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Strictly New Bands: The Orwells, Radkey, Papa + More

The Orwells (No.100)

Elmshearst Illnois own The Orwells have been causing quite a stir since their rabble rousing performance at the Great Escape Festival. Their expertly crafted, swift, and to the point indie recalls The Strokes but this band are more in touch with board open emotion than the too cool for school Casblancas. The influences are  a whose who of indie icons (Stooges, Velvets, etc…) but surprisingly for an Illonis act, The Orwells have something of the looseness and warmth of America’s west coast. “Other Voices” is already an indie club anthem capturing the winsome quality that all alternative anthems need, and while they lack the deep cuts of a truly great band, The Orwells offer a really good time and a high energy live show.

Radkey (No.101)

Ready for more rip roaring American indie rock? Well if The Orwells where to shabby and typical, Radkey might just be the band for you. Dee Radkee has a wonderfully seductive vocal that conjures the bizzare image of Danzig spouting Franz Ferdinand lyrics. The beats and grooves are thick and the vocals are undeniably alluring. Best of all, this band isn’t afraid to rock out, in between the pointed verses are some delicious guitar solos. There a little bit indie, they’re a little bit rock and roll; they’re a little bit punk, they’re little bit grunge and croon. Think Misfits and you’ll be on the right track.

Papa (No.102) 

Having Christopher Owens dump you less than a year after dropping a career-defining album would cripple the confidence of most stars, but not Papa drummer singer-drummer Weiss. Girls are tragically no more, but he’s not resting on his laurels or moping the weeks away, instead his new band is…well…excitingly new. Having won plaudits at South By South West, Darren and Evan Weiss are moving on with more cinematic music, full of yearning synths and stadium sized emotion. Think about the melancholic end of the Brandon Flowers spectrum or synthetized Springsteen and you’ll be on the right tracks.

ETML (No.103)

Elliot Marshall, aka ETML, has been too busy with his A-levels and post-exam partying to promote his proper debut single “Bind Me”. Still who can blame him, your only young once, and in truth “Bind Me” sells itself. Mixing dubby undertones with a hyper-active take on Garage percussion, some chilled out synth slabs, and a soulful vocal that should have indie fans licking their lips, “Bind Me” is a stellar debut. Whack a Foals or Metronomy style snakey arrangement under his hook and you’d have the NME purring. Make no mistake ETML is dance through and through, but those of indie sensibility should enjoy his music.

Suzuki Method (No.104)

It’s time to take a trip to Salford (no great bands have ever called Salford home, right?). Suzuki Method are a five piece led by brothers Adam and Glen Lieshman who are deadest on unifying drug fuelled dance culture with slick indie rock (yeah like Manchester knows anything about that). They seem to be hedging their bets by working with two producers, one famed from dance conversions (Tony Dolan of Primal Scream, Delphic fame) and one of indie renown (Jim Spencer of The Vaccines and The Doves fame). “Country Cousins” their proper debut single was released in May and it showcases the slickness of their 80s aping pop chops. There’s certainly potential for this sound, but did they miss their moment? Delphic and Hurts seemed to nail this niche three or more years ago.





Author: david

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