one of many symptoms of teenage angst, the song is quite self-aware in that respect which I think is why we now continue, as real-life adult men, to have a relationship with it.

Have you learnt anything through the creation of the track, if so, what?

I don’t think so, no. Not consciously, anyway.

You’ve received major support from a number of blogs so far along with tmrw magazine and nylon, how does it feel to get this recognition and to witness your band grow day by day?

It’s cool when anyone appreciates your work, especially as ‘Know’ is about failures to connect – the internet is a weird matrix, it’s quite difficult to get a sense of orientation about the value of that growth and recognition, I don’t necessarily trust it too much. That said, it’s great to have platforms we respect and engage with ourselves acknowledge and support what we’re doing. The individual responses count for a lot, too. But seeing people turn up to live shows is my real steez.

How if at all, have your live shows influenced your music?

We’ve only played one live show together, it’s not had much time to take much influence… but almost all of our writing centers around how things might work live, how different elements can dictate the atmosphere of a room. I’ll always steal ideas from moments of great live shows I’ve seen.

How did you become the Sad Boys Club? Do any of you have any past stories and/or experiences in the industry before reaching this stage?

We were all in various bands growing up, nothing noteworthy; the two Tom’s and I played together in bands throughout our teens – we met Jake playing on a similar live circuit in his band, and I met Pedro later on when he was engineering a separate project I was working on. Yes, we’ve all played the Barfly.

What can we expect from you in 2018?

You can expect extraordinary things, whether you’ll receive them remains to be seen. We have a new single out early in the new year, produced by our bassist Pedro C, it’s called ‘15/01’ and it’s a banger.


Preoccupations are Back! The dark, post-punk outfit return with new single ‘Espionage’ and announce new album

Its a return I’ve been waiting for since the release of their second record ‘Preoccupations’. The band formally known as ‘Viet-Cong’ have finally returned with a new track, and a new album entitled ‘New Material’ set for release in March.

The noisy, dark and mysterious Preoccupations have turned to a more gothic style of post-punk. That almost hypnotic synth lurks through the track with a unique and very Joy Division-esque drum beginning the track. It is a dark opening to the song, and when the loud and violent vocal style of lead singer Matt Flegal enter the frame, the song compiles dark energy and furious energy into a glorious and stunning post punk anthem.

The call and response between Matt and the rest of the band adds depth and integrity to the song. “Change Is Everything” is a phrase uttered throughout the track. It is a dark approach, and adds an element of thought to the track. I found myself questioning the phrase, wandering how change can devour so much and alter everything you perceive and do.

Listen to the track below:

Preoccupations have announced a handful of uk tour dates, tickets can be found on the bands website here:

  • June 5th – Village Underground, London
  • June 12th – Ramsgate Music Hall, Ramsgate
  • June 13th – Brudenell Social Club, Leeds

Featured image courtesy of Pitchfork. (words by Piran Aston)

Peach Club – Cherry Baby EP Review

We seem to finally be living in a music scene where women are starting to get more and more recognition for their talents. Don’t get me wrong the music industry is still heavily dominated but it seems to be finally accepting that ‘female fronted’ isn’t a genre. All female bands seem to be in ascendancy too with Hinds seemingly gearing up for a follow up to their debut album which saw them playing major festival slots and The Big Moon having not long ago being Mercury Prize nominated for debut ‘Love In The 4th Dimension’.

Peach Club - for web

Peach Club’s second EP is full of anger and menace, it’s songs ferociously talking about their frustrations with being a woman in a society that, although progressing, still hasn’t seemed to grasp the fact that women are actual people capable of doing whatever a man does. Lead single ‘Bad Bitch’ is a refreshingly honest and joyful take on the strength that most women have to create for themselves in this modern society. The fuzzy lead guitar from Charlie Hart provides the perfect bed for the vibrant drawl of vocalist Katie Revell. A reworking of bedtime favourite ‘Twinkle Twinkle Little Star’ is the perfect illustration of the patronising tone women often get spoken to and turning this sweet tune on its head shows how sure of their image this quartet are.

Shame and Slaves have shown in recent years that the passion behind vocal delivery is often more important than whether it is in tune or not and this something Peach Club use to their advantage. This is not a criticism of Revell or the other aforementioned artists in fact quite the opposite, to make this style of delivery is incredibly difficult but it fits into a Peach Club song with ease.

Opening track ‘Venus’ perhaps represents this riot-grrrl quartet best, with its White Stripes-esque simplicity and arrogant feel it truly shows off the fact that this band don’t care what your opinion of them is, they’re going to be whoever the fuck they want and they’re going to shove it down your throat.


Words – Alex Whitmore

Images – Poppy Marriott



Tuesday night saw the finest punks Wakefield has to offer, The Cribs, offer a blistering twenty two song set to a packed out crowd at Cardiff’s Tramshed. Fresh off the back of releasing one of 2017’s most anticipated rock records, 24-7 Rock Star Shit, the band were raring to go, unleashing some of their noisiest and frantic material since their highly acclaimed debut.

The Cribs are a band I’ve always held close to my heart, to me they’ve always felt like the last of a dying breed of rock bands, who seem to perfectly match melancholy and bittersweet lyrics with raucous guitar feedback and punk aesthetic in their music. Never giving in to indie clichés or compromising what their fans have grown to love them for, but always seeming to deliver a refreshing and different approach to each and every record since 2004.

Surprisingly, having never had the opportunity to see them before, this was my first Cribs show, and I was far from disappointed. Kicking off the set with old school fan favourite, Mirror Kisses’, the crowd erupted, the wall of sound from Gary and Ryan Jarman’s bass and guitar combo was enough to bring the place down. Following up with even more classics, ‘Come On, Be a No-One’ and ‘I’m A Realist’, all I could hear were the crowd belting out every song and all I could see were the worried looks of security trying to catch a crowd surfer every other verse, total euphoria.

Peppering in a few new tracks here and there throughout the set such as ‘Rainbow Ridge’ and ‘In Your Palace’ added a nice change of pace and sounded amazing in a live setting. But the real appeal of a Cribs show is all about the deep cuts, I don’t think I could name another band that are capable of whipping out any B-side from their back catalogue on request from the crowd. But sure enough, one die-hard fans wish came true. After a scream from the mosh pit to play ‘To Jackson’ and a little deliberation on stage, the Cribs broke out into one of their most sombre and beautiful songs to date, the little known B-side to ‘Hey Scenesters!’ a highlight of the show and a special moment for any fan of the band.

After continuing to reel off banger after banger, the peak of the gig had to be the soul-stirring and immensely passionate performance of their most beloved track, ‘Be Safe’. The emotion amongst the crowd was overwhelming and by the final chorus the band reached the sort of rare intensity that left everyone in awe and took the gig to new heights. Hearing Lee Ronaldo’s breath-taking monologue, and arguably my favourite song live was indescribable and a moment I’ll never forget.

After finishing the set with the seven minute epic, ‘Pink Snow’ I was left feeling ecstatic. A Cribs set list is never going to please everyone and they’ll always be that one cynic complaining about why they didn’t play ‘Girls Like Mystery’, but that’s the beauty in the band. What do you expect from a group that makes writing infectious hooks and festival anthems seem like a walk in the park? The Jarman brothers have written more sing along choruses than they know what to do with, and proved themselves, quite rightfully, as one of the British greats.

Words by Gavin Owen

“Gengahr Release Yet Another Stunning New Track” – ‘Before Sunrise’ Reviewed

Gengahr have today shared a brand new track entitled ‘Before Sunrise’, the third single for their upcoming second record ‘Where Wildness Grows’.

A bouncy, and cheery track, ‘Before Sunrise’ compiles gorgeous guitar playing and harmonious beats which makes this track stand out in the band’s catalogue. It’s a summery affair with the bright riffs and the always lovely voice of lead singer Felix Bushe.

The track branches away from the other two tracks released. It’s unlike the fast paced and electrifying ‘Carrion’, (One of my favourite single releases of last year), ‘Mallory’ is summery, but has a more pop-like approach. With this track however, we see Gengahr taking the sounds of their debut and experimenting even further like they have done on the previously released tracks. With this said, ‘Where Wildness Grows’ is beginning to shape up as one of the finest releases of the year, and we really can’t wait to hear more from the band!

Gengahr are set to tour the uk in spring this year, ticket links and tour dates can be seen below. You can pre order their new record from their website here:

Featured image courtesy of Genghar (Twitter – @Gengahr), words by Piran Aston (Twitter- @PiranAston_)

Dear Annie: Vol 1. Rejjie Snow // Review

Since the release of his stellar debut EP Rejovich back in 2013, fans have watched Dublin born rapper Rejjie Snow’s career blossom through a stream of singles, live shows and interviews; all without a full album. Although in 2017 he dropped The Moon and You, a full 13 track mixtape even containing a feature from Joey Bada$$, he promised the best was still yet to come; announcing that his debut album Dear Annie would be hitting our ears in 2018- and here we are.

Always one to keep us hungry for more, Rejjie seems to be presenting this album to us in parts; only currently allowing us the first “volume”, holding back the full album until its official release date February 16th. It’s uncertain as yet whether we’ll get any more tasters of the album before then but, if this EP is anything to go by, we’re in for a treat.

Lead track Egyptian Luvr boasts features from Aminé and Dana Williams, alongside production from Canadian DJ Kaytranada. The single offers a warm, oozing melody coupled with a sparkling two-step synth that definitely sets us up for spring. The super smooth use of French in Desole and Mon Amour, ultra sexual lyrics in The Rain (“Doggy-style and move and blow//Rhythm in the fucking bones”), all tied together in atmospheric beats give the EP very little subtlety in its romance, proving Snow, once again, to be the master of capturing a mood.

As a whole, Dear Annie: Vol 1 almost feels like a nod to 90’s R&B and hip-hop classics; with a nostalgic vibe that wouldn’t seem too out of place on a cassette tape given to your significant other, with “my boo” scrawled somewhere on it in red sharpie.

Words by Alice Browne.

Image courtesy of Navarone Cole.


Start off your morning right with a new track from Slow Hollows! Listen to “Heart” now:

To me, Slow Hollows are one of, if not the most, underrated band of the last five years. Everything they’ve put out has been immaculately brilliant. If you’re not familiar with the band, their frontman Austin Feinstein has frequently worked with the likes of Tyler, The Creator, Frank Ocean and Steve Lacy. The band appear to be entering a self-confessed ‘mood era’ as this new track takes us down an emotionally charged, yet still feel-good path. If you’re a fan of artists such as Frank Ocean and Blood Orange, this one’s for you.


(image by Eduardo Luis)

The band surprise dropped a new track late last night, entitled “Heart“, accompanied by a mesmerisingly chilling music video that for the most part, sees Feinstein sat at a piano.  The new track comes as Slow Hollows‘ first release since 2016’s Romantic. “Heart” showcases an all-new Slow Hollows, in conjunction with several band member tweaks, the LA outfit  have put their guitars down and stripped things back to the basics of synths and piano, letting Feinstein’s voice shine more so than ever. The whole atmosphere of the track is much different to anything the band have ever done before, sounding almost upbeat yet still retaining that ethereal, emotional grit that has always been at the heart of Slow Hollows. Check out the song and video below: (expect the track to be on streaming platforms soon, it’s currently only on YouTube)

The band are yet to make any announcements regarding an album, or anything other of a similar sort but it can definitely be speculated that there is something on the horizon. “Heart” gives us a refreshing idea of  what Feinstein and co are capable of, it’s amazing to see so much evolvement from a  band that are still SO young. 2018 is to be an exciting year for the band, who appear to be reinventing themselves, in search of bigger and brighter things (and hopefully the year they finally get their asses to the UK). I really believe this year is the year Slow Hollows make it, and boy do they deserve it. The new single is an exciting direction for the band, and has left me really intrigued to see what’s next.

Words by Ben Davies

(featured image taken from the band’s Twitter page – @slowhollowsLA)

Bournemouth fuzz boys LEECHES return with their new EP ‘Watusi’

Leeches definitely have a distinct sound. Luckily, it’s one I’m completely on board for. After a triumphant year selling out shows in their loyal South West and storming crowds in support slots for the likes of Spring King and Kagoule, the Bournemouth trio rewarded all those loving new fans last week with their eagerly-anticipated second EP ‘Watusi’.

The entire EP melds together pretty nicely through the lilting progressions found in all four tracks, and It’s certainly a welcome remnant from the kooky, swirling sounds of previous tracks like ‘Regular’. Thankfully, the band’s more experimental muscles certainly get stretched again as shifting tempos and twisting sonic screeches blend with the infectious sound they’ve kept close. However, progression is welcomed and the dazed and dancey sounds of the Strange Bonds EP have been cleared out in favour of this sticky new sludge of equally catchy bangers that feel much grottier than their precursors.

Leeches - Photo by Rowan Allen.jpg

Honestly – and I say this as a compliment – half the songs on this EP will pretty much drag you to the dancefloor and then cheerily proceed to gently beat you up. The EP storms in with absolute belter “All My Fun” which has the band wearing all their angst on their sleeves. Keeping the drums heavy to back up the glorious angst of the lyrics (I know I shouldn’t call them angsty twice in two sentences but honestly I’m not sure how else to adequately describe a hook that literally just calls out to “Somebody euthanase me, baby”), sure-fire funhouse riffs give way to skidding guitars tones and the sort of instinctively satisfying heaviness that’s become expected from every classic second release. The kook continues on “I Watch TV”, all of the melancholy remnants of all the angst leftover from the first track. An explosive chorus cements the track as one to be kept on repeat – perhaps a relief as it clocks in at the longest on the EP at only four minutes sharp. Lead single “Stranger” boasts the sort of bass riff that’d get anyone running into the pit, a lovely sludgy sound lifted by jangly guitars taking a line usually reserved for something carrying a much heavier tone. That being said, I’m obligated to admit that the main feat here is that they managed to use a phaser, tastefully, to good effect, in the foreground of a lead track, and have it sounding not naff but rather really Actually Quite Good. Talent. Finally, closer “Ugly” brings back some of that familiar jangle that older fans may be used to, and it’s used pretty well. A welcome but brief throwback that really holds the tone of some of their older stuff, it shows an appreciation for the development as a band that still fits as snugly on this release as it would on previous Eps.

What I love about Leeches is the passion felt emanating from every note – imagination and daring aside, you can hear from a mile off that this band is composed of three people loving every minute of playing these songs, and it’s that deafening joy that elevates the EP higher than even the sum of its parts. A hugely worthy listen to shake those January blues, Leeches seem to be grabbing 2018 by the scruff of neck and

I’m sure they’ll continue to rise if they keep putting out stuff like this.



  • 16th – London, Shacklewell Arms
  • 18th – Bristol, Crofters Rights
  • 20th – Bournemouth, Anvil
  • 26th – Newcastle, Jumping Jacks
  • 27th – Edinburgh, Bannermans
  • 29th – Southampton, Joiners
  • 30th – Oxford, The Cellar
  • 31st – Brighton, Hope & Ruin


  • 4th – Bournemouth, Old Fire Station
  • 10th – Bristol, Exchange

Words by Bel Valerio.

All images courtesy of PR.


Why Welsh Language Music will be your new obsession in 2018

I understand that, probably, the vast majority of the British public have never heard a song in the Welsh language before. They are probably unaware of the existence of a ‘Welsh Language Music Scene’, and how one might be able to function. But, I strongly believe that this scene, even though it lives and breathes through the medium of a language that is alien to most of this blog’s readership, might be of definite interest, especially in 2018. If you are willing to allow me to give a brief historical prelude, you might find a gem that will impress  even your indie-est friends…

Since the latter part of the sixties, there has been a constant network of bands, labels, gig venues and publications that align themselves with different forms of the arbitrary term ‘Sîn Roc Gymraeg’ (Welsh Language Music Scene) that basically encompasses all popular music that is sung in Welsh. Being heavily influenced by the sounds of the Anglo-American culture (apart from some folk-crossover bands that owe the Welsh traditional culture as well), it might seem inconceivable for non-Welsh speakers to understand that it has always been considered as a universe of culture within itself.

Treating the scene as a separate ‘universe’ of culture might make it easier to explain the extreme musical changes that it has undergone over those fifty years. Loosely connected to musical trends of the rest of the world, such as the Folk Revival, Punk, Reggae and Hip Hop, many artists over the years have attempted to change our perception of the scene and its image and values.

 And now in 2018 we find a growing sense of confidence in the scene. Over the past few years, a wave of guitar-driven artists, such as Sŵnami, Yr Eira and Yws Gwynedd have created a new musical ‘mainstream’ that has gathered a relatively large following. The latter, for example, has been streamed for over one million minutes on Spotify last year, which, in context, is quite a feat. However, many questions were asked about the lack of diversity in terms of gender, genre and personnel of these bands, and 2017 became the year of a new alternative. Led by the desire of Carmarthen-based label Libertino, that spawned a number of exciting bands from that area, as well as other labels such as JigCal, veterans Cae Gwyn and Neb, 2017 saw the formation of an exciting plurality and variety in the scene that would sonically please music fans from across the world.

This is why I have prepared an easy ‘If You Like this.. Try this’ list for you newbies. With streaming being so easy nowadays, there are no excuses for not dipping your feet in what will become your favourite hipster obsession of the year.


The rifftastic sparkly indie pop of Two Door Cinema Club, Courteeners and The Wombats


Sŵnami, Yws Gwynedd


The cheeky college-boy charm of The Night Café and Peace


Yr Eira, Ffracas


The exciting attitudes of St Vincent, The Big Moon and Peaness


Adwaith, Cadno


The loose slacker-rock rhythms of Mac DeMarco and Carseat Headrest


Los Blancos, Hyll, Papur Wal.


Melodically Intergalactic Space-Pop


Omaloma, Serol Serol, Pys Melyn


The indie disco anthems of The Libertines and The Killers


Y Cledrau


 If you only take one thing from this article… Subscribe to Ffarout’s channel on YouTube, for an amazing variety of some of the most innovative music to come from the Welsh Language music scene from across the decades.

Words by Gethin Griffiths @sonamsinblog.

Photo by Nadine Ballantyne.

The Orielles gear up for the release of their debut album, with third single “Blue Suitcase (Disco Wrist)”

With their recently announced debut album set to hit the stores next month (February 16th to be exact), The Orielles have unveiled a third cut from the record – “Blue Suitcase (Disco Wrist)“.


(image rights go to Neelam Khan Vela)

The band, consisting of sisters Sidonie and Esme alongside their best friend Henry, emerged onto the scene last year as one of the most exciting new bands of recent years. Their unique sound, which blends elements of indie with dreamy guitar melodies and fuzzy garage psychedelia comes as a diamond in the rough amongst the array of talent coming out of the UK at the moment. The three singles they’ve now shared from their debut, which is called Silver Dollar Moment in case you missed it, showcase the sheer variety of sounds and talent the band possess with each track putting forward a different slice of the bittersweet fruit that is The Orielles.

Their debut album was recorded late last summer and was produced by Marta Salongi, who has notably worked with Bjork and Insecure Men. As the song title suggests, the track is instantly jam-packed with disco influences. From it’s pounding, funky bassline to the jangly guitars and harmonious vocals, the track is certain to get you moving. The track transcends into a crescendo of reverb soaked guitars as the chorus climaxes, taking the listener to the clouds. This is The Orielles at their dreamiest yet, and quite frankly a really fun direction to see the Halifax outfit take. “Blue Suitcase (Disco Wrist)” comes as the final track of the album, and is one hell of a closer which I’m sure will sound even better in the whole context of the album.

If you aren’t excited about this band, you should be. They’re gearing up to release what is one of the most-hotly anticipated debuts of the year and one that is definitely going to be a belter.

The new track comes hand in hand with the announcement that the band will play several in-store shows in the middle of their upcoming, and already mighty UK/EU tour starting next month. Tickets for various dates are still available here.

Words by Ben Davies

(featured image courtesy of Urban Outfitters)


16 Rough Trade, Nottingham

17 Yellow Arch Studios, Sheffield

18 Hare and Hounds, Birmingham

19 Rough Trade, Bristol

20 Clwb Ifor Bach, Cardiff

21 Rough Trade East, London

22 Mono, Glasgow


03 La Maroquinerie, Paris

04 Botanique Brussels, Belgium

05 ACU Utrecht, Netherlands

06 The Sugarfactory Amsterdam, Netherlands

07 Molotow Skybar Hamburg, Germany

08 Monarch Berlin, Germany

12 The Garage, London

13 Brudenell Social Club, Leeds

14 Gorilla, Manchester