When you hear “Kvelertak side project” your mind might wander a variety of spaces pondering what the abrasive blackened rockers might want to explore outside of their day job. Some ferocious crust punk? Perhaps a further jaunt into the murkier realms of black metal? One thing is for certain, you would not be expecting founding guitarist Vidar Landa to produce self described “painfully shy and awkwardly danceable” melodic indie-folk ear worms that make up the delightful thirty minute or so run through King Hüsky’s self-titled debut. The more cynical metal focused worshipers of Landa’s main body of work might see this a bit like those moments from Metalocalypse where Toki creates his own songs on first impression; but that would be doing a disservice to the intimate, heart-on-sleeve open nature of this album.
Opening track ‘Heads Above Water’ sets the tone for the experience ahead as a singer/songwriter album experience. Soft moody indie-folk/indie-rock with various instruments that appear throughout; alongside personal and introspective lyricism driving somber melodic explorations as well as dynamic and textural shifts in the songwriting. Despite for the most part distancing himself from the styles of his work with Kvelertak, the defiant punk spirit and hard rock worship still crawl into the fringes of this release in one for or another. The aptly named, sub two minute quick fire ‘Bürn In Hell” has a spark of punk rock running through its indie core standing out from the rest of the album somewhat with its more aggressive instrumental and hard-rock shredding solo, whilst still being planted in an indie-rock space. Likewise 70’s throwback glissando guitar tones make their way into moments like the classic rock solo in ‘Change Of Heart’ over the soft drummed acoustic guitars.
There’s so much to talk about with this release, even with it coming in at just shy of 15 minutes, it feels like it sticks with you for much longer. This is a release driven by the vocals, Elly Sinnett leading the way, with gorgeous melodies and hooks, that you will find yourself humming for the rest of the day. Their beauty comes in their subtlety, rising and falling in soft comforting phrases, wrapping listeners in the gentle and tender embrace of memories of love past. Yet there’s a sorrowful edge to everything, a knowing atmosphere that all that’s good often comes to an end, and sooner than we’d like it to at that, delivered almost in a whisper, like something you need to hear but dont want to.
It’s emotionally striking, cathartic and uplifting, not in some grand, cinematic swell of orchestral emotion, but in the quiet way it lets you breathe through the ache. There’s a kind of healing here, like being given the words for something you’ve felt but never quite managed to say aloud. Elly’s voice carries that weight, that resonance—every note delivered with restraint, never overplayed, always just enough. The harmonies come in like a gentle tide, soft and constant, and there’s comfort in their presence, even as the lyrics edge towards grief, longing, and the soft burn of nostalgia. It’s that duality—grace and grief, beauty and heartbreak—that gives this release such emotional depth. You feel held, seen, and somehow lighter by the end of it, as though the act of listening itself has lifted something from your chest.
“With the utmost respect, you are not a big fish until you sink ships / well, my ship is not sinking in this bathtub and the taps are just monuments”. Not – as you might expect – a bizarre translation prompt from the language app Duolingo, but lyrics from the track ‘chekov’s guns’ from the first mclusky full length to be released in over two decades. It’s a hiatus the band seems to enjoy acknowledging, the album title less a nod to that fact than an elbow in the ribs and a wink.
While mclusky have been touring on and off for over a decade after reforming to raise money for iconic South Wales venue Le Pub in Newport in 2014, all of their records prior to this were released between 2000 and 2004. the world is still here and so are we is a pretty big deal then for fans of the Cardiff-based noise rockers, whose cult status has only grown as a new generation of fans has been able to attend their rowdy live shows over the past 11 years.
With that in mind, it’s just as well that mclusky pick up where they left off with 34 minutes of noise, daftness, and – occasionally – downright oddity. Sonically the record is exactly what you’d expect; guitar, bass, drums, punk songwriting structure, and yelling. What sets the Welsh punk legends apart from other similar bands though is the inimitable lyrical and vocal wit of vocalist Andrew ‘Falco’ Falkous. The years haven’t blunted that trademark style either, which remains in equal parts charming, baffling, and hilarious.
Slung are a young band. Whilst they’ve been touring heavily, they only released their first music officially late last year, so to all intents and purposes are still veritable newcomers to the scene. The problem with all this is that you might then have certain expectations from their debut – whether you like it or not, we tend to, as a scene, think of debuts as quite raw, slightly rough around the edges affairs, that can well have gems aplenty but aren’t the finished product. All is not as it seems with Slung though, as their debut In Ways is as accomplished a release as any fifth album, with the production, maturity, and measuredness to match.
Across the release, they work their way through a couple of core sounds, from the higher tempo, energetic one-two punch intro of ‘Laughter’ and ‘Class A Cherry’, to the mixed bag of melancholy and moodiness on finishers ‘Nothing Left’ and ‘Falling Down’, by way of a more sombre middle that touches on more classic balladic rock, with a nice relaxed tempo to keep the lower mood comfortable.
Aforementioned ‘Class A Cherry’ is one of the most notable tracks here, especially for its lyrical content. The song is, as you may well be able to guess, a sexual song, but it deals with this topic in a way that’s often left unbroached. Taking the perspective of a sex worker with a client, the lyrics that Katie Oldham belts out are provocative and sensual but with a power and will behind them that we often don’t hear, which offers a refreshing take on an otherwise tried-and-tested subject.
After a 10-year break since releasing any new material, indie legends Melys have made their comeback with Second Wind. An absolutely fierce record as it tackles subject matters that are considered taboo, but Melys confronts and conducts them with a masterclass in musical ability.
Opening the album is the title track. A three minute atmospheric-almost-spoken word piece with vocalist Andrea Parkers haunting vocals echoing down your spine as the synths in the background buzz into your bones. As you move into ‘Love Yourself’, the album is laid out in front of you. There’s none of the average indie tropes here. Songs about random people you meet after a show? Not here. Songs about drinking cider in the park with your friends? Move on. Okay, there is a song inspired by a road trip, but that’s the only trope, scouts honor. Melys are more from the heart and include life experiences in their music, no matter how light or dark the subject may be.
The second album poses the dreaded question to every artist: stick to what you know, or dare to reinvent? In the four years since their debut Infinite Pleasure, The Pale White have had a considerable stretch of time to ponder exactly this. Sophomore offering The Big Sad features their characteristic brand of fuzzy, alternative rock interspersed with candid vulnerability shaped by the longing, stillness and reflection of the pandemic. Having shed their record label in a concerted effort to prioritise creative freedom and authenticity, The Big Sad was self-produced in the familiar comfort of their hometown and has a notable sonic shift that may take existing fans by surprise.
Docked at a recreation of the famous Wallsend shipyard in their hometown, the enormous and all-consuming ship on the album’s cover is the perfect embodiment of the sorrow looming between the hopefulness amongst the tracklist. Opening with lead single ‘Lost In The Moment’, atmospheric guitar chords build tension as singer, songwriter and guitarist Adam Hope’s soft vocals creep in and crescendo to a belt alongside riffs built for echoing around the walls of an arena. Though they’re some distance away from arena headliner status, an extensive European tour circuit in support of American alternative rock giants Pixies over the last year has allowed them to crowd-test the single in the venues it’s worthy of.
