If you’re on this site it is because you still cling to what maybe you refer to as the ‘heyday of British pop music’. When it comes to 2013 music, you still can’t stop talking about Suede’s Bloodsports [it was great, of course] and you read The NME because they, like you, constantly fixate on the Gallaghers. All this understandable, of course, but don’t discount the great new bands hitting the British music scene. Here are four up and coming britpoppers.
Alt-J topped end of year lists with their 2012 debut, An Awesome Wave, which also managed to hit top 20 in the UK. It’s an arty album with odball vocals that explode into bouts of unashamed catchiness, punctuated with a healthy dose of “la-la-la”s. It’s the sort of album you can’t get sick of as the pace shifts from meandering folky daydreams to songs with infectious lyrics and and breaks that leave you so you breathless, listening to some songs five times in a row seems almost reasonable. I ignored the hype at first, but this band is deserving of its every accolade
On the radar for a while with their 2012 single, Husbands, this all-girl London act released their ferocious debut just last month. Commanding and confrontational, lead singer Jehnny Beth sings with all the entrancing theatrics of Siouxsie Sioux, making it almost impossible to concentrate on anything else while listening to them. A startling, powerful debut, it captures the breathless intensity of goth-punk-pop and earns them a prominent spot on the British music landscape for at least the near future.
Slumberland Records is best known for signing saccharine indie pop acts [being the label that brought us the Pains of Being Pure at Heart] and this lovely London four piece’s second album Waiting for Something to Happen fits perfectly in their catalog. Equal parts twee and moribund, Roxanne Clifford’s sweet voice winds happy-go-lucky songs of teenage infatuation, affected melancholy and love affairs gone south.
This London indie rock band are the kind of beer soaked, nicotine grinning lads that counter every posh Downton Abbey British stereotype. Their debut album, 180, has captured the attention of most of the British press, many who claim their rackety, garage punky, heavy accented pub rock is what’s going to save British music. Hyperbole, naturally, but this messy, slurring Libertines-esque four-piece does show considerable promise, even if they seem more like your mates on a night out than an actual band.