It’s a difficult time to be British. Our prime minister has packed his bags as other leading politicians have dubiously called it time on their career. At the time of writing the strength of our currency continues to decline. Austerity measures relentlessly attack access to free healthcare, vital benefits and much, much more. If that wasnât enough, a spate of xenophobia and racism has recently been unleashed, attacking the basic human rights of many. All in all, itâs a pretty gloomy time to be a UK citizen.
So hereâs something positive. Despite facing equally uncertain times, the British music scene continues to churn out some of the most exciting, innovative and downright brilliant material. As we cross the half-way point of the year, the list of quality British releases is staggering, and thatâs before some of the perceived heavy hitters drop over the coming months. If youâre looking for something to celebrate about being British, this is it. Our Editor Ben delves into the year, over five parts presenting fifty of the best home-grown EPs and LPs from the last six and a bit months. Itâs in alphabetical order too. Weâve had enough competition for a lifetime.
Part One | Part Two | Part Three | Part Four | Part Five
Terrible Love â âChange Nothingâ
Released towards the start of the year before being picked up by iconic British tastemakers Big Scary Monsters, Terrible Love â featuring current and past members of Funeral For A Friend, Bastions, Goodtime Boys and Grappler â have exploded onto the hardcore scene with âChange Nothingâ. Sounding huge in moments and subtle the next, the production keeps the EP suitably raw. Ultimately it remains one of the strongest debuts by a British act in recent memory, regardless of their pedigree.
The New Tusk â âSloomâ
Thereâs evidently something in the water down in Brighton, where a proportion of The New Tusk call home. In their case itâs resulted in a rock and roll infused indie-punk record with its fair share of raw attitude. Gruff vocals lead the charge, as the sound bounds forward with confident vitality.
Three Trapped Tigers â âSilent Earthlingâ
âSilent Earthlingâ, the sophomore full-length by London trio Three Trapped Tigers, is an electronic post-rock wonderland. Like Tronâs eerie cousin, it channels a futuristic dystopia. Far from the silence the title suggests, itâs an unapologetic barrage of visionary soundscapes that effortlessly spiral, both lifting the listener up and crashing them back down to earth.
Tom Jenkins â âScreamdogsâ
Having showcased his impressive pipes as the frontman for Straight Lines, the Pontypridd singer-songwriter has ventured out on his own for the stunning âScreamdogsâ, a collection of emo and folk inspired tunes that push both his lyrical and vocal ability to the forefront. The fragile quality that runs throughout the tracks really demonstrates Jenkinsâ magic.
Trash Boat â âNothing I Write You Can Change What You’ve Been Throughâ
âNothing I Write You Can Change What You’ve Been Throughâ, the debut full-length by Saint Albans outfit Trash Boat, sits them right on the edge of international acclaim. Having made a few dents with previous material, their Dan âSoupyâ Campbell produced LP establishes Trash Boat as true contenders. Brash at times, and reserved when required, itâs promise mirrors that of early The Wonder Years material.
TTNG â âDisappointment Islandâ
Anyone assuming that âDisappointment Islandâ is a self-fulfilling prophecy is sorely mistaken. TTNGâs first full-length since dropping their This Town Needs Guns moniker (for self-explanatory reasons) and parting ways with Jamie Cooper, is a math-rock masterpiece. The albumâs title may represent the lyrical themes, but it by no means reflects the sheer quality on display.
Weatherstate â âDumbstruckâ
Driving guitars open âDumbstruckâ, the most recent EP by Bristol four-piece Weatherstate. It introduces a record that owes some dues to mid-90s pop-punk as much as to grunge and its modern reincarnation. Itâs the soundtrack to despondency, brimming with a muted anger that runs deep into its veins. âLately youâve been lying around,â they sing, âso pull yourself back up and sort this out.â This record might just make you do that.
Yndi Halda â âUnder Summerâ
A decade is a long time. 10 years in fact. Thatâs how long itâs taken Kent based Yndi Halda to return with the sublime âUnder Summerâ, an elegant and crushing exploration of sound that simmers in its ethereal state. Itâs beautify moulds itself to enhance feelings of relaxation, joy and sadness, all at once. The introduction of vocals to their sound has proved an immensely powerful tool.
Youth Max â âWaxâ
Already making a strong name for themselves with raucous live performances, Youth Man have cemented their fierce energy with âWaxâ. Through its five tracks, itâs as much rock and roll as it is punk, as much hardcore as it is noise-rock. What it encapsulates most is their affinity to musical veterans, offering a raw, unpolished, rough-around-the-edges sound that immediately sets them apart.
Zoax- âZoaxâ
Zoaxâs debut album is something of a surprise. Rather than replicate their unpredictably frenzied live performance, the record instead presents a much more calculated, sometimes calmer front. With it, âZoaxâ builds its own niche with ease. The crossover appeal is remarkable, their sound opening doors to the many crevices of the alternative scene. Yet, safe this is not. Far from it. This is experimental and unusual at its most visceral.
Here’s to another six(ish) months.