Psych

New album: The Higher State || Internecine Free

Classic psychedelia meets contemporary critique

British garage psych outfit The Higher State are back with their new (sixth) full-length Internecine Free, following up 2016’s successful Volume 27 LP (which was actually their fifth studio album). The current line-up – Marty Ratcliffe, Paul Messis, Huw Walters, Ali Norton and Gijs de Jong – are single-handedly rebuilding the sound of the ’60s, and they’re doing it well. In twelve original, fuzz-laden songs they tick all the boxes, from jangly guitars and mood-enhancing harmonica to weathered vocals, on-target drums and yearning Farfisa melodies. Danceable and intoxicating.



Internecine Free, produced & engineered by Marty Ratcliffe, is out now digitally and on vinyl LP 13 O’ Clock Records.

Add to wantlist: Bandcamp

New album: The Smashing Times || Mrs Ladyships and the Cleanerhouse Boys

The Smashing Times walk a tightrope between pop and eccentric on latest album

On their 2023 album This Sporting Life, The Smashing Times gave their loyal fanbase the pop hits they crave, leaning into their accessible side and letting catchy melodies take center stage over their more experimental tendencies. But just because this Baltimore-based band can write some of the best underground hits doesn’t mean they always will. With Mrs Ladyships and the Cleanerhouse Boys, The Smashing Times let their weirder side loose, creating an album that feels like a delightful plunge into the quirky and unexpected.

That said, Mrs Ladyships and the Cleanerhouse Boys still has its share of irresistible tracks. The jangly title song is a standout, Ruper Tingle, Button Thief showcase a playful, offbeat energy. Meanwhile, I Paint The Picture rocks out with a grittier edge, and Tarts and Vicars keeps things driving forward with a steady, pulsing rhythm.

It’s not an album that everyone will instantly connect with, but for fans of underground pop who appreciate a healthy dose of eccentricity, this LP has all the makings of a new musical obsession. Mrs Ladyships and the Cleanerhouse Boys shows The Smashing Times pushing boundaries while staying true to their unmistakable sound. It is out now on K and Perennial Records


Add to wantlist: Bandcamp || Discogs

New album: The Bonnie Nettles || First In / First Out

A Madchester vibe from Athens

The Bonnie Nettles are an Athens, Greece-based indie rock band that excels in psychedelic pop, featuring Anestis Nine (guitar), Sarados Papadimitriou (guitar), Dennis Lounges (vocals, percussion), John Damianos (bass), Constantine Rammos (keys), John Patsis (drums) and Vangelis Falliera Karabelas (tambourine). Their sophomore full-length First In / First Out is characterized by a ‘Madchester’ vibe, with confident vocals and mesmerizing guitars over a danceable groove that has a hypnotic effect. The eight songs here are peppered with guitar and synth bursts, making this colorful journey even more celestial.



First In / First Out, recorded by John Damianos, is out now digitally and on vinyl LP (self-released). Also featuring Foivos Anthis (bongos).

Add to wantlist: Bandcamp

New album: The Eggmen Whoooooo! || Fuzzy Eggs, Please

Whoooooo!

There are a few things you should know about The Eggmen Whoooooo!. They are a kind of supergroup from Wales, with members from outfits like El Goodo, Los Blancos and Trecco Beis. You pronounce the ‘Whoooooo” part of the band name the way over-enthusiastic presenters do in their on stage announcements. And the sound of Benedict Frye (vocals, guitar), Thom Lett (guitar, backing vocals), Gwyn Ŵy (guitar), Shelldon Advocaat (bass, synthesizer, backing vocals), Sue Flay (keyboards, percussion) and Gregg Boyle (drums) is a mix of genre-crossing 60s-inspired garage psych, noisy indie rock, spaghetti western music and infectious surf pop. That’s promising, right?

The ten lo-fi songs on their debut full-length album, wittily titled Fuzzy Eggs, Please, radiate an energy and spontaneity that suggests they were recorded live. Occasionally the pace is slowed down to catch our breath (most notable in the 7 melancholic minutes of The Old Man Knows Best), but most of the time we can dance (with It’s Just Your Mind, Rwy’n Dy Garu Di and So Long (Bye Bye Baby) standing out). Above all, this record is as catchy as can be, full of hooks and of course with a lot of ‘Whoooooo!’s and similar primal screams—fun to the max.



Fuzzy Eggs, Please, produced by Thighpaulsandra, is out now digitally, on CD and vinyl LP, through Strangetown Records.

Add to wantlist: Bandcamp || Discogs

New compilation: Various Artists || Palestine Solidarity Compilation Vol. 2

A wild sequel to Mama Goblin’s solidarity comp see the world of underground music rally for Palestine again

The underground music world continues to unite in offering support for the Palestinian people. After Paperface Zine’s Action Now! compilation and Mama Goblin’s first Palestine Solidarity Compilation earlier this year, we now have an incredible sequel—an even wilder, more diverse collection of underground talent.

This time, the lineup features ATW favorites like Uranium Club, Heather The Jerk, Sich Thoughts, The Scaners, Split System, Spread Joy, Citric Dummies, and Plexi Stad. But the compilation also offers a treasure trove of new bands to discover. Expect live tracks, demos, and mind-bending covers, like one of Crazy Frog’s version of the Axel F theme song. All songs are previously unreleased, adding to the uniqueness of this project.

To grab a digital copy, just donate to one of the Palestinian relief funds (UNRWA, PCRF, PRCS, ANERA, MAP, PYM) and email your proof of donation to get a download code. Full details and the Bandcamp link can be found below. Tapes will also be available, thanks to a collaboration between Swimming Faith (US), Painters Tapes (US), Dirty Slap Records (FR), Noise Merchant Records (UK), Grog Records (AU), and Iron Crotch (CH).



Add to wantlist: Bandcamp

New album: Vacaciones Permanentes || Vacaciones Permanentes

A cinematic journey through dark, seductive sounds

Vacaciones Permanentes is the indie project of Iván Andrés Vallente from Salamanca, Spain. This self-titled debut album combines rocking guitars with drum machines and synthesizers, with the aim of capturing the spirit of those who wander aimlessly in a world that doesn’t understand them. The atmosphere is cinematic and ominous, wild and dark, but also exciting and danceable. The Spanish-language lyrics reinforce that feeling, such as in Tu Warhol (translated): “I’m the idiot who could have been your Warhol // I’m the idiot who could have been your Warhol // Convince yourself that you hate me // It’s easier than being a friend // Shoot me I must be shot.” It’s a hypnotic journey that seems to be inspired by the night life, but also created for that period when others sleep.



The self-titled Vacaciones Permanentes album, produced by José María Rosillo, is out now digitally, on CD and vinyl LP, through Everlasting Records.

Add to wantlist: Bandcamp

New album: PYPY || Sacred Times

Melody, menace, and mayhem

Ten years after their Pagan Day LP, Canadian four-piece PYPY return with a new full-length album called Sacred Times. We’re talking about band founder/multi-instrumentalist/singer Annie-Claude Deschênes, with Roy Vucino (guitar, vocals), Philippe Clement (bass) and Simon Besré (drums), who have a unique sound that surprisingly blends guitar-driven garage psych, electronic indie rock and noisy punk-funk, held together by a mean danceable groove and distinctive howling vocals. This is a wild and crazy ride, but also an intriguing and thrilling one, colorful and cool.




Sacred Times is out now digitally and on vinyl LP through Goner Records.

Add to wantlist: Bandcamp || Discogs || Goner

Festival report || Left of the Dial 2024

Rotterdam showcase festival is a cool exploration of indie acts to keep an eye on

A modern but raw metropolis (the center of Rotterdam), 130+ emerging indie acts (most of them performing at least twice), 20+ stages (including churches, a lightship, a theater, an exhibition space, an arcade hall, and a salsa club), and a nod to The Replacements (“And if I don’t see ya, in a long, long while // I’ll try to find you // Left of the dial”)—all the ingredients are there for a great showcase festival. The programmers of Left of the Dial deserve all the praise for this year’s lineup, which caused us quite a bit of choice stress (hard to decide what to see when and where, also given the distances between the locations and the somewhat larger crowds than last year) and made us humble (we might think we are on top of new releases, but apparently there’s a whole world of awesome artists we are unaware of).

Although it was impossible to see everything last three days (the platitude that you miss more than you experience is absolutely true), and there were a few misses (or a matter of different taste) we won’t mention, these were the 18 highlights for the Add To Wantlist crew—in order of appearance, and with a song embedded to give you an idea of ​​the sound of the act in question.

Samuel Nicholson (UK) @ Waalse Kerk (Oct 17)
Bluntly oversimplified on the festival poster as “moving indie rock songs dancing from electrifying guitar solos to naked vulnerability” || The festival weekend couldn’t have started any better. The Scottish bard and his band played a strong set of songs, partly taken from last year’s Birthday Suit LP (overlooked at the time, now a no-doubt purchase in the ‘gezellige’ merchandise market). With impressive vocals and a bewitching performance, the frontman attracted all the attention like a magnet, in a more than captivating show that became even more eloquent in the atmospheric surroundings.

Wild Pink (US) @ Roodkapje – Front (Oct 17)
“Warm and reflective indie rock” || Wild Pink’s performance, hot on the heels of the release of their new album Dulling The Horns (out on Fire Talk), was a slow-burn revelation. Their alt-country-infused sound had just the right balance of loud yet intimate, with songs that felt like stories you could lose yourself in. And then, just as you were deep in the set, they slipped in a cover of Cher’s If I Could Turn Back Time that had everyone wondering if they really just did that. It was a charming twist to a deeply engaging set.

Lone Wolf (NL) @ Salsability (Oct 17)
“Rotterdam’s very own hidden punk rock gem” || Performing in a salsa club in their hometown might’ve been an unusual setting, but Lone Wolf stayed true to themselves. It’s impressive how Holland’s top indie punk band continues to improve, both in the studio and on stage. The dual vocals are a standout feature, but the palpable chemistry between the four members takes their live shows to another level. The energy they bring to the stage is as contagious as their anthemic songs (read our review of their 2023 Haze Wave LP, out on Stardumb Records). They closed out their set with a cover of Nirvana’s Breed, which was a true crowd pleaser.

Pamphlets (US) @ De Doelen Studio 1 (Oct 17)
“Solid melodies, on-point vocals and noisy jangle-y jagged-y riffs” || The post-punk band from Brooklyn, New York had wanted to play this festival for a few years, they said during their fascinating performance. Their debut album Take Your Place, released earlier this year, featured the track Rotterdam Verticals, and now that they were there, they thoroughly enjoyed it. With a New York-cool vibe and a driving rhythm section, they got the audience dancing.

Foyer Red (US) @ Roodkapje Expo (Oct 17)
“‘Sweet yet abrasive songs that careen into delightfully unexpected places’” || Having flown in just this morning for their first European tour, Foyer Red had a bit of a shaky start, with the sound tech struggling to get things right early on. But once the issues were ironed out, the band found their footing and confidence grew with each song. Their quirky, jazzy, twee, math pop—already captivating on their last record, Yarn the Hours Away—became an absolute joy to witness live. If the schedule allowed, we would have gladly caught their second performance at the festival.

Wax Head (UK) @ Perron – Small (Oct 17)
“A visceral gang of youth rolling around in a sweaty pit of garage-psych riffage” || When we entered halfway through their set, the Manchester noisemakers had already transformed the dark space into a seething mass with fists in the air. And faster and louder it went, led by their singing drummer, who went crowd surfing for a moment to inspect whether they had blown the low roof off yet.

Savage Mansion (UK) @ De Doelen Studio 1 (Oct 17)
“Anthemic songs and a high energy live show” || Armed with two great singers—one sporting a Replacements shirt—and new album The Shakes under their belt (out on Lost Map Records), the five-piece from Glasgow won us over with solid songs and amazing interplay. They really deserved a bigger audience.

Aerial Salad (UK) @ Salsability (Oct 18)
“Madchester punk driven forward by pure rock’n’roll swagger” || Wow. The three Mancunians unleashed a mountain of energy and sweat on the audience, with a performance that showed “what fucking rock music is about.” Their new full-length album R.O.I. (out on Venn Records) reflects that exciting live feeling quite well.

En Attendant Ana (FR) @ Roodkapje – Front (oct 18)
“Nonchalantly crafting perfect pop songs since 2014” || We were excited to finally see this Parisian indie pop band live. While their earlier work—faster and more filled with nervous energy—is more our speed, this performance gave us a new appreciation for their more recent material, as heard on last year’s Principia LP (Trouble In Mind Records). The band came across as effortlessly cool, both in their self-penned songs and in the French-language cover of Frank & Nancy Sinatra’s Somethin’ Stupid, with their high-pitched vocals and intricate instrumentation—including trumpet and sax—creating a truly enjoyable experience. They’re a band that oozes charm live.

Naive Set (NL) @ Arminius (Oct 18)
“Classic-indie artisans” || On the release day of their new album In Air Quotes (out on AT EASE), the Amsterdam band had ventured across to the rival city to introduce an eager audience to their fresh guitar pop gems. They did so somewhat uncomfortably but also endearing, with a leading role for the standing drummer/percussionist who was cooking up refined rhythms like a chef.

Oh Boland (IE) @ 160K Arcade (Oct 18)
“A reliably fun mix of garage rock and punchy power pop” || Oh Boland played in 160K, a retro video arcade named after the debt the owners accrued during the pandemic (which they’re aiming to pay off by 2027, a digital board keeps the score). With classic arcade games surrounding them, there was plenty of distraction for the audience, but the Irish trio’s ragged live energy soon had everyone hooked. It was one of those magical performances where everything just clicked. While we were already fans of their scrappy, anthemic power pop on their Western Leisure LP (released last spring on Meritorio and Safe Suburban Home), their live show was an entirely different level of fun. By the end of the set, even the most dedicated gamers in the hall were fully engaged. Definitely one of our favorite performances of the weekend.

Parsnip (AU) @ Rotown (Oct 18)
“Glorious sixties infused songs full of sunny nostalgia” || All the way from Melbourne, the characterful four-piece brought their timeless girl group sound to the stage, but their entertaining set showed they can rock pretty hard too. We heard songs from their new Behold LP (out via Anti Fade Records and Upset! The Rhythm) and a few classics, always with compelling vocal harmonies as their strongest feature.

Dog Unit (UK) @ TR8 – Ahead
“Post-rock you can dance to” || Now this was a nice surprise. Dressed in blue overalls and white sneakers, the four Londoners hypnotized us with their instrumental compositions, at times electrifying or even funky, but always cinematic and clever. It was great to witness how their full-length debut album At Home (out on Brace Yourself Records) comes to life.

Bad Bangs (AU) @ 160K Dancehall (Oct 19)
“Exceptionally refreshing garage rock” || The Melbourne quartet closed their tour here, not only by throwing leftover merchandise—g-strings emblazoned with the band’s name—into the venue, but more so with danceable rock’n’roll songs that excelled in dual female vocals that were as passionate as powerful—so vivid that I couldn’t manage to take a decent photo. Exciting guitar duels and a grooving rhythm section topped it off. Check out their sophomore album Out Of Character (Blossom Rot Records) if you want to hear more.

DoFlame (CA) @ Perron – Big (Oct 19
“Canadian hardcore incorporating aspects of old-school hip-hop” || The right band in the right place. The Canadian formation released their debut album BENT last week (through Blue Grape Music), radical songs that they here poured out over the large numbers of jumping attendees. Full of energy and charisma, growling and gritty, rousing and loud.

Lou Terry (UK) @ Paradijskerk (Oct 19)
“Quintessential bedroom pop for the modern alt-rock enjoyer” || We missed his first show the day before because the venue was already packed—no one left in between, which says a lot—so we didn’t let the second chance pass us by. The London-based musician did not disappoint, with songs that sometimes hit with a catchy melody and other times with introspective wordplay.

Tanz Akademie (IT) @ TR8 – Ahead (Oct 19)
“Like a marching band throwing a coming of age party at a funeral” || The six musicians from Piedmont were visibly impressed by the full theater, but that didn’t stop them from giving an entertaining show, thanks in particular to the horn section. The festival-goers had clearly come to shake their hips, but were first urged to sit down—lying on your back or even making out was also allowed, the charming singer joked—before having their needs satisfied anyway. We liked The Vampire the best, the opening track from their debut album Hullabaloo (out via Overdub Recordings).

Adore (IE) @ V11 (Oct 19)
“Irish garage rock trio with the shortest band bio ever” || The three musicians, hailing from Dublin, Galway and Donegal, have only released a few tunes, but you didn’t notice that at all, because this was a mature set of dynamic songs, interspersed with personal stories about the Dutch grandmother of singer/guitarist Lara Minchin. Last year’s single Postcards is a hit that sounds like it has always been there, but Adore showed that they have a lot more to offer.

This report was made in collaboration with Niek.

With so many artists, stages and moments there are countless possible routes, and along the way we heard other visitors rave about shows that we weren’t at. Everyone got to experience another great event with a completely different program, but FOMO almost knocked us out. Either way, we wouldn’t have wanted to miss this seventh edition of the festival, and we’ll think back to it until the next one. Just saying: tickets for Left of the Dial 2025 are already on sale.

New album: The Submissives || Live at Value Sound Studios

A raw, hypnotic, and effortlessly strange LP from Montreal

As Left Of The Dial fest in Rotterdam kicks off tonight (we are both attending), here’s a band that would have been a perfect addition to the line-up: The Submissives from Montreal, led by Deb Edison. They’ve just released their first full band record, and it’s already generating plenty of buzz—and for good reason. Live at Value Sound Studios has a raw, disaffected, and almost naive quality, giving the songs a pure, captivating feel. It’s easy to see why other reviewers have drawn comparisons to The Shaggs and Daniel Johnston. The monotony and repetition, instead of being off-putting, become hypnotic, adding to the band’s culty vibe. With all members performing in red dresses, that eerie vibe is amplified.

Am I a little scared of this band? Yes! The effect of listening to Live at Value Sound Studios is unpredictable, and becoming obsessed with it seems entirely plausible. If you believe that music has become too bland, The Submissives are here to shake things up, while making it all seem effortless.

LP out now via Celluloid Lunch. Read more about the record in this insightful interview at Evan Minsker’s See Saw Fun.



Add to wantlist: Bandcamp || Celluloid Lunch

New album: Nice Biscuit || SOS

A dance between light and dark in a fuzzy world

Australian psych pop outfit Nice Biscuit return with the sonic guidance SOS, their sophomore full-length following their 2018 debut LP Digital Mountain and 2021 EPs Create Simulate and Passing Over. The album is about finding calm and balance in a chaotic world—each of the nine new songs is a different way of dealing with these turbulent times full of crises, but the atmosphere and vibe that they radiate are at least as important. Billie Star (vocals, keys, percussion), Grace Cuell (vocals, keys, percussion), Nick Cavendish (bass, keys, percussion), Jess Ferronato (guitar, vocals, keys, flute, percussion) and Kurt Melvin (drums) lay down a fuzzy groove with warm synths and jangly guitars, which they pepper with both exotic and rocking influences, and always those hazy harmony vocals to keep it all together. Colorful and dreamy, hypnotic and danceable.



SOS, recorded by Jess Ferronato & Ali Richardson, is out now digitally and on vinyl LP through The Reverberation Appreciation Society / Greenway Records in North America and Bad Vibrations / Fuzz Club in Europe.

Add to wantlist: Bad Vibratons || Bandcamp || Discogs || Fuzz Club || Greenway || Levitation 

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