Idioteque – A Stone’s Throw From Home EP

London-based artist and producer Emanuele Savoca, known in the music realm as Idioteque, has been crafting a unique blend of dark, atmospheric, and bass-driven sounds that traverse the realms of trip-hop, electronic, and alternative rock. Drawing inspiration from a diverse array of artists—including Elliott Smith, Outkast, The Smashing Pumpkins, and Portishead—Idioteque’s music defies easy categorization.

With the release of his latest EP, A Stone’s Throw From Home, Idioteque embarks on a sonic journey that melds his signature atmospheric style with new explorations in sound.

Let’s dive in to see where this EP will take us.

Opening the EP is ‘Stylet,’ a mesmerizing introduction that immediately pulls us into a shadowy, hypnotic world. Featuring the hauntingly delicate vocals of Bâlâ, the track thrives on its minimalist yet intricate production—deep, pulsating basslines, skittering percussion, and an eerie, distant synth line that flickers like a neon sign in the rain.  There’s an understated tension running through the track, as if something is lurking just beneath the surface. Bâlâ’s voice is both intimate and otherworldly, floating above the deep, rolling beat like a siren in the dark.

The mood deepens with my undoubted EP highlight ‘I Remember,’ another collaboration with Bâlâ that fully embraces Idioteque’s trip-hop influences. The track is drenched in nostalgia, its slow-burning beat and looping guitar riff painting a picture of fragmented memories slipping through time. Bâlâ’s voice is largely unaffected, making her lyrics feel direct and straight to the heart. The bassline is warm yet ominous, pulsing beneath a delicate interplay of guitar flourishes and electronic textures. There’s a melancholic beauty here—an emotional weight that feels simultaneously intimate and universal. You don’t just listen to ‘I Remember’—you feel it seep into your bones, wrapping around you like a faded photograph brought back to life.  God, I love this track!

If the first two tracks ground us in deep, introspective territory, ‘Weightless Stairway’ lifts us into something more dynamic and expansive. Featuring the soulful and expressive vocals of Sheba Q, this track blends neo soul energy with Idioteque’s signature electronic production, creating something bold, shimmering, and full of movement. The drums are crisp and driving, the bassline confident and playful, while the guitars swirl with an almost 80’s feel. Sheba Q’s vocals bring a richness to the track, shifting from airy vulnerability to a more commanding presence as the song builds. There’s an uplifting quality to ‘Weightless Stairway,’ and is a brief detour from the EP’s underlying tension—it’s as if we’re floating, suspended in the space between where we’ve been and where we’re going. 

Next, Idioteque brings us back into the depths. ‘What Is Far Behind’ is a slow-burning, atmospheric piece that feels like wading through a dream. The production is thick with texture—ghostly vocals drift in and out, the percussion is soft but insistent, and the synths shimmer like distant city lights. There’s something deeply meditative about this track. The melody is restrained yet emotionally charged, evoking a sense of looking over your shoulder at a version of yourself left behind.

The EP closes out with ‘In The Nearing Distance,’ a track that perfectly captures the feeling of transition and uncertainty. The spoken word vocal really focuses your attention. The backing sounding like a Smashing Pumpkins acoustic number, it carries a quiet momentum, a sense of something just beyond reach. There’s an almost cinematic quality to the way the song and story unfolds and delivers us out the EP.

A Stone’s Throw From Home is more than just a collection of songs—it’s an emotional journey. Each track carries its own weight, its own world, yet they all feel connected by a common thread of movement, memory, and introspection. Idioteque masterfully balances electronic precision with organic emotion, crafting an EP that feels deeply personal yet universally relatable.

If you’re a fan of genre-bending, immersive music that rewards deep listening, this is an essential listen. let yourself get lost in the nearing distance, and see where A Stone’s Throw From Home takes you.

A Stone’s Throw From Home EP is out now and available to download from the Idioteque Bandcamp page.

You can follow Idioteque on social media here…

PREMIERE – Go With Strangers – Ride

Go With Strangers, the brainchild of Eugene San, has been steadily carving a niche in the shoegaze scene. With a sound that seamlessly blends elements of shoegaze, post-rock, and dream pop, he has garnered a lot of plaudits from the community for his emotive and atmospheric songs.

In 2021, during the global pandemic, San found himself at a crossroads. With lockdowns limiting collaborative opportunities, he decided to confront his social anxiety and step into the role of frontman—a position he had previously avoided due to discomfort with hearing his own voice on recordings. This pivotal moment led to the birth of Go With Strangers, marking Eugene’s first entirely solo effort where he not only played all instruments but also took on vocal duties.

The debut EP, Finding Ikigai, was released in 2022 blending elements of alternative rock, post-rock, and shoegaze into a powerful sound that cemented his place on the shoegaze scene.  

Now San is set to release his debut full-length album, Ave, Reverie, in March. You’ll be hearing more about that very soon as I will be breaking it down track by track prior to its release.

To get us excited for the album San is releasing another taster single in the form of ‘Ride’.

It’s a punchy and dark intro into the track. Guitars are as rhythmic as the drums driving the whole thing forward. Sans serene vocals float over it all in stark contrast. The stop start motif mid song is brilliant, the guitar riff like a saw blade through the fabric of the song. The closing minute or so is a frantic build in tension to the full stop of that final guitar note.

You leave this ‘Ride’ exhilarated and wanting to play it again. It’s a heady rush of momentum—soaring at full-throttle to a finish that leaves you breathless.

The single is accompanied by stunning video which I am proud to be premiering on Static Sounds Club. I hope you enjoy it.

Go With Strangers continues to evolve, with San’s dedication to exploring new musical territories at the project’s core. As the release of Ave, Reverie approaches, you have the three singles ‘Ride’, ‘I’ll Miss You, Never’ and ‘Further to enjoy.

Head over to the Go With Strangers Bandcamp page to preorder the album now.

You can follow Go With Strangers on social media here …

Pretty Lightning – Night Wobble

I’m a big fan of music that lets takes me away in my imagination. Pure musical escapist joy is something I crave. In the past the Fuzz Club label have afforded many such opportunities over the years such is the quality of their roster. This is set to continue with the release of the new album from Pretty Lightning.

Pretty Lightning are a psychedelic blues duo from Saarbrücken, Germany, comprising Christian Berghoff and Sebastian Haas. Formed over a decade ago, the band has developed a distinctive sound that blends elements of delta blues, krautrock, and psychedelic rock. Throughout their career, Pretty Lightning have released five full length albums and are have just made that six with the release of Night Wobble.

They have toured extensively across the UK and Europe, sharing stages with notable acts such as Moon Duo, Clinic, Kikagaku Moyo and Night Beats.

Back in 2022, the duo released Dust Moves, their first instrumental album, marking a departure from their earlier vocal-driven work and showcasing their ability to create immersive, atmospheric soundscapes. This evolution their versatility and commitment to exploring new sonic territories.

So, what do the band have to say about this new album?

“Night Wobble is a set of downtempo, repetitive grooves that course through dusty spaghetti-western psychedelia, Tuareg-derived desert-blues, library music and ’70s progressive. It’s always cinematic but shot through with trippy, off-kilter moments that bring a sense of alien to the widescreen panoramas here.”

“This is an oozy, woozy cowboy groove. If it was David Lynch who directed ‘Paris, Texas’ then Ry Cooder’s soundtrack might have sounded something like this.”

I’m already packing my bags in my head. Let’s drop the needle.

Opening the album is the lush ‘In Place Of Bees, Glow Worms’. This track sets the scene at dusk on the forest’s edge. A gentle hum of oscillating synths merges with softly plucked guitar notes, capturing the shifting light as the day surrenders to night. As lap steel slides weave spectral trails, a steady but unhurried rhythm lures you into an eerie yet inviting soundscape. The delicate reverberations seem to mimic the flickering glow of insects, their bioluminescence dancing across the undergrowth.

A shift towards the supernatural, ‘Spectre Crackle’ unspools a ghostly incantation through twangy, reverb-drenched guitars and shimmering cymbals. The percussion rolls in like distant thunder, its sporadic bursts adding to the creeping tension. The track’s hypnotic groove casts an uneasy spell, as if unseen eyes are watching from the darkness, their presence only betrayed by fleeting flashes of movement. The lingering distortion leaves a haunting resonance in its wake.

Up next is ‘Nightroamer’. This track embodies movement—the restless energy of traversing shadowed paths with nothing but instinct to guide the way. A pulsing bassline anchors the track, while spindly guitar lines curl like mist between the trees. There’s an unmistakable desert blues influence here, echoing the hypnotic repetitions of Tuareg rock, but infused with Pretty Lightning’s own ghostly, psychedelic touch. The momentum builds subtly, like the slow realization that there’s no turning back.

A moment of quiet contemplation amid the journey, ‘Yonder Holly Oak’ offers a respite, its echoing slide guitar evoking the grandeur of an ancient, sacred grove. The notes bend and waver like tree branches swaying in the night breeze, forming a meditative, almost ceremonial atmosphere. The track’s structure is loose and fluid, inviting you to drift into a dreamlike trance, carried by the ebb and flow of its undulating melodies. This is hypnotic stuff.

‘Dingle Dangle Ditch’ is a playful yet sinister jaunt, this track brings an off-kilter energy, its irregular rhythms and bending guitar tones teetering on the edge of instability. The title itself suggests a precarious path, and the music follows suit, with angular riffs and sudden dynamic shifts that feel like navigating an uneven trail. At times, the melody seems to unravel completely before snapping back into place, mirroring the exhilaration of near missteps in the dark.

Marking the album’s midpoint, ‘Glade Runner’ serves as a moment of release, where the dense foliage momentarily parts to reveal an open space. The rhythm locks into a steady, undulating groove, the interplay between percussion and bass forming a solid foundation. Guitar phrases float overhead like circling fireflies, their delayed echoes painting phosphorescent trails in the night air. There’s a sense of movement, of acceleration, as if something unseen is guiding the way.

A descent into deeper, more enigmatic realms, ‘Shadow Portal’ brims with ominous undertones. Swirling guitar loops and reverb-laden chords create an unsettling atmosphere. The track’s gradual layering builds an almost suffocating tension, evoking the feeling of being drawn into the unknown. The absence of traditional structure only adds to the disorienting effect, leaving you suspended in liminal space.

Lightening the tone, ‘Peek A Boo’ reintroduces a playful element, albeit one with an eerie undercurrent. The rhythm skips and lurches unpredictably, punctuated by ghostly chimes and whimsical, wavering guitar licks. It’s as if mischievous spirits are darting through the darkness, just out of reach. The track’s buoyancy is infectious, creating a moment of levity amid the album’s more brooding passages. This was my introduction to the album and remains my stand out track.

True to its name, ‘Mellow Swirl’ drapes you in a gauzy haze of softly strummed chords and woozy picked guitar. The melody feels weightless, drifting in and out of focus like a half-remembered dream. Subtle percussive flourishes add texture, while the synths shimmer like morning dew catching the first light of dawn. A moment of serene beauty within the album’s shadowy depths.

Drenched in nocturnal ambiance, ‘Owl Hour’ conjures images of moonlit treetops and silent wingbeats gliding through the dark. The interplay of reverb-heavy guitars and echoing drum patterns mimics the call-and-response of unseen creatures, creating a haunting yet soothing presence. The track feels both mysterious and oddly comforting, as if the forest itself is whispering ancient secrets.

Taking a more experimental turn, ‘(How to) Moonbow’ builds around looping guitar phrases that twist and evolve like shifting prisms of light. The hypnotic rhythm and pulsing bass create a mesmerizing effect, leading you deeper into a kaleidoscopic soundscape. Delicate synths swell in the background, enhancing the song’s celestial atmosphere.

A slow-burning, meditative piece, ‘Furrows’ is rich in texture, with layered guitars stretching out in wide arcs like ripples on still water. The track’s patient pacing invites introspection, its warm tones acting as a moment of calm amidst the album’s more turbulent passages. There’s a deep sense of longing woven into its melody, a gentle pull towards something just out of reach.

Closing out the album, ‘Sonic Broom’ sweeps everything away in a final burst of cathartic energy like a galloping horse ride. The pulsating rhythm locks into a hypnotic groove, guitars buzzing with electric fervour. As layers build to a swirling crescendo, the track dissolves into an ethereal fade-out, leaving you suspended in the liminal space between waking and dreaming.

Night Wobble is a masterclass in atmospheric storytelling through sound, a mesmerizing exploration of movement, stillness, and mystery. It captures the essence of a journey through the unseen corners of the night, each track serving as a chapter in an unfolding nocturnal odyssey. The album showcases Pretty Lightning’s mastery in crafting immersive sonic landscapes, balancing tension and tranquillity with an expert touch. By drawing inspiration from diverse genres while maintaining their signature style, the duo has created something both familiar and refreshingly unique.

Night Wobble is out on exclusive vinyl now via Fuzz Club Records. You can listen to the album over on the Pretty Lightning Bandcamp page.

You can follow Pretty Lightning on social media here…

The Men – Buyer Beware

The Men have been creating riotous proto punk for over eighteen years now. Across their discography, they’ve shape-shifted from post-punk aggression to sun-soaked Americana, from scorched-earth garage rock to cosmic psychedelia, and yet they’ve always retained that distinct raw energy that makes them unmistakably The Men. Their latest album, Buyer Beware, is yet another unpredictable turn—a raucous, urgent, and deeply immersive record that feels both timely and timeless. It channels the energy and raw power of The Stooges and MC5 morphing into the hard hitting, scuzzy rock ‘n’ roll you would expect from a band with this depth of experience.

Their PR gives us this insight.

“The Men’s sound and vision has never been more primal or apocalyptic. A clarion call for troubled times signalled by its title, Buyer Beware finds The Men tackling questions both personal and political, imploring themselves and listeners to take a long hard look in the mirror and at their surroundings.”

Recorded directly to tape with longtime collaborator Travis Harrison, Buyer Beware embraces the crackling spontaneity of their live sound. That all said, let’s dive into each track and break it all down.

The album kicks off with ‘Pony,’ an absolute stormer of a track that wastes no time throwing us into the deep end. With its jagged guitars and barked-out vocals, it’s a high-octane opener that recalls their early no-wave tendencies. Lyrically, it’s a restless plea for forward motion, a challenge directed both outward and inward. Man! It’s only the opening track and I’m already sweating.

Up next is ‘At the Cinema’, a swirling, cinematic fever dream of a track that perfectly captures their knack for blending raw energy with atmospheric textures. It kicks off with a hypnotic, motorik groove that steadily builds, layered with seismic guitars. There’s an undeniable sense of motion—like a chase down a neon-lit city street, where nostalgia and anticipation blur into one. I love the cinema reel ending too, nice touch!

The title track is pure menace. A looming bassline snakes its way through layers of distorted guitar, while the vocals sound like they’re being transmitted through a busted radio in the middle of nowhere. There’s a sense of impending doom here, a warning siren disguised as a rock song. It’s hypnotic, unsettling, and utterly compelling.

A moody shift from the preceding tracks ‘Fire Sermon’ leans into the sheer power at this band’s disposal. It’s heads down and amps to eleven as they bludgeon us with fuzzed-out leads and choppy riffs. The band doesn’t let up for the full minute and a half of its run time. Wayne Kramer would have loved this one.

That short sharp shock comes back into effect on ‘PO Box 96’. It’s a short, sharp shock of punky garage rock. It’s fast, furious, and completely unfiltered—no time for build up, no room for restraint. The Men tear through this track with reckless abandon, driven by pounding drums, jagged guitars, and sneering, almost breathless vocals. It’s the kind of song that feels like a basement gig in full swing, bodies colliding, beer spilling, and the walls sweating. Pure energy—a thrilling jolt of rock & roll adrenaline.

‘Charm’ is another full-throttle rocker, drenched in fuzz and attitude. With its relentless drumbeat and dual male / female vocal delivery, it feels like a lost gem from a forgotten CBGB’s set. The song barrels forward without a care, its raw, unpolished energy embodying The Men’s unrelenting spirit. It’s a perfect encapsulation of their punk-meets-garage ethos.

We back off the gas ever so slightly for ‘Black Heart Blue’ a crushing slow-burner that gradually builds into a full-on storm. It’s a bluesy, desperate howl into the void, channelling both the melancholy of Neil Young and the tension of early Sonic Youth. The band flexes their ability to balance restraint with release, making the eventual eruption into the closing guitar solo all the more cathartic.

‘Nothing Wrong’ lulls the listener in with a slow, spoken-word intro before detonating into a frantic burst of garage rock fury. It’s got that signature rawness The Men do so well—fuzzed-out guitars, relentless drumming, and a vocal delivery that sits somewhere between a sneer and a snarl. The track burns fast and bright, propelled by a sense of barely-contained chaos, before collapsing in a burst of distortion. A reminder that sometimes, simplicity and brute force are all you need to make a track hit hard.

A relentless, driving track with a post-punk undercurrent, “Control” is a brash yet hypnotic song that pulses with nervous energy. The wiry guitars twist and turn unpredictably, while the vocals push and pull between urgency and detachment. It’s a masterclass in controlled chaos.

There’s a sense of disorientation in “Dry Cycle,”. It’s like a little pause to catch our breath. Nice use of a tumble dryer as percussion instrument!

Slowing things back down, ‘The Path’ leans into the band’s more atmospheric side. It’s got a creeping, psychedelic feel to it, driven by shimmering guitar lines and restrained vocals. The lyrics are oblique but evocative, hinting at existential dread lurking beneath the surface. It’s a real change in texture for The Men and it really suits them.

We barrel headlong into ‘Tombstone’ next. This is good old-fashioned rock ‘n’ roll. Vocals play off the searing guitar riffs very nicely. Musically we’re off on a different route, dialling up the rock & roll swagger and Southern-tinged grit. It’s got a rolling groove, packed with fiery guitar licks, a driving beat, and vocals that straddle the line between sneering and soulful. The Men tap into a looser, almost barroom jam energy here, making “Tombstone” a standout moment that proves they can channel their raw power into something more melodic without losing an ounce of intensity.

Closing things out is ‘Get My Soul’ a melancholic yet strangely triumphant outro. It’s got the ragged, nostalgic feel of a last-call anthem, the kind of song that plays as the credits roll on a long, strange night.

In a world where so much music feels disposable, Buyer Beware stands as a bold statement from a band that’s unafraid to take risks. It’s a reminder that rock music can still be a powerful force for expression and connection. So, when The Men ask, “When you gonna stop running?” on “Pony,” it’s not just a challenge to themselves, but to all of us. Are we ready to face the music? Buyer Beware is more than just an album; it’s an experience—a call to arms for anyone willing to listen. Don’t let this one pass you by.

Buyer Beware is out via Fuzz Club Records on February 28th 2025. You can grab a copy on vinyl from Fuzz Club or The Men Bandcamp page.

You can follow The Men on social media here…

F.O. Machete – Mother of a Thousand

I’m going to play my honesty card here and admit I missed F.O. Machete first time around. I don’t remember where my head was in 2004 but F.O. Machete were releasing their debut album, My First Machete and selling out headline tours. They followed that up with Blaze of Flashes in 2006. The band. Natasha Noramly (bass, vocals) and Paul Mellon (guitar, vocals), were on fire releasing EP’s and singles up until 2011’s My Last Machete EP.

At that point the band went on hiatus when Noramly and her Scottish husband relocated across the Atlantic to New York. It wasn’t until the pandemic hit in 2020 that they returned to Glasgow. Scottish label Last Night From Glasgow reached out to the band, initially about releasing their back catalogue. The band had already started rehearsing new material which delighted the label and so a new album was planned.

Their long-awaited comeback album, Mother of a Thousand, was recorded at the famous Chem19 Studios with renowned producer Paul Savage (The Delgado’s, Mogwai, The Twilight Sad). The band had this to say on the background to the album.

“We wanted to make something that feels real and alive. The songs are about finding your way through the chaos and celebrating what matters while you can.”

Let’s chuck this on the turntable and see what we have.

Straight out the gate it’s the fuzzed-out opus ‘Confetti Crown’. It unfurls like a slow-motion explosion—glittering shards of gritty guitar, propulsive bass, and a vocal melody that hangs in the air like a question you don’t quite know how to answer. I love how the drums and bass both explode at the same times. Most satisfying. As openers go its assured and sets their stall out early doors. This is gonna be special.

With a churning rhythm section and a riff that sounds like it’s constantly trying to outrun itself, ‘Bicycle Spokes’ is kinetic and restless. The vocals cut through the haze like headlights on a foggy night, delivering lines about movement—both literal and metaphorical. Lines like “You get so much pleasure from architecture” and “Even corrugated iron had so much texture” make you smile to yourself whilst soaking up the amazing melody.

This is where the tension tightens. ‘The Most Dangerous Thing You Own’ is brooding and ominous, built around angular guitar lines and lyrics that feel like whispered warnings. There’s an underlying menace here, a sense that something is lurking just out of view. The chorus explodes in a burst of frustration and catharsis, but the unease lingers long after the song fades. If you’re like me you’ll be marching about shouting “Select select delete” at anyone who’ll listen after listening to this one.

Clocking in at just under three minutes, ‘Jettison’ is a quick, potent gut punch of a track. The band strips things down to the essentials—razor-sharp drums, a driving bassline, and vocals that teeter between urgency and exhaustion. It’s over almost as soon as it begins, leaving behind a sense of breathless exhilaration. 

At the halfway point the band really flexes their melodic muscles. A shimmering, slightly off-kilter guitar line opens ‘Skeletor’, giving way to a soaring chorus that feels both anthemic and melancholic. It’s moody and never at rest, ever evolving through its run time. That incendiary outro section is going to set off a lot of mosh pits. Guitars slowly fizz and pop before erupting into a glorious wall of sound.   

Side two kicks off with ‘Kicking Up Dust’ showing off both the band’s noisier tendencies as well as their gift for hooky melodies. Verses float along on a bass line that could’ve been culled from a lost Cocteau Twins track before layers of fuzzed-out guitars crash against screamed vocals. It’s a song that feels unstoppable, relentless, and (in the best way possible) slightly unhinged. 

If there’s a moment of pure, unfiltered nostalgia on Mother of a Thousand, this is it. ‘Kids Of The Summer’ is drenched in golden-hour melancholy, painting vivid images of endless nights and reckless abandon. The guitars shimmer, the vocals ache, and for a few minutes, it feels like time itself slows down. 

Next up is ‘Hello Obscurity’. The title alone hints at the themes of fading into the background, of embracing the shadows rather than fighting to be seen. Musically, it’s a slow-burner, with a steady build pulsing along an insistent bassline. There’s something deeply cathartic about the way it unravels— you can almost sense a weight being lifted, only to come crashing back down. 

Softening the edges, ‘Milk’ is as close to a ballad as you’re going to get from F.O. Machete. It’s a sweeping hug of a song that has complimenting vocal and guitar melodies. Drums and bass remaining understated and letting the song blossom on top of them. There’s a tangible warmth on show that speaks volumes to the listener about how much this band cares.

The album closes on a note of existential frustration with ‘The Enhance Button Is Not Working’. The title alone suggests a sense of disillusionment, and the music follows suit—starting slow and sombre before building into a cacophony of sound. By the time the final notes ring out, there’s no neat resolution, no easy answers. Just a lingering sense of something unfinished, something left unsaid. 

Mother of a Thousand is a spiralling, soaring, and sometimes scathing expedition through shimmering melodies and jagged edges, filled with both nostalgic longing and the sharp bite of modern anxiety. Across ten tracks, the band deftly balances introspective lyricism with unrelenting sonic force, pulling the listener into a world that feels at once deeply personal and universally relatable.

It’s also an album that thrives on tension—the push and pull between melody and dissonance, nostalgia and unease, movement and stagnation. F.O. Machete has crafted a record that feels like a living, breathing thing, constantly shifting and evolving with each listen. There are no passive moments here. Every track demands engagement, whether through the visceral energy of ‘Jettison’, the aching beauty of Milk’, or the unresolved chaos of ‘The Enhance Button Is Not Working’. This is music that doesn’t just ask you to listen—it pulls you into its world, urging you to feel every note, every lyric, every distorted chord. 

Mother of a Thousand a bold, uncompromising statement—one that lingers in your mind long after the final track fades. Whether, like me, this is your first introduction to the band or you’ve been with them since the beginning, one thing is certain: this is an album that refuses to be ignored. 

Mother of a Thousand is out now on Vinyl and CD via Last Night From Glasgow.

You can follow F.O Machete on social media here…

Photo Credits

Gary Sloan

Marisa Privitera

Horsegirl – Phonetics On and On

There are some songs you vividly remember hearing for the first time. They sear themselves into your memory, like a firework in your head. Such as it was for me the first time I heard Chicago trio, Horsegirl. Scrolling through my Facebook feed there popped up a post from UK based shoegaze label Sonic Cathedral. Generally, when I see a post from them, I sit up and take notice so I clicked the link and ‘Ballroom Dance Scene’ filled my ears. I was mesmerised. I hadn’t heard anything like it, or had I? It was instantly familiar yet completely new to my ears. Soon I had the seven-inch single and the flip side ‘Sea Life Sandwich Boy’ delivered in spades as well. Next came the single ‘Billy’, a portent for their stunning debut that was about to release.

Horsegirl, made up of Penelope Lowenstein, Nora Cheng, and Gigi Reece, debut album was 2022’s Versions of Modern Performance, a record that soaked itself in the murky waters of ‘90s indie, blending Sonic Youth’s jagged edges with the dreamy haze of shoegaze. They were hailed as torchbearers of a new wave of indie rock—raw, instinctive, and thrillingly unpolished.

With Phonetics On and On, their sophomore release, Horsegirl have taken a sharp left turn. Produced by Cate Le Bon, the album strips away the distortion-drenched urgency of their debut, opting instead for a minimalist, almost skeletal approach. Their PR has this to say.

“After playing together for four years, Horsegirl explores the limits of the trio configuration within Phonetics On and On— what if instead of filling out songs with distortion, they utilized the expanse that the three of them didn’t occupy?”

“This question seems to be the motivating force behind the record, and the songs are a testament to experimenting with space and texture while maintaining a pop song at the core. New tools help bring this world to life; violins, synths, and gamelan tiles are all woven into the record with complete effect.”

This sounds like we’re in for a very different listening experience. Let’s drop the needle and see what’s what.

The album opens on the short but sweet ‘Where’d You Go?’ setting the tone with its taut, brittle guitars and clear, simple lyrics. The track’s brevity mirrors the fleeting nature of its themes, leaving listeners pondering the transient connections in our lives. It’s a stripped-back introduction, setting the stage for the album’s sparse yet intentional atmosphere.

‘Rock City’ offers a more expansive soundscape. The interplay between the instruments creates a sense of movement, evoking the bustling energy of urban life while hinting at the underlying loneliness that often accompanies it. This is Horsegirl at their most patient, allowing the track to unfold like a long drive through an unfamiliar city at dusk.

‘In Twos’ delves into themes of duality and partnership. The song’s structure reflects its subject matter, with harmonizing vocals and mirrored guitar riffs that dance around each other, illustrating the push and pull of relationships. There’s a hypnotic quality to its repetitions, like a mantra or an unresolved question left hanging in the air.

Lead single ‘2468’ stands out with its use of folksy strings that introduce us to a new sound for the band. The jaunty rhythm juxtaposes with the almost deadpan vocal delivery providing that unique Horsegirl listening experience. I love the slow build of textures as the song enters its second half. The different attacks on the guitar strings filling the air left around that driving rhythm section. this track exemplifies Horsegirl’s experimental spirit and willingness to embrace the unexpected. It’s an odd, fractured anthem, proof that the band still has their DIY unpredictability intact.

‘Well I Know You’re Shy’ is a poignant exploration of introversion. The minimalist instrumentation allows the vulnerability of the lyrics to shine, forming an intimate atmosphere that resonates deeply with anyone who’s ever felt out of place. It’s a whisper in the dark, an acknowledgment of social anxiety that never feels forced or over-explained.

Up next is one of their best tracks to date. ‘Julie’ is a melancholic ballad that tells a story of lost connections. The song’s deliberate pacing and haunting melodies create a sense of longing, making it one of the album’s most emotionally impactful tracks. There’s something almost ghostly about it, as if the song itself is reaching out to someone long gone.

Flipping over to side B and we up the bpm’s with ‘Switch Over’. The upbeat rhythm contrasts with introspective lyrics, reflecting the complexities of change and the bittersweet nature of moving on. The chorus glimmers with an unexpected pop sensibility, a welcome moment of lightness in an otherwise restrained record.

This leads us into ‘Information Content’ which delves into the overwhelming nature of modern information overload. The minimal instrumentation slowly building to mirror the tidal wave of data we navigate daily, while the vocals provide a grounding presence amidst the chaos. It’s a subtle critique of digital saturation, done in Horsegirl’s signature understated style.

Things take another folksy turn with ‘Frontrunner’. A thoughtful track that ruminates on the urgency of ambition. There’s an underlying tension here, as if the band is questioning whether success is truly worth the chase. The guitars opt for a country feel, strummed acoustic and a lead that draws influence from the late great Luthor Perkins.

‘Sport Meets Sound’ follows. An unexpected experiment, this track plays with the rhythm of physical motion, almost like a sonic interpretation of a heartbeat during a sprint. It blurs the line between movement and music, capturing the strange connection between sound and body in a way that’s both abstract and strangely visceral.

‘I Can’t Stand to See You ‘is our stripped-down closer and it leaves us with an aching sense of unresolved emotion. The instrumentation is sparse, the lyrics direct, and the whole track feels like a final conversation that ends in silence rather than resolution. As the last notes fade, it’s clear that Phonetics On and On isn’t about easy answers—it’s about the spaces in between.

Phonetics On and On is not the record fans might have expected, but it’s exactly the one Horsegirl needed to make. It refuses to repeat the formula of their debut, instead choosing to deconstruct their sound and rebuild it from the ground up. The influence of Cate Le Bon is evident in the record’s deliberate spaciousness, but this is still unmistakably Horsegirl—curious, exploratory, and unafraid of negative space.

This album rewards patience. It doesn’t grab you by the collar like Versions of Modern Performance did; instead, it lingers in the room like an unfinished conversation, waiting for you to lean in. It’s a quieter statement, but no less powerful—a testament to a band growing into themselves, refining their language, and carving out a sound that’s uniquely their own. Horsegirl aren’t just reliving the past; they’re whispering the future into existence.

Phonetics On and On is out now on Matador Records. You can grab a copy from the Horsegirl Bandcamp Page, Matadors Online Store or your favourite record store.

You can follow Horsegirl on social media here….

Hooky and Winter – Water Season EP

Some collaborations feel inevitable, and Water Season, the new joint EP from Hooky and Winter, is one of them. Scott Turner & Sam Silbert aka Hooky, the Philadelphia-based act known for their lo-fi, dreamy blend of shoegaze and indie rock, have built a reputation on hazy, introspective soundscapes. Meanwhile, Brazilian-American artist Winter (real name Samira Winter) has long been a torchbearer of ethereal indie pop, crafting lush, melancholic worlds where reverb-soaked guitars meet wistful melodies.

Both artists have explored the outer edges of their sound in recent years. Winter’s 2024 EP …and she’s still listening saw her dive into trip-hop and experimental electronic textures, while Hooky’s Mirage, also from 2024, was a trippy, glitchy, reverb-drenched sonic exploration that played with the boundaries between shoegaze and electronica. It makes sense, then, that these two artists would find common ground, blending their strengths into something that feels both fresh and deeply nostalgic. Water Season is the result.

Water Season spawned when Winter and Hooky met online as fans of each other’s music and soon started corresponding with ideas, the first of which was ‘horseshoe.’ After relocating from Los Angeles to New York, Winter took a trip down to Philadelphia to visit Turner and Silbert in the summer of 2024. A true friendship began and the trio spent the whole day writing songs together. Informed by Winter’s adoration for otherworldly dreamscapes and Hooky’s digital edge within the Philadelphia shoegaze scene, Winter and Hooky quickly realised their sounds fit like a puzzle. They coalesced their love for lo-fi, indie, and electronica to pair beautiful melodies with experimentation, sampling and guitar. What resulted was a sonic snapshot of the intersection of time and feeling; the bittersweet and fleeting sensation of the end of summer fading into fall.

Let’s dive in and see what the EP has in store for us.

The EP opens with ‘horseshoe’, a track that immediately establishes their sonic chemistry. A delicate electronic pulse flickers beneath shimmering guitars, while Winter’s breathy, melancholic vocals wash over the mix like sunlight through shifting clouds. There’s something hypnotic about the way the song unfolds, evoking the feeling of flipping through old photographs and recalling emotions that linger just out of reach. I gave this track a spin on my February DKFM radio show I loved it that much!

Next up is ‘in your pocket’, a track that leans into lo-fi beats and hazy melodies, leaning into that bedroom pop sound with glitchy electronica. Hooky’s knack for layering textures is on full display here, with softly distorted guitars melting into electronic flourishes, creating a dreamlike haze. It feels weightless, perfect for late-night sundown listening.

The third track, ‘lost tears’, is where the EP takes a more melancholic turn. Built around a hypnotic guitar loop and distant, echoing percussion, it carries a wistful energy, as if the song itself is slipping through the cracks of time. There’s an understated beauty to it, a reminder that some of the most powerful emotions exist in the spaces between words.

Closing the EP is ‘i like you’, an intimate, stripped-down rework of ‘horseshoe’ into a song that feels like the sonic equivalent of a secret confession. The track’s gentle acoustic guitar and fragile vocal delivery create a sense of warmth, vulnerability, and quiet longing. It’s a perfect way to end the record—soft, poignant, and lingering like a memory that refuses to fade.

What makes Water Season special isn’t just the strength of its individual songs but the way it captures a specific, almost intangible feeling. It’s the sound of the end of summer fading into autumn, of golden-hour nostalgia giving way to the crisp uncertainty of change. There’s an intimacy to these tracks that makes them feel like shared secrets, whispered between two artists who understand each other’s sensibilities on a deep level.

The beauty of this collaboration lies in the seamless way Hooky and Winter complement each other. Hooky’s hazy, lo-fi textures provide the perfect backdrop for Winter’s celestial vocals, while her dreamlike songwriting elevates the project beyond simple nostalgia. Together, they’ve created an EP that feels weightless yet deeply affecting. A faded musical Polaroid that still manages to evoke an entire universe of emotions.

The Water Season EP is out via Julia’s War Recordings on Valentines Day February 14th 2025. You can stream in all the usual places and download from the Hooky and Winter Bandcamp Page.

You can follow Hooky on social media here…

You can follow Winter on social media here…

Soft Leg – Nor

It’s only the start of 2025 and already I think I’ve found a nominee for EP of the year. Bold claim I know but if you love your shoegaze like I do you’re going to want to keep reading. Soft Leg are a new shoegaze band based out of Stockholm, Sweden.

They formed during the pandemic and feature Anton Brolin (Vocals and guitar), Hannes Ek (Guitar), Kristoffer Byström (Bass) and Max Anderhell (Drums). The members have previously played in bands such as screamo favourites Trachimbrod and Magic Potion. That’s about the limit of info we have on this mysterious outfit other than they cite influences ranging from My Bloody Valentine and Slowdive to Sonic Youth and Dinosaur Jr.

I asked Hannes from the band what attracted them to record a shoegaze ep in the first place and what we can expect to hear on the EP.

“All of us have been fans of shoegaze music since our teenage years. Bands like my bloody valentine, Slowdive and Ride were all part of our musical schooling. Over the years we have been playing different styles of music but never found an outlet for our shoegazing dreams. This was the purpose behind starting the band Soft Leg and recording our first EP Nor. Just like a shoegaze recording should be, it has been a long and creative journey.”

“Listeners should expect to recognize many of the shoegaze heroes from the 90s when they listen to the EP. The guitar wall is definitely there and also the lush vocals. Nevertheless, we hope to bring something new to the table since we have been influenced by all sorts of music ranging from punk to jazz.”

Ok, it’s time to drop the needle and hear for ourselves.

The EP opens with ‘Small Talk’ and it sets the tone perfectly with its classic gaze riff and dreamy breathy vocals. This is a band who’ve done their homework on the genre. The fuzzed-out guitar plays nicely against that hollowed out bass sound and more indie sounding drums. That walking bass motif over the chorus section is sublime and leads us nicely back into that hooky riff. Straight off you can tell you’re in safe hands. This band know exactly what they’re doing.

With ‘Like You Blend’, the EP shifts into darker, more textured territory. This track is a slow burn, anchored by a bassline that snakes through the mix with understated menace. The guitars spiral and shimmer, conjuring a hazy atmosphere that’s equal parts shoegaze swirl and post-punk bite. The refrain—both melodic and slightly dissonant—hits like a wave of quiet catharsis, a perfect encapsulation of Soft Leg’s ability to layer beauty with a sense of unease. It’s easy to see why they picked this as their lead single.

The third track, ‘Ty’, is all about forward momentum. It’s pacey and nimble and is full of cool little dynamic false stops and ratatat drum intros. This is about as close to an out and out rock song you’ll get from Soft Leg. There’s shades of Gish era Pumpkins in the guitar riffs and that only endears this band to me even more (if that’s even possible at this stage). This is a driving song and is going to kick massively in a live setting! Watch the mosh pit ignite.

Closing things out, the title track, ‘Nor’, is a swirling, slow-building epic and my stand out track. The band leans heavily into their shoegaze tendencies here, letting the guitars take on a thicker, more enveloping presence. Make no mistake this is some of the most beautiful music I’ve heard in a while. It’s the kind of track that feels tailor-made for late-night listens, its hypnotic repetition pulling you deeper into its spell. The vocals drift like smoke through the instrumental haze, quietly asserting themselves but never overshadowing the weight of the music itself. It’s a perfect closer, leaving the EP suspended in midair rather than tied up in a neat bow.

With the Nor EP, Soft Leg crafts a world that’s soft yet sharp, delicate yet unrelentingly honest. There’s a beauty in the imperfections of these tracks, the moments where things feel unscripted and alive. The EP doesn’t shout for your attention—it simply draws you in with an understated confidence and refuses to let go. Every few years a band recaptures that beauty of the early 90’s sound of bands like My Bloody Valentine as well as ethereal haze of the 4AD roster of the day. It’s rare that anyone adds anything new to the party but Soft Leg most definitely do. This old gazer was left smiling ear to ear after listening to this EP and I know you will too.

The Nor EP is out on February 14th, 2025 and will be available on all digital platforms, as well as an incredibly limited-edition vinyl release on Through Love Records. Do not sleep on this one it will sell out in no time.

You can follow Soft Leg on social media here…

AIMING – The Legend EP

It’s been an exciting start to the year for the Blackjack Illuminist label. Key releases have been widely lauded. Not least the debut single from AIMING which you might remember I reviewed at the start of January. Well now the wait is finally over—AIMING’s debut EP, The Legend, has arrived. Following the buzz surrounding their single ‘Brainiac’, released earlier this month, the York-based trio of David, Jordan, and Laurie has delivered a stunning four-track collection that cements their status as one of the most exciting new acts on the shoegaze and post-punk scene.

Let’s dive into each track and unpack what makes this debut such a cracker.

If you’ve been spinning ‘Brainiac’ since its release, you’ll already know how captivating this opener is. The combination of wall-of-sound guitars, lo-fi synths, and harmony-laden vocals immediately sets the tone for the EP. The lyrical themes of small-town anxiety and yearning for escape resonate deeply, while the lush instrumentation creates an irresistible pull. It’s no surprise that this track was chosen as the lead single; it encapsulates everything AIMING excels at and leaves you eager for more.

The title track takes things to a more expansive and atmospheric level. Building slowly from a shimmering guitar line, the song unfolds into a swirling haze of sound, punctuated by haunting vocal harmonies. The track’s structure feels almost cinematic, with dynamic shifts that ebb and flow like waves, pulling the listener deeper into its lush, immersive world. It’s a masterclass in creating mood and tension, and it solidifies AIMING’s ability to craft intricate, layered compositions.

‘At Sea’ is the emotional core of the EP, offering a moment of introspection and vulnerability. The track begins with delicate, reverb-soaked guitars that evoke a sense of solitude and longing. As the song progresses, subtle synth textures and a pulsing bassline emerge, adding depth without overpowering the intimate atmosphere. The lyrics speak to themes of uncertainty and self-discovery, making it a deeply resonant piece that lingers long after it end

Closing the EP, ‘Docile’ brings a burst of energy while maintaining the dreamlike quality that runs throughout The Legend. The interplay between the driving rhythm section and ethereal guitars creates a sense of urgency, while the layered vocals add an almost choral feel. The track feels like a triumphant conclusion, balancing the introspection of earlier songs with a forward momentum that hints at the band’s bright future. By the time it fades out, you’re left wanting to hit repeat and experience the journey all over again.

The Legend showcases AIMING’s ability to blend dreamy textures with driving energy, creating a soundscape that feels both expansive and intimate. Recorded, produced, and mixed by the band in David’s home studio in York, the EP offers a cohesive sonic journey that’s as immersive as it is emotionally resonant.

With The Legend, AIMING has crafted a debut EP that’s as ambitious as it is cohesive. The band’s influences are clear—shoegaze giants like Slowdive and post-punk legends like The Cure—but they’ve managed to carve out a sound that’s distinctly their own. The interplay of driving basslines, ethereal guitars, and rich harmonies creates a listening experience that’s both immediate and endlessly rewarding.

If you’re a fan of atmospheric, genre-blurring music, The Legend is an essential listen. AIMING has set the bar incredibly high for what’s to come, and I can’t wait to see where they go next.

The Legend EP is out on Friday 7th February on vinyl, CD, cassette and download via the Blackjack Illuminist Bandcamp page and the AIMING Bandcamp page.

You can follow AIMING on social media here…

TREMOURS – Fragments

After wowing us with their Affectations EP and follow up single, ‘Dark Glasses’ Lauren Andino and Glenn Fryatt return with their latest release. Fragments is the much-anticipated debut album from Los Angeles based shoegaze dream pop duo, TREMOURS. Having spent the previous couple of years touring extensively across the US and Europe, TREMOURS’ debut studio album aims to recreate the energy and intensity of their live shows.

TREMOURS formed in Los Angeles in 2021. Late night jam sessions in the midst of lockdown uncertainty slowly transformed into TREMOURS creative partnership, driven by the tension between Andino’s hazy, drifting guitars and Fryatt’s urgent, pulsating drums. I’ve been totally hooked on this bands sound since hearing the initial ‘Downtown Demos’ release and it’s been so exciting seeing the bands sound slowly evolve and take shape.

I reached out to Andino to find out what we can expect from Fragments and what the overall theme of the album is.

“Fragments is our debut record, containing the first songs we ever wrote together. About half of it was written during Covid lockdown where we would spend many late nights in the rehearsal studio starring out across the Los Angeles River.”

“The overall theme of loneliness is present throughout the record, but I wouldn’t trade that feeling of looking out over the city, knowing there’s nothing else, and you’re in the right place doing exactly what you’re meant to be.“

Now that sounds intriguing, let’s drop the needle and find out for ourselves.

The album opens on ‘The Ribbon’, a low pace intro with undulating Moog and Andino’s signature rich, chiming guitar tone. Fryatt plays this one cool with sparse percussion to start. The song really opens up in the chorus sections with soaring lead guitar over guttural fuzzed out chords. This allows Fryatt to bring in more of his kit to really make an impact.

Next up we have ‘Postcards’ which was written and recorded in collaboration with label mate Peter Holmström (The Dandy Warhols, Pete International Airport) and features electronic artist Mark van Hoen (The Locust). This one is a more potent brew with Andino’s mantra like vocals shrouded in swathes of psychedelic electronica. Fryatt has real fun here, always busy, always on it and supplying the song with some quite glorious fills and flourishes.

‘Tracers’ is a lighter almost poppier song. The lift in tone from the moody verses to jubilant choruses is exquisite. Andino is definitely channelling her inner Robert Smith for those lead parts. Maintaining that sombre mood whilst somehow simultaneously sending our spirits soaring. It’s that apparent contradiction which first drew me to the band. It’s so good to hear its here on their debut album.

The pulsing Moog polyrhythms of ‘Port Children’ are next. Quite different in texture to the previous tracks with its more muted tones. Leaning into the psychedelic scene with its raga drones and cyclical vocal pattern. The explosive coda elevates this song to another level and, given we are only four songs in, sets our expectations even higher for the remaining tracks.

‘Dark Glasses’ really amps up the drama with Andino’s ghostly vocal drifting over an ominous guitar line. Fryatt’s drumming both sympathetic to the guitar and full of character in its own right. This is only amplified by the psychedelic Moog that brings the whole song together. It’s the secret sauce to this recipe. The swirling, pulsating textures send this song soaring.

We step the pace back a bit on ‘Landing in Rome’. Fryatt really shows his mettle on this one. The sheer variety of rhythms and patterns he pulls out the bag is astonishing. Its this albums equivalent of a ballad. Andino sits back a bit allowing plenty of room for the drums to shine through.

The second track to have been written with label mate Peter Holmström is up next and it’s the recent single ‘Circulation Sound’. This is the band at their most potently dreamy. The ambience is other worldly and eerie. The slow build to the electronica section at the end is so satisfying, each wail of feedback making us think its coming then maybe next time, very clever!!

Following this we have a reinterpretation of Daniel Johnstons ‘Devil Town’. TREMOURS’ rendition infuses the track with that signature shoegaze aesthetic, blending Andino’s lush vocals and reverb-drenched guitars to create a dreamy, immersive atmosphere. I think this approach really offers a fresh perspective on the song whilst maintaining the introspective essence of the original.

‘Burn’ coms in next all urgency and vibrant energy. This song is positively luminous, radiant with the joy of two people so locked in to their instruments and what the other is doing. The subtle reverb-soaked guitar washes are a lovely touch in the gaps. Fryatt keeps the rhythm section busy and moving along nicely yet stepping back where Andino’s guitar need space to breathe.

The album comes to a close all too soon with the farewell hug that is ‘Stay Strange’. The first thing that strikes me is the spacious production. Its almost like they’ve shrugged off that claustrophobia and stepped out into the sunshine. The Moog riffs even sound jauntier (for want of a better word). TREMOURS are leaving us with a smile on our faces.

Listening to TREMOURS is like stepping into a dream where sound bends, warps, and dissolves into waves of shimmering distortion. Their music envelops you in a dense, immersive haze of reverb-drenched guitars, spectral vocals, and pulsating rhythms that seem to hover between reality and the subconscious. Fragments DNA is deeply rooted in shoegaze and post-punk, but it also carries a cinematic, otherworldly quality—like drifting through a neon-lit city at dusk or watching old Super 8 footage of a place you’ve never been but somehow remember. The interplay between Andino’s airy, wistful vocals and Fryatt’s driving, hypnotic drumming creates a contrast that feels both intimate and expansive.

For me their music isn’t just about listening; it’s about feeling. It’s the pulse of memory, the static between radio stations, the slow dissolve of a photograph left too long in the sun. Fans of Slowdive, My Bloody Valentine, The Jesus and Mary Chain, and Cocteau Twins will find familiar elements, sure, but TREMOURS craft something uniquely their own—a sound that lingers long after the final note fades.

Fragments is a fever dream of sound and texture, blending dark introspection with moments of euphoric clarity. Whether you’re landing in Rome wearing dark glasses or sending postcards from a devil town, TREMOURS offer a listening experience that is transportive, hypnotic, and deeply affecting. Stay strange people!

Fragments is out on February 7th 2025 via Little Cloud Records. The album is available on green cloud coloured vinyl which you can check out on the TREMOURS Bandcamp page.

You can follow TREMOURS on social media here…

Tour News

TREMOURS have recently signed with Annibale Bookings for EU/UK representation, with a European tour with The Veldt scheduled for June 2025.

They will also be playing the Space Agency Showcase at SXSW along with several other dates across the southwest in March 2025.