The Big Indie Playlist: Curated by Getner
As the relentless pendulum of time marches us into yet another week, the time has come to bask both in the blistering summer sunshine and all the incredible new music that continues to be ushered onto the airwaves every week. Fear not, for all of the highlights from this week’s releases can be found here, in the Big Indie Playlist.
Musicians across the sonic landscape have clearly taken advantage of the rays of sunshine streaking through their windows, unleashing a tidal wave of light and breezy singles braying to become anthems of the summer months, and setting themselves up for the festival season, which is rapidly approaching.
The Coral, for instance, surprised audiences with a new album this week, on which they exemplify their debt to old-school Trojan ska rhythms, almost tailor-made for outdoor listening.
Meanwhile, more abrasive efforts arrive from the punk realm, keen not to abandon the sweat-box underground venues which it calls home. High-adrenaline efforts from the likes of The Broom, Sweeping Promises, and Panic Shack act as an antidote to the more tranquil efforts of the past seven days, planting a foot firmly on the accelerator.
One of the most exciting releases of the week arrives from Manchester’s Getner, who have embraced the spirit of musical discovery by curating an extensive list of their current listening habits, stretching from the dance-punk abrasion of Chalk to the Irish trad folk of The Wran – their own single ‘Motorman’ existing somewhere in the middle of that Venn diagram.
As always, in spite of the playlist’s indie leaning, all genres, sounds, and nationalities are considered within the umbrella of The Big Indie Playlist, so whether you’re after some Colombian cumbia or Portland post-punk, tune in, drop out, and bask in the musical excellence of the past seven days.
Must-hear: Curated by Getner:
The Scratch – ‘Gladrags’: “Having seen them play in Manchester’s Academy and Derry, it’s nice to hear the metal taking the wheel again in the Scratch wagon. Tapping into the trad/folk stuff was such a smart move on their part. They’ve surfed the ‘Irishness’ wave into the limelight, got a class and original sound and an organic fanbase to boot, then hit them with the sound they always wanted deep down. They’ve shrugged off the Mary Wallopers diddle-diddey for Mastodon chuggery”.
The Wran – ‘Fear Dearg’: “The Wran go a little further down the trad route than The Scratch, but maintain a jagged edge to them. Caught the Wran supporting the Scratch at the same Manchester gig. ‘Fear Dearg’ is a beautiful, atmospheric instrumental and would transport you straight to the Comeragh Mountains of the Wran’s native County Waterford. It’s got quite a tense intro, but it builds nicely into that thumping rhythmic section. This tune is definitely an amazing addition to their live set, solidified by seeing them support The Scratch earlier this year”.
Shaking Hand – ‘Cable Ties’: “I’m a big fan of music that feels like it travels in movements rather than conventional sections; there’s a symphonic quality to it that I’ve always loved. All the metric shifts and harmonic stuff that’s on this also contribute to that feeling. Even though Shaking Hand’s aesthetic seems to be solid black and white throughout, there’s a lot of colour in their music. Cable ties is an epic eight-minute sprawling landscape of sound which makes for a lovely closer to the self-titled album”.
Holly Head – ‘No Country is an Island’: “Holly Head are very much a band who are on the right side of history and a sound bunch of lads. Whether it’s showing their open support for social activism or writing about the perilous topics that surround UK politics at this moment. ‘No Country is an Island’ is a great example of this, as well as a masterclass in how a wall of guitars and a banging rhythm section can paint the canvas of a tune.
“It’s a response to anti-immigration riots and the hypocrisy that surrounds them, as well as the feelings towards the refugee crisis. We had the pleasure of sharing the stage with Holly Head at the Deaf Institute with Fifth Floor alongside other Manchester heavyweights Pyncher, DeafDeafDeaf, Haus Points and the one and only Tim Burgess of the Charlatans. We also represent Manchester label Akoustik Anarkhy with the lads”.
Gurriers – ‘Dipping Out’: “This captures Gurriers melodic and heavy sound together and shows the best of both worlds, seeing them in Belfast in December, this tune sent the already frenzied crowd into madness. This energy is what we love as a band and strive for in a live show; it’s great to see a band do it so masterfully. Great to see an Irish band that’s so ‘do it yourself’ doing so well. We would love to support them someday”.
Formal Sppeedwear – ‘Hit and Run: “A group we are very excited about, especially after catching their Alternative Escape set at A L P H A B E T in Brighton. Quentin and Charlie, the jammy sods, managed to blag side stage for it, and I’m not sure if I’ll forgive them. Expect infectious rhythm, off-kilter and catchy vocals and a mad soundscape driven by some exquisite bass playing”.
Scustin – ‘Dodgy Box Pyramid Scheme’: “We had the esteemed pleasure of supporting these legends earlier in the year in the Rat & Pigeon, Manchester, during their UK tour. They employ probably the best crowd work that we’ve ever seen, and they’re all incredible musicians; blink, and you might miss two Matt Dams on stage with them. Taken off the ‘Lock-in’ EP, Scustin fuse absolute craic with real life dilemmas, i.e. whether or not to pay your TV license and compose ballads around your favourite pub snacks.
Chalk – ‘Can’t Feel It’: “Energy, Energy, Energy. Fellow North of Ireland natives Chalk, who we first saw at Brudenell in Leeds last year and again last month. We could have picked pretty much anything off this album, it is so well put together, cinematic and high octane just like their live shows. Get on Chalk”.
The best new music of the week:
Getner – ‘Motorman’: Of course, we have to start proceedings with Getner, not only because the band were kind enough to share their musical opinions with us, but also because ‘Motorman’ is among the finest releases of this past week. A commanding punk stormer drawing upon Irish history and the troubles, the debut single certainly singles out the Manchester outfit as ones to keep an eye on, particularly if they’re set to bring their tour of sweat-soaked rock and roll energy to your town. [4/5]
The Coral – ‘Let The Music Play’: Everybody loves a surprise, and even though that sentiment is entirely false, the surprise release of a new record by Merseyside indie veterans The Coral was certainly a welcome one. Forming the opening track of that record, the aptly-titled ‘Let The Music Play’ evokes the sounds of old-school Trojan ska and reggae, celebrating the sun-soaked rhythms that The Coral have long since owed a debt. [4/5]
A Certain Ratio – ‘Naked And White (FM)’: A band that has never stopped evolving from their post-punk heyday, Mancunian cult heroes ACR connect with some electronic, jazz-funk influences on this newly unveiled single, via Mute Records. With its unpinnable, border-defying sound, the group ushered in yet another era for the band, perfectly exemplifying their enduring appeal. [4.5/5]
Sweeping Promises – ‘Shooting Shadows’: Raw, DIY Kansan punk, the first single to be taken from Sweeping Promises’ newly-announced, Sub Pop-supported LP You Say I Romanticize reaffirms the band’s position among the most exciting up-and-coming outfits on the American alternative scene – just try not to headbang along to that bassline, I defy you. [3.5/5]
Liquid Images – ‘Go Daisy Go’: Quality Time Records set the mood for the summer with this endlessly replayable slacker garage rock single from Cleveland duo Liquid Images. Recorded in the indie haven of New York City, with Marty Brass using Dee Dee Ramone’s bass, the song is steeped in garage fuzz and post-punk moodiness; what is there not to like? [4.5/5]
The Broom – ‘The Farm’: Technically, this high-energy shot of garage punk adrenaline was actually released in the middle of last week, but since we missed it on last week’s playlist (our sincerest apologies), it is worth mentioning here. After all, we wouldn’t wish to deprive you of the mosh pit mastery of the Leipzig outfit. [3.5/5]
Exclusive Os Cabides – ‘Gaita em Formato de Trem’: Indie rock summer is in full swing, and Brazilian outfit Exclusive Os Cabides are keen to contribute on their upbeat new EP Feliz e triste ao mesmo tempo [Happy and sad at the same time], of which this song, written by Antônio dos Anjos, certainly falls on the happier side. [4/5]
Marisa Anderson – ‘Sarvi Simin’: On her latest record, The Anthology of UnAmerican Folk Music, Portland’s Marisa Anderson explores traditional folk sounds from across the globe, and this duet sees her reinterpret an instrumental effort from a Soviet-era folk song, alongside the violin stylings of Gisela Rodríguez Fernández, who compliments Anderson’s intensifying acoustic guitar beautifully. [4/5]
Panic Shack – ‘grin & bear it’: Cardiff’s premier punk outfit follow on from last year’s self-titled LP with this confrontational, socially-conscious effort that is distinctly less bubblegum than their earlier efforts, without losing any of the energetic spirit or spontaneity. It’s a single that will undoubtedly suit summer festivals equally as well as the small, sweaty rooms where Panic Shack’s unique brand of punk rock aggression tends to thrive. [3.5/5]
Static Caravan – ‘Meatbag’: On the grand finale of their new EP, Absorb Everything!, Leeds’ experimental rockers Static Caravan exemplify their combination of dreamy, serene bedroom rock with a distinctly more off-beat manifesto, spurred on by the production of drummer and musical experimenter Thomas Carroll on this effort. [3.5/5]
Kyle Morgan – ‘The Push’: Light and breezy indie folk seems to suit this week particularly well, which is perhaps why the opening song on Kyle Morgan’s Ghost of a Problem has been such a persistent earworm. Setting the tone for the alt-country and indie folk efforts that follow on that LP, ‘The Push’ introduces Morgan’s timeless songwriting style with expected grace. [3/5]
Joudy – ‘Three Dollar Bill’: Drop-tuned basslines and an endearingly moody atmosphere help the new single from Venezuela-formed, New York-based outfit Joudy stand out among the more relaxed, sunny summer anthems released this week. Even in the heat, after all, you need to have a little darkness, and Joudy are as good a source for that dark, distorted rock shelter as anybody. [3/5]
Off The Beaten Track: Left-field sounds:
Fatoumata Diawara – ‘Sigui’: Continuing on in her quest to bring traditional Malian rhythms to mass audiences, Fatoumata Diawara unleashes another incredible single from her upcoming record MASSA, due out next month, this time centring around the theme of polygamous families in her native home, and the conflict that arises from that environment. [4.5/5]
Ana Lua Caiano – ‘Uma Vida A Menos’: Experimental electronica combines with traditional Portuguese folk music on this driving new single from the Lisbon-based composer Ana Lua Caiano, creating an enchanting new sound that, despite its widespread appeal, seems to transcend time, nationality, and genre itself. You might not be able to pigeonhole Caiano, but you would also struggle to get sick of her ever-changing output. [4/5]
Yeison Landero – ‘Santa Lucia’: Brooklyn’s Names You Can Trust label continues to cement itself as a premier source for Latin rhythms and cumbia masterpieces, in this case drafting in bona fide cumbia legend Yeison Landero for a seven-inch single bursting with the infectious rhythms of Landero’s Afro-Cuban accordion. [4/5]
Ibrahim Maalouf – ‘Chasing The Sun’: A jazz cacophony supported by Richard Galliano on accordion and Las Migas injecting some flamenco dance rhythms into proceedings, ‘Chasing The Sun’ is the latest effort by French-Lebanese trumpeter Ibrahim Maalouf, and it certainly succeeds in painting his upcoming album Trumpets Of Michel-Ange Vol. 2 as a sprawling, collaborative explosion of jazz expression. [3.5/5]
Sofia Rubina – ‘Truth About Love’: The cinematic atmosphere created on this LRK-released single suits the soulful vocals of Sofia Rubina effortlessly, harking back to the golden age of lush, romanticised soul from the turn of the 1970s while retaining just enough modern influences to prevent the single from feeling remotely derivative. [4/5]
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