Christmas Countdown // The Maccabees :: Walking In The Air

In a valiant attempt to trump Jona Lewie's Stop the Cavalry as No Action's favourite Christmas song, perennially under-rated The Maccabees have recorded a haunting, dramatic version of Walking In The Air. Staying true to the original, it's take off at just under two minutes in is spectacular, while Orlando's voice is a perfect fit with its mix of innocence and unhinged portent.

Smith Westerns // Weekend II

Further to our post declaring Smith Western's new single Weekend as the boys' finest, shiniest pop achievement to date, they've further whetted our excitement for the new album with a quite brilliant video. A typical Western weekend apparently includes video arcades, Claire's Accessories, cheese-slathered nachos and tree felling. I know what I'll be doing come Saturday.

Arbutus Records

Prompted by the semi-religious experience of seeing Canada's foremost alt-rockers Arcade Fire at the O2 temple this week, No Action set out to discover where the new wave of Canadian music was brewing.

Step forward Outremont, Quebec's Arbutus Records. Spawned from the now-defunct Montreal art collective Lab Synthese, its raison d'etre is to showcase the DIY musical talents nurtured there and offer a home to the weird and wonderful Quebec pop community. Here's a sample from but three of said talents.

Grimes - a debut EP good enough for GvsB's top 30 says it all for the year Caroline Boucher, aka Grimes, has had. Geidi Primes is a record full of unexpected joys, a study in understatement and psychedelic samples, followed up by a second record, Halfaxa, of ethereal wonder.
Grimes - Rosa by Arbutus Records

Silly Kissers - If you thought that Kisses made the best electro pop record of the year with a snogging related band name, you'd be wrong. It was, infact, Silly Kissers. Precious Necklace is but seven songs long, but each is brimming with playful John Hughes film score synths and playground love lyrics.


Silly Kissers - Treat Me Like You Do by Arbutus Records

Sean Nicholas Savage - If Sean Nicholas Savage had room for more middle names they'd be Pop Troubador. Stripped to its bare bones without excess or distraction, Savage's infectious, melodies and lyrical flair are bonafide genius. Warning: If you listen to the video below, from Savage's Mututal Feelings of Respect and Admiration LP, you will be singing it all day.


Sean Nicholas Savage - Disco Dancing by Arbutus Records

Christmas countdown // The Futureheads :: Christmas Was Better in the 80s

A fact, which I firmly refute on the grounds that it only serves to confirm my own rapid aging but that their PR insists, is that The Futureheads are 10.

To celebrate both this anniversary and that of Jesus, the band are putting out new single Christmas Was Better in the 80s via their own Nul Records. Sounding firmly like The Futureheads have for the last 10 years, all likeable art-rock and four part harmonies, but with a twist of Christmas jingle, it's a satisfying reminder both that the band still have the verve they delivered on their debut and that not all Christmas songs are rubbish.

Callers // How You Hold Your Arms

What better way to follow Here We Go Magic than with another offspring from the ever fertile womb that is Brooklyn, New York.

Three piece Callers released acclaimed new record 'Life Of Love' in October on Western Vinyl, which offered up the heart-breakingly sparse new single How You Hold Your Arms. Sara Lucas' vocals take on a tragic loneliness given the bare, jazz influenced arrangements, making the 'look' she gives you at the end of the accompanying video-within-a-video all the more haunting.

Here We Go Magic // Casual

From one of the best records of 2010 comes the most unpredictable video of 2010. If you were exoecting that, perhaps you should sign up for the next Here We Go Magic single.

Fixers // Amsterdam

Oxfordshire's Fixers are probably the first thing to come up if you typed "Positive dreamy" or "How I would most like to wake up" into Google. Or maybe "What would it sound like if 'Smile' era Brian Wilson recorded Simple Minds' Don't You?".

Amsterdam is a beautiful, expansive track, and the filmic video only adds to it's wonder. The band will be alongside fellow No Action favourites Get People and Cheatahs at Young and Lost Club's Christmas do in a few weeks, and watch for more dates in what is likely to be a big 2011 for them.

The Neat // Hips

Mixing the post punk agit of The Fall and XX Teens with the essential weirdness of La Shark, Hull's The Neat are rising nicely and preparing the release of new single Hips on Kaiser Chiefs' label Chewing Gum Records.

The video is an anxious, intense experience and, while while earlier track Youth Is Pleasure is probably superior, the band have much in their locker. They'll be in London three time in the next few weeks as they traverse the isles, and are definitely worth a look.

The Neat - In Youth Is Pleasure by The Cockpit

Local favourites // Drum Eyes

Minding my own business I was. Waiting for The Pipettes and minding my own business. Then, from the wings of the many-tunnelled sweat-box of Leeds' Cockpit, came DJ Scotch Egg armed with said picnic snack and a fearsome barrage of SNEStronica to temporarily blind me. Being average height (for a girl) I'm not a tall man, but fizzing through the armpits and shoulders of all before me like a Robin Hood arrow a bread-crumbed ball thundered into my right eye.

After this traumatic episode I'm loathed to hail the future projects of my nemesis, but Brighton based Drum Eyes are too good to ignore. Theirs is a world of boundless possibility, merging hardcore drums, 80s synths and a psychedelic take on structure to create music alien to convention. Their debut Gira Gira was out a few months back on Upset the Rhythm, but here's a taster of their madcappery.

Hot Chip // I Feel Bonnie

In what is the antithesis of the video for the single version of this track, here we not only get a hooded Bonnie Prince Billy's whispering backing vocals, but a splendidly be-capped Alexis and a prime view of Mr Joe Goddard's puppies (ahem, my apologies). A most pleasant five minutes.

Cloud Nothings // Leave You Forever

Cloud Nothings is a man. Let's get that straight. To his friends he's 19-year-old Dylan Baldi, and he makes bedroom garage anthems and brilliant record sleeves, such as this. Leave You Forever is but one part of his True Panther released 4-song EP of the same name and, of the host of excellent acts that have already been announced for SXSW 2011 and no doubt countless more to come, Cloud Nothings could well be the pick.

Dylan and band will be trading their wares with Les Savy Fav in London before the month is out, which will definitely be worth a watch.

Leave You Forever by truepanther

Sleep All Day Records

London label Sleep All Day Records featured, albeit briefly, on No Action as an aside to a featurette on the magnificent Colours. We felt it only right that the label backing some of the best and brightest first city talents should garner some plaudits of its own. So here's a brief dedication, highlighted through the works of its pedigree offspring, to Sleep All Day.

Weird Dreams meld 60s London pop with Johnny Marr riffs and the result is aural heaven. Their 'Weird Dreams EP' is below, but track down Hurt So Bad as well.
Weird Dreams ep by Weird Dreams

Perfect Hair Forever could well be No Action's favourite tack of the year, perfect gutter pop if ever there were such a thing.
03 Perfect Hair Forever by notcool

SAD have also gone fishing on the opposite side of the pond for their most recent output. Brooklyn's Byrds of Paradise are all discordant punk smash genius with an ear for crescendo. Barefoot Generation is out now. This is Rowena.
Rowena - Byrds of Paradise by kohar

Last up, some divine dream-surf from Colours, showing the West Coast how it's done.

Smith Westerns // Weekend

Perhaps it's the influence of a US tour in support of London's own Florence that explains the sense of unveiling that accompanies the new single from Smith Westerns. Their 2009 debut, full of carefree melody and distracted mumblings, was a joy of fuzzy lo-fi but, while the hazy reverb remains, the boys have stepped up to the foreground and into outstanding pop clarity.

The new album 'Dye It Blonde' will follow on Fat Possum in the new year and, if Weekend is anything to go by, 2011 is off to a flyer. See 'em at the Windmill or Luminaire before the month is out.

Smith Westerns - Weekend by forcefieldpr

Mona // Les Savy Fav // Wu Lyf

Given the absence of posts on here for the past couple of weeks thanks to a much needed distancing from all things responsible and total worshipping of the Valencian sun, No Action has some serious catching up to do.

Not least in attempting to understand why Kings of Leon are continuing their mission to tarnish any last semblance of decency and taste generated by their first 2 albums with a video which makes Michael Jackson's Heel the World vid seem appropriate. We're beginning to feel a fool for even contemplating a return to such form given their escalating and increasingly calculated drive for starCASHdom. Perhaps the pigeons had the right idea after all. Then there was something about Lady Gaga and beef?

In better news, the high kings of alt-rock Les Savy Fav released 'Root For Ruin' on Wichita, an utter beast of a record, preceeded by a single powerful enough to make fellow Brooklynites The Drums and MGMT weep for mercy. Let's Get Out Of Here may well be the best thing the band have done. get your own copy in exchange for your email here.

Les Savy Fav - Let's Get Out of Here by Wichita Recordings

Ignoring the identity hysteria surrounding Manchester's Wu Lyf which, craftily, made every A&R mess their Y's trying to find, follow, friend, sign or understand the band then strut provocatively outside their windows promising their undevoted love in exchange for their hits, the collective actually produce addictive, intriguing music. Heavy Pop is Jesus and Mary Chain gone gospel, with swirling reverb and tear-soaked vocals marking Wu Lyf as much more than image.

"Heavy Pop" (Wu Lyf) by Rudetoodo

Sating our want for garage rock this week are Mona as they finally released their debut single this week. Limited copies are available from Rough Trade, where the Tennessee foursome will be performing on the 30th September, a day after a slot at The Flowerpot and 2 days prior to a headline show at Camden's Koko. Wait. Garage rock? Tennessee foursome? This can only end in tears.

Offset Festival // Mixtape

Offset Festival has a line-up so brimming with creative juice, the fact that tickets for the two days are still available begs the obvious question: what the hell is wrong with people?

At just 30 minutes to Hainault from central London on the sweaty cylinder more commonly known as the Central line, the locals have no excuse. A selection of the finest young musical minds (and Tim Burgess) will be proving why they could be ‘the next big thing’, so while the journey may be somewhat longer for some (or shorter, depending where you start from), entertainment is inevitable. Plus you can try Garam Guru’s revitalising Sexy Breakfast. What more could you ask for?

Here are some examples of the brilliance coming to East London.

Male Bonding

For stand-out Offset bands you can’t look beyond Male Bonding, not only because there are 13 shoe-gazing grunge-punk reasons on their Sub Pop debut Nothing Hurts, but because the vibrancy and discordant thrill their live show offers is un-matchable. Seeing them at The Basement a few months back felt like nirvana. Or Nirvana. Choosing an example track to emphasise the point was tough, but No Action chose to look beyond the inevitable Franklin or Years Not Long to hidden gem Nothing Used To Hurt, mainly for the life-affirming drop at 1.06.

09 Nothing Used To Hurt by subpop

Egyptian Hip Hop

Being hyped at the start of the year as one of the BBC’s ‘Ones to Watch’ can be a burden to heavy to bear for some. One fears that Ellie Goulding may buckle within the intense media whirlwind at any moment. Egyptian Hip Hop have remained firmly under the radar but have set about crafting a fine selection of soulful tropicalia, not least on Heavenly. If the sun shines on the Saturday, Egyptian Hip Hop will definitely become your new favourite band.

Egyptian Hip Hop - Heavenly by Pure Groove

Colours

London four-some Colours produce songs draped with claustrophobic reverb yet filled with vibrant melody, making for a thrilling sonic experience. While their song-naming can only be described as satisfactory (Lost Youth, The Lost Hour, Losers), there's much to love in their powerful three minute thrash. Having shared vinyl space with fellow Offset attendees Not Cool, Colours will definitely provide a Saturday treat.

Colours - Lost Youth by Brattwell Recordings

Fiction

Much is being said and written and loved about London’s Fiction, so let’s add to that here at No Action. The foursome conjure an addictive, restless sound, with touchstones in post-punk and new wave but without dwelling on any genre for long before it’s on to the next. Having recently released Devo-esque single Curiosity, the first ever release on Offset Recordings, the band will no doubt be seeking to impress their erstwhile employees, as well as the rest of the ECC Stage spectators on the Sunday.

Fiction - Curiosity by Worthknowingpleasures

Eighties Matchbox B-Line Disaster

Choosing a fifth and final example of why you MUST attend Offset Festival was a tricky business. It could have been Caribou’s psychedelic aural blessings, Mystery Jets’ increasingly powerful power pop, or Bo Ningen’s bombastic, 70’s rock revivalism. Instead, I can’t look beyond Brighton’s own 80’s Matchbox. Partly brought on by seeing Guy lately in the town’s unmatchable thrift / antique store Snoopers Paradise and seeing the grey streak of maturity through his otherwise raven locks, but mostly because, despite the hampered quality of their more recent output, their first two records remain throbbing, gothic treats while their live show offers the most self-destructive, gum-chewing, eye-popping spectacle No Action has ever witnessed. So for the very reason that every show may be their last, you must see 80’s Matchbox.

Harlem :: Spectrals // Hoxton Bar & Kitchen

Harlem and Spectrals, two bands that have been immovable on the No Action playlist for months now, on the same bill? You read our mind Hoxton Bar & Kitchen.

Before the fun starts, however, The Lucid Dream made the long trip from Carlisle trudged through the sort of psychedelia that thankfully is not present in recent 90s revivalism. And on this basis it's not likely to be.

Spectrals' set, despite the impassive looks etched across his and his band's faces induced by the sweltering heat, is immaculate from the start. Harnessing the combined charms of Mersey-beat and baroque pop, Spectrals comes over like The Last Shadow Puppets with a lo-fi ethic. The delicate Birthday Kiss gets the room swaying before superb early single Leave Me Be adds some Californian surf to the mix. Throwing in a Milkshakes cover for some teeth-grindingly ragged garage-blues only makes us love him more, while a forthcoming Reading/Leeds slot and supports for Les Savy Fav, Wavves and Here We Go Magic look set to place Spectrals firmly on the radar.

What better way to back up Spectrals than with some balls-out Texan garage? While their tour manager lines up the drinks (whiskys, lagers, strictly no waters) for them to knock down, the band instruct the crowd to "dance around like retards" and crash through Beautiful and Very Smart before Friendly Ghost's opening refrain "I live in a graveyard!" stuns the room into life. The sound is much heavier than comes across on Hippies, particularly prior to the vocalist/drummer switch, with Faces causing the queued up couples front of stage no end of trouble from the burgeoning mosh pit behind. Post switch, South of France and recent single Gay Human Bones get the best reception. While there's no end of garage bands about, Harlem's melodic riffs and boozy drawl set them apart. Check them out below.

Local favourites // Not Cool

Tom Bingham is the man responsible for the excellent and confusingly sinister superhero above, soon to adorn the front cover of London three-piece Not Cool's debut 12". At eight songs, is it an EP or is it an LP? Perhaps it should be an MP? However it's pitched, Not Cool are destined to win a score of fans with its release, melding lo-fi garage with a wilful disregard for convention, making them a massive No Action favourite.

Rugged Raw is out in September on Sleep All Day Records. In the meantime, here's an example or what's in store.

Still Corners // Wish

Having missed Still Corners due to their unreasonably early slot at 1234, No Action is determined to catch them at their upcoming series of London dates, which kicked off tonight at the Old Blue Last. The band will be launching their latest 7" at Stoke Newington's The Drop on August 20th, which will feature the hazy beauty of Wish, pitching them firmly as our answer to jj. Listen and watch its sun-bleached phantasy below.

Wish from Still Corners on Vimeo.

1234 Shoreditch Festival // Clockwatch

12.45: It’s been a busy Saturday already. Having traversed the streets, tubes and bus routes of East London’s boroughs, and not before a visit to the friendliest croissant seller in all the land, I’d made it to the unfortunately named property agency Myspace to sign up for another year of rental extortion via an admin fee of 50 quid. Plus VAT. Suitably embittered with what the city takes, I trudged towards Shoreditch Park for what it had to offer.

Shoreditch’s is at the highly urban end of the urban park scale: open rectangle of grass, 1970-styled sports centre and an over-sized rock on a plinth are its key features. Nonetheless, it’s a pretty neat setting for a city festival. Let’s hope the bands can make the grade.

13.00: Typically, the VIP/press queue is the longest and slowest. As kids argue the toss about their guest list spots and competition winners are adorned with their prize, entry, I patiently wait, with only the mildest huffing, tutting and foot-shuffling.

13.15: Still waiting. I can hear South London’s La Shark from over the barriers as they clatter through 1958’s deliciously off-kilter beats and Bones’ Rocky Horror love story. For such an entertaining band, it’s a surprise that they’re so low on the bill. A pity I can’t see them, but they sound great. The anticipation is a killer!

13.25: I’m in and head straight to the Rough Trade tent for what’s left of La Shark’s set. Prowling the stage in white boiler suits, tropical shirts and a film of sweat, bearing the marks of a typically energetic show, it’s 30 seconds before the band thank the crowd and are off backstage. I’m left to imagine what might have been, sup my opening Kopparberg and ponder the inevitable schedule clashes.

14.00: Circulating the site took just five minutes – you don’t get that at Glastonbury do you? Stalls offering spray-paint-your-own canvas bags and I ♥ Hackney mugs are by-passed in favour of Action Beat making a massive noise on the main stage. With three drummers (apparently they’ve maxed at four in the past), three guitarists and two bassists, it’s perhaps unsurprising that the set is riff heavy. Without a vocalist though the product is loud but unfocused, songs blurring into each other and delivered with the most homoerotic fret-wanking since Lynyrd Skynyrd.

14.20: Spectrals? That’s not Spectrals. It seems the Rough Trade tent has been shuffled and instead I’m faced with Invasion, a sort of metal Noisettes. I leave.


15.00: After an ask around it seems Spectrals have dropped off the bill entirely which is pretty gutting. Making up manfully for their absence though are Mazes, who recently appeared alongside co-lo-fi luminaries Not Cool and La La Vasquez, as well as Spectrals, on a Paradise Vendors 12” compilation.

Despite a slight interruption which causes them to declare “my guitar’s fucked… and the stage man’s just chillin’”, the duo fly through a great set indebted to the C86 generation and 90s American indie. Where many of the recent spate of reverb layered guitar acts fail, Mazes’ ear for a classic melody is sound, as shown in the feverish receptions to the summery Cenataph and set closer Go-Betweens, with our protagonist sounding like a perky young Tim Burgess having been heavily exposed to Television Personalities and Pixies records. Early contender for band of the day right here.

16.15: Having failed to get near the tiny Artrocker tent for Maria and the Mirrors, I settle for a pint and a seat while idly watching punk icons Vic Godard and the Subway Sect. I notice John and Kevin from Male Bonding are wandering about, which begs the question, why did no-one book them to play? Having shared vinyl space with Dum Dum Girls and Mazes and hailing from Dalston they seemed a perfect fit for 1234.

My attention turns to young goth post-punkers S.C.U.M who, despite the fact lead singer looks like a pre-pubescent Nick Cave, are much more impressive live than expected. The sound is brooding and unnerving, with their connection to The Horrors evident in more than just blood; their experimental sound carrying purpose and intent and making for a genuinely engrossing set.


17.05: After a hard earned organic burger topped with a cheese slice, it’s back to the main stage for what I hope will be the performance of the day. I Will Be is one of my top records of the year so far and when Dum Dum Girls come on dressed all in black in rockabilly chic as the crowd grows, my anticipation is peaking.

Unfortunately the first couple of songs are tainted by high-pitched feedback screaming from the speakers and the lead vocals so low in the mix they’re smothered by the backing harmonies. The girls’ calculated ennui doesn’t help lift the show, but thankfully the issues get resolved and the set grows in stature and impact. The punk strut of Bhang Bhang Burnout blasts through the heavy shroud of reverb, while Jail La La gets the gathering swaying if not dancing. Not the set I’d hoped for and, as the girls depart, the general consensus seems to be one of, well, ennui.


18.10: Having queued for my blue VIP wrist band I figured I may as well see what it got me. It turns out it got me entrance to a fenced off area to the left of the main stage, where one was offered the chance to purchase equally expensive booze as the average punter. There is also a mini-stage where Babeshadow are due on live at half 6 among a series of DJs. Unfortunately, Peter Hook performing Unknown Pleasures front to back just gets the nod.

The increasingly rotund Hooky, on vocals and occasionally bass slung improbably low as ever, seems to be genuinely enjoying himself, with an arm aloft and the occasional ad-libbed howl defying his stereotype of grumpy old Manc. The visceral edge and visual impact are of course gone, but the riffs remain the same and the post-punk karaoke gets the crowd really going for the first time all day. Closing with Love Will Tear Us Apart sends the masses out on a high, as the undying quality of the songs sees Hooky beyond pub singer and remaining a legend.


19.05: Up to this point, the content has pretty much been solely lo-fi garage and slightly gloomy punk, leaving me a touch subdued and in need of a pick-me-up. Cue We Have Band. With Dede dressed head to toe in silver playsuit, the tone is set. From the first beats of Piano the whole Rough Trade tent is dancing, leaving the trio in humble awe at the reception. The common theme of the day’s bands is slightly uptight and self aware, the antithesis of Dede’s prowling, bouncing and pouting performance, while Darren’s legs never stop as he controls the beat. You Came Out sets them dancing, while Oh! is the clear highlight, inducing total crowd participation where elsewhere (other than for Hooky) there’d been none. With no time for live favourites Honeytrap or Divisive, after gushing thanks the band leave the stage with the tent baying for more, and the band of the day award firmly bagged.

20.30: Halfway through the Vivian Girls set I realise just what a fantastic band they are. I also realise that pissed Spaniards doing keepy-uppy with a plastic ball at a Vivian Girls gig is fucking irritating. Nevertheless, the second set of Girls I’ve seen today far outdid the first, even throwing in some “we love London” chat for good, crowd pleasing measure.

21.15: Having caught the remainder of Bobby Gillespie’s ‘supergroup’ The Silver Machine offering some pretty average covers and completing the noticeably backward looking feel to the main stage at what is ostensibly a new band festival, I squeeze past the ridiculously tall frame and many angled face of Faris Rotter into a sweaty post-Rolo Tomassi Artrocker tent ready to close my festival with Veronica Falls and Bo Ningen.

I’d loved the Falls at CAMP Basement recently, but persistent sound issues mean the set tonight never quite gets going. Despite this their surf pop, particularly on the superb Found Love in a Graveyard and an ace version of Stephen, keeps the ball rolling nicely for Bo Ningen.

Each dressed in 70’s rock staples of skinny flairs and straight black hair down to their waists, the Japanese foursome take to the stage and immediately hurl themselves into unhinged psychedelic rock of the Deepest Purple, writhing on the stage and making a noise that’s as confusing as it is captivating. I’m not sure if it’s good or not, and at points it sounds as if they’ve never played at all, let alone together. Then, out of the blue, it all makes sense and a song emerges from nowhere. Unlike any band I’ve seen today there’s an un-tempered emotion and freedom in the noise that is both unnerving and thrilling. It’s in complete debt to the past but beyond comparison, and I guess there’s no better tribute to what 1234 aim to achieve than this.

Photos: Tom Jagger (www.tomjagger.co.uk)
Check out The Fugutive Motel for more.

Yuck // Daughter

Doesn't that look a cosy place to be? Nestled in the moist warmth of Yuck's armpits and matted hair. Smells like contentment, feels like happiness.

Much the same effect applies when listening to their free-to-download new single Daughter, enveloping you as it does in furry guitar reverb, aiming as high as Postal Service and nigh on getting there. The ambition of Yuck is admirable, riding the wave of their former members' fleeting yet deserved notoriety with Cajun Dance Party to nail support slots with Japandroids most recently and Modest Mouse and The Pains of Being Pure at Heart most imminently. More shoe-gazing epics like Daughter, echoed by surging garage like early single Georgia, suggest much to come from the London-based foursome.

Their new EP Weakend is out on August 2nd. In the meantime, get your ears around Daughter from their blog, or listen to Weakend below.

Yu(c)k - Weakend from Yuck on Vimeo.

Little London Fields Festival

In a bid to distance itself from current associations with shootings and stabbings and regain its throne as the place Hackney folk can gather, in the weeds and scrubland, to spot Kate Moss and feel part of it, London Fields is hosting a mini arts and music festival on August 7th.

Alongside "an eclectic, alternative mix of Contemporary Art and cutting edge fashion", they've got a pretty broad spectrum of music on show. London's Dirty Projectors the excellent Hind Ear will be bringing their tropically-flecked harmonic stylings to the Main stage, IDRchitecture will be offering pop with ambition and odd song titles on the Unplugged stage, while the headline stuff will be coming courtesy of Don't Wait Animate's angular riffs and Mirrors' brooding electronica.

All that and it's FREE. Viccy P is still our park de jour, but Little London Fields is doing its best to change our minds.

Here's something from Hind Ear to warm you up.

B-Lock and the Girl // Tired of the Sick Hype

It's a rare, rare delight, to stumble across a guitar band of both indie sensibilities AND wanton imagination. The Wave Pictures did it for us, and are still doing so, a couple of years back. Now the North-Easterly trio B-Lock and the Girl are doing it too.

Perhaps it's because each song starts with the never less than thrilling sound of a drum-stick countdown. Perhaps it's because they remind us of Dirk Wears White Socks. It may be because each track they've offered is so restlessly pregnant with ideas it makes us overwhelming excited about music. Either way, they'll be at Notting Hill's Cobden Club in September being Tired of the Sick Hype while creating their own.

Thanks to A New Band a Day for brightening our lives.

Play: B-Lock and The Girl // Tired Of The Sick Hype

Local favourites // Get People

Get People have been on the radar for a bit but, in an unusual move for a new, unsigned act, seem almost determined to fly under it, cloaking themselves in mystery and playing no shows save for a few DJ sets.

Delivering the sort of tropical electronica Friendly Fires hinted at with post album single Kiss of Life, only perhaps with a more explicit use of pan-pipes and bongos, the band's sound is complex yet invitingly warm, making their self-imposed absence from the spotlight all the more intriguing. Apparently live shows will arrive in September. Till then you'll have to make do with the below.

Philip Selvey // By Some Miracle

Historically the solo contributions of erstwhile drummers have been, well, sketchy at best. For every success there's a failure of equal proportion. For every Phil Collins there's a Ringo; every Fab Moretti an Andy bloody Burrows.

So where will Phil Selway sit? Probably somewhere in the middle judging by his first solo release By Some Miracle. Its gentle, melancholic folk lilts breezily along, but misses on atmosphere, leaving it slightly reminiscent of a Travis b-side rather than establishing Selway as a musical force in his own right.

His debut album Familial is out in August, while the track is available free from his site now.

By Some Miracle by Philip Selway

Local favourites // Colours

London four-some Colours produce songs draped with claustrophobic reverb yet filled with vibrant melody, making for a thrilling sonic experience. While their song-naming can only be described as satisfactory (Lost Youth, The Lost Hour, Losers), there's much to love in their powerful three minute thrash.

Having recently released their debut 7" on Sleep All Day Records, the band are playing a series of London dates (including a support slot with No Action favourites Spectrals at Cargo) before the July 27th release of a split EP on Marshall Teller Records alongside Not Cool, Cheatahs and Dignan Porch.

The Pains of Being Pure at Heart // Say No To Love

If anyone was becoming unsure as to what 'indie' means as a genre any more, The Pains of Being Pure at Heart's new single is pretty much as close as you can get to a complete definition. Twee, guitar driven, upbeat pop twinned with a a subject matter of accepted, eloquent resignation.

"Something’s coming, but nothing ever does. Something’s coming, you better say no to love", the boys sing, as Peggy slacks around and sticks her head out of car windows in a manner that screams carefree. See this and other summery pursuits in full below and the real-life record is out on Slumberland now.

Jamaica // I Think I Like U 2

Think Jamaica and you get Reggae, Marley, dancehall, or maybe even Lilt popping into your brain box, but you're pretty unlikely to imagine two pastey white guys, immaculate pop or, indeed, U2.

This Jamaica are something completely different. Formerly Poney Poney, this Parisian duo craft unashamedly ambitious pop songs, following the path trod so confidently by Phoenix and Tahiti 80. The influence of Daft Punk's audio supervisor on production is evident, not least in the searing solo and boyish vocals, while Frenchman Xavier 'Justice' de Rosnay adds an edge which has seen Jamaica picked up by Kitsune for its upcoming comp. Add to this the fact it has nothing to do whatsoever with U2, yet takes the time to poke fun at the permanently sunglassed one in the video, makes Jamaica a band to admire.

Écouter ici.

Crystal Castles // Celestica (Thurston Moore Remix)

Finding fame for their unrelenting bleep-tronica and animalistic live performances, Crystal Castles have just released their second self titled LP. The first single from which, Celestica, actually sees the duo achieving an atmospheric, haunting and, dare it be said, beautiful sound.

Cue Thurston to fuck things up for them. Introducing agitated riffs and squalling feedback, Celestica remixed returns Crystal Castles to their aggressive, distorted selves.

Listen here or download for your very own thanks to RCRD LBL.

Local favourites // Trash Kit

Lo-fi is currently very en vogue, but the flaw of any emerging scene is that, once the door is opened, all and sundry can stroll through with a roughly crafted demo and command undue attention from slathering labels.

Trash Kit, however, are one of the good ones. The release of their self-titled debut on local indie Upset the Rhythm supports their case. While it's defiantly ramshackle and chaotic, there's a wild energy and melody to be found among the fuzz and reverb that sets the girls above their peers. No more so than on Cadets, its tribal drums and war cries acting as an unrelenting call to arms for those tired of polished pop.

Head to Stereogum for more Trash Kit related goods.

Vampire Weekend // Johnathan Low

Muse did it; Dead Weather did it; even Radiohead did it. Now Vampire Weekend are doing it too, offering up a brand new track for the forthcoming Twilight film.

Thankfully, it sounds pretty great. Not only do we get new material, the band have also dipped into their wardrobes and dressed up in Elizabethan garb for latest single Holiday, both of which you can enjoy below.

Vw by c87157

Klaxons // Flashover

The Mercury Prize, in attempting to maintain its reputation as a serial career killer, appeared for a while to have done for Klaxons.

However, after much upheaval, mind expanding and session scrapping the band are finally ready to release a follow up to their debut with the provisionally titled Surfing the Void and are streaming a teaser of things to come from their all new site.

On first listen, Flashover is so distinctively Klaxons it sounds vaguely identical to everything the band has done previously, but without pinning down exactly what. It is though much, much heavier than anything they've done before, backing up claims of a back to basics rock record with producer Ross 'Korn' Robinson's influence stamped on the prominent, heavy bass and screaming guitars.

The four are off previewing more new stuff in July, visiting London's Village Underground on the 27th.

The Drums // Forever and Ever Amen

Ahead of the release of their debut full length on June 7th, The Drums are steadily maintaining the magnificently high quality of both song and video with Forever and Ever Amen.

Grainy and effete, as if lifted wholly from British 80s new wave, the video sees the band cruising around and climbing on tables looking chiseled while a couple of kids bash stuff up. Great! Plus, their site has a free download of It Will All End in Tears for further listening pleasure.

Karen Elson // The Ghost Who Walks

The model-to-singer path is not one easily trod, ridden as it is with accusations of vacuity and the pursuit of dollar through diversification, with the music often a side issue. Actress to singer we accept almost without question, as proved most recently by indie darlings Zooey Deschanel and Scarlett Johansson, with a little help from their friends.

This is, however, the path chosen by Oldham's most glamourous musical export since Mark Owen, Karen Elson. Fortunately for us and her both, she has a miraculous, careless voice and has written mature, blues folk songs of subtle depth. Hints of late White Stripes in the gothic balladry (The Birds They Circle) and early Raconteurs (The Truth is in the Dirt) in the use of organ show hubby Jack's influence, while Nick Cave and female American country remain well sourced touchstones for the remainder.

Buy it on May 25th, or enjoy it now here.