This offering from Jaws acts as both a collection of their singles and of the live favourites from their time as a band so far.
Nottingham’s Saint Raymond is having a hell of a year as he gears up to release his debut EP, ‘Escapade’. Keeping the name he performed under when he was in a duo and not having hit his second decade yet, Callum Burrows is seeing his singer/songwriter folk music expand beyond his home town throughout the nation, especially with being played on Radio 1 recently to the request of rising star and friend Gabrielle Aplin.
Andrew McMahon is known as being the driving force behind both Something Corporate and Jack’s Mannequin, but now he has closed both of those chapters in his life and is, for the first time since his musical career began in 1998, a solo artist.
If this release is any indication, she’s well on her way to being fantastic
Frightened Rabbit only released critically acclaimed fourth album “Pedestrian Verse” to the public in February before they soon announced their next release: the Backyard Skulls EP with one new song, amongst alternate and live versions of others.
Bear’s Den, a London trio, have released their second EP “Agape”, the first widely available record of theirs as their first EP was only available at the almost non-stop barrage of shows they played all throughout the UK. ‘Agape’ is released through Communion records, which was founded by Mumford and Son’s Ben Lovett and Bear’s Den member Kevin Jones. The term “Agape” is an Ancient Greek word for “true love”, and the bands reasoning behind this choice resonates through this record.
The 1975 have been making music for over a decade under a several different names, the one seen now only being heard first publicly in January 2012. In this short space of time the band has been together, they have released two EPs and ‘Music for Cars’ being their third.
Joe Banfi is understated, to put it most simply. He released his first EP “Iron” less than six months ago after signing to Communion Records, who have supported Ben Howard, Daughter and Michael Kiwanuka, and has acquired such attentive fans with each performance, nationwide and beyond.
The kids are sick again. Paul Smith said it; now they’re living it. The dance floors in Wolverhampton resemble the factories in Slough. Empty, barren and useless. There’s nothing to get kids out from underneath their vinyl of Hot Fuss, to get them popping pills again, to get them making love to a nasty beat. Shatter Effect realised this.