Spank my arse and call me Gerald if it isn’t cold enough to freeze hell’s ruddy rivers. Who needs a winter warmer?!? Mines a hot toddy. Get em in, Gerald.
Whilst we wait, here are some TOTWs to warm the cockles of your cockles. Remember them, the fish man coming round the pub gardens. 50p a tub. Or at the seaside, the rank ones as bait for crabbing. Happy days hey?!? Just me then.
Anyway, I digress. See these seven smashers.
Helena Deland – Silver and Red
Why we love it: because ‘Silver and Red’ is as cool as the waters in the song’s accompanying video. Dreamy and seductive, it glistens as it makes its serene way across a one hundred and forty one second landscape of natural goodness.
‘Silver and Red’ forms one perfect half of Altogether Unaccompanied, Vol. V, the new 2-track EP from the acclaimed Montreal-based songwriter and musician Helena Deland. She began releasing this series of EPs seven years ago. As Helena explains: “When I finished recording what I thought would be my first album, in 2017, I was faced with a miscellaneous bunch of songs. Instead of wiggling them into the expected format, I released them as a series of short EPs called Altogether Unaccompanied, volumes I-IV. Volume V is out today, and the series becomes an open-ended place for me to share songs which haven’t made it onto albums, or which seem to exist on their own, more or less unaccompanied.”
Helena Deland will soon embark on a handful of solo headline dates in the UK this March, across Bristol, London, Brighton, Manchester and Leeds. Tickets are available here. (Simon Godley)
L.A.Witch – 777
Why we love it: because ever since we caught their blistering set in Leeds more than five years ago we have always been partial to some L.A. Witch. And on the evidence of ‘777’ the trio from Southern California are showing no signs of slowing down or diluting any of the power of their visceral sound. ‘777’ is the new single to be taken from their upcoming album, DOGGOD, which will be out April 4, 2025 via Suicide Squeeze Records.
Why bother taking my word for it’s awesomeness when Sade Sanchez of L.A. Witch can put it so much better: “A part of the energy in our new album is a result to being able to record in a different city that we all love, which is so different from home. Recorded at Motorbass studios in Paris, 777 is considered to be an “angel” number. It’s a song about the willingness to die for love in the process of serving it or suffering for it. It’s about loyalty to the very end. Filled with chorus and guitar dive, it was one of our favourite songs to record and we can’t wait to play it live.”
And talking of playing it live, L.A. Witch are out on tour in North America in April. Details are here. Hopefully they will be back here in the UK soon thereafter. (Simon Godley)
Tindersticks – Don’t Walk, Run (edit)
Why we love it: because you are never going to go far wrong with a bit of Tindersticks. More than 30 years in the industry now and they are still producing such real good ‘uns like this. ‘Don’t Walk, Run’ is the latest in a long line of top-drawer Tindersticks’ tracks, even if its title is the antithesis of their signature style. It just lopes along in traditional Tindersticks’ time, caught somewhere between darkness and light, twilight and dawn. Don’t ever change, Tindersticks. I somehow doubt they ever will.
An edited version of the track from their recent album Soft Tissue has just been released as a limited edition 7” single, along with the song ‘Soft Tissue’ which mysteriously doesn’t actually appear on the album of the same name. The single will be available on their forthcoming European dates and to order online. (Simon Godley)
Abdomen – Damage Tool
Why we love it: There seems to be an endless run of quality artists emerging from Holland at the moment. Abdomen are no exception to this. They release their new album Yes, I Don’t Know on 21 February via FatCat Records.The trio have released the opening track, ‘Damage Tool’, as their new single. The guitar and bass riffs combination at the beginning set the tone. Heavy and frantic it’s a monster of a song. It screams frustration, the tension and electricity bursts forth from the very heart of the instrumentation as well as the vocals. Midtrack there seems to be a moment of potential calm but no, the drop follows and the anxiety builds to the very end. Music has a cathartic quality for the performer as well as the listener. I am convinced Abdomen feel a million times better after shredding through this track.
Speaking of the song, drummer Roel Meijer said:
“’Damage Tool’ is about feeling unsure, scared and trying to get back in control of yourself. While progressing through changes and uncertainties, finding a way to break through and move on. The song came to life when Roel and Peter began experimenting with guitar/bass noises on an old guitar riff Roel still had, the lyrics paved the way for the song structure.” (Julia Mason)
teethin – My Generation
Why we love it: The new project from Minas, teethin, is a new force emerging from the heart of Wales, blending the raw energy of punk with the pulse of electronic and dance to create a sound that’s as multifaceted as their roots. Today they share their debut single ‘My Generation‘ via Silent Kid Records which comes with a live video.
The lineup includes James Mina (vocals), Emily Kockan (synths), Alex Davies (bass), Greg Davies (drums), and Don Phythian (DJ/guitar), a mismatched yet cohesive unit bound by their shared desire to create something that speaks to the underrepresented and the overlooked. Hailing from different corners of the globe — from the Welsh Valleys to Athens, Ukraine, and the Philippines — teethin’s music reflects the complexity of their origins.
Drawing inspiration from the punk movements of the ‘80s, the rave culture of the ‘90s and the Grime scene of the 2000s, their hard hitting debut single ‘My Generation‘ critiques the feeling of their current generation having no clear voice or movement in music like those decades past. With ominous tones that shift from atmospheric into thundering and bouncing off the walls, James Minas’s vocals are the howl of frustration that seeks to find a voice for the voiceless and a lack of connection. It’s absolutely incendiary and vital. Fearsome.
Speaking on the track, the band says “‘My Generation’ is a reflection on the cultural and societal shifts we’ve witnessed in our lifetimes so far. Growing up, there were moments in music and art that defined entire movements—whether it was punk or rave which our parents would reminisce over, or grime which we’d watch on Channel U growing up and listening to the pirate radio cyphers going off underneath the music industry machine. Today it kinda feels like that energy is missing and everyone’s tearing each other apart online. We aren’t claiming to be the saviour or anything, we just wrote a song about it and we’re gassed with the outcome. Hopefully we’ll find some like-minded people through it and who knows.”
They’re set for their first live performances, starting with their debut at London’s Lower Third, with further dates in Wales including FOCUS Wales. (Bill Cummings)
Lone Aires – Delirious
Why we love it: Lone Aires recently released his new single ‘Delirious’ underpinned by drum machine beats, and whisps of guitars, swathes of synths and swirling with a haunting, melancholic vocal that hangs heavy with echoes of early New Order or mid-period The Cure, it captures the emotional struggle of distancing oneself from someone who deeply cares while grappling with the desire to protect them from pain. With a bittersweet chorus and ladled with conflicted emotions, its a moving earworm with a new wave sheen that makes us want to hear more.
Produced by the renowned Dennis Borger (recognised for his work with artists like Betterov, Temmis, and Traumatin), the track showcases the rich musicality which Lone Aires is capable of, comparable to the likes of bdrmm and slowdive.
In Lone Aires’ words, “It explores the conflict between self-preservation and the desire to protect the other person from heartache, capturing the complexity of love and vulnerability.”
Since his debut in 2022, Lone Aires has established himself as a unique voice in the indie music scene. His work has been featured on Spotify’s Fresh Finds GSA and earned praise from renowned outlets like DIFFUS and Kickdrum. Lone Aires has performed on prestigious stages, including Maifeld Derby and Blaumachen Festival, sharing stages with the likes of slowdive, English Teacher, Mannequin Pussy, Nieve Ella, Temmis, and Edwin Rosen. (Bill Cummings)
Céline Dessberg – Selenge
Why we love it: Céline Dessberg is a singer, songwriter and harpist of mixed French and Mongolian heritage. She grew up between two distinct worlds—one shaped by the modern western lifestyle of France, the other by the ancient traditions of Buddhism and the pastoral customs of Mongolia. This unique blend shaped her musical style, which draws from a wide array of influences, including jazz legends like Chet Baker, the eclectic sounds of David Byrne, and the traditional melodies of the Mongolian steppes.
In the summer of 2024, Céline spent two weeks at Studio Zoe in New Jersey, working with producer Max Shrager (The Shacks, 54 Ultra). During this time, she composed and recorded a large body of new material, including collaborations with Sal Samano and Alex Garcia (Thee Sacred Souls).
This creative period culminated in last month’s Hödöö EP, and last month’s release of a 7” vinyl single available on That’s Love Records here, the A-side of which, the gorgeous ‘Selenge‘, is the lead. An enchanting instrumental in which Céline’s yatga (traditional Mongolian harp) takes the spotlight, chiming delightfully over melodies over a foundation of groovy instrumental shuffle that has echoes of jazz. Like the soundtrack to some never-released Western or Sci-fi this glorious piece of music reminds one of the work of Melody’s Echo Chamber only zoomed back in time to the 1960s, and garnished with Céline’s use of the yatga, a traditional Mongolian harp she plays alongside guitar and piano. The inclusion of Mongolian, French, and English lyrics in her songs makes her music accessible to an entire world.
A captivating live performer, Céline has played everywhere from intimate jazz clubs around Europe to major festivals like Lollapalooza Paris. Céline is actively involved in cultural exchange work in the UK, where she organizes events for the Asian community. Her performances at the Fat Cat Jazz Club in Ulaanbaatar have also made her a prominent figure in the local Mongolian music scene. (Bill Cummings)
