ACROSS 100 weekly editions of New Music Radar, we have shone a light on bands and solo artists from all corners of the globe. Ranging from brand new bands putting out their first release to fast-rising Scottish acts climbing up the ladder to international stars in the big leagues, our main ethos at TTV is one of discovery and New Music Radar is all about bringing you the music that we’re excited about.
On this very special centenary edition, we’re back with another digestible dose of brand new tunes from Vistas, Sorry, The Japanese House, Kohla and more.
Vistas ‘Teenage Blues’
Topping off what has been a hugely successful year for the Edinburgh trio, Vistas shared a brand new track called ‘Teenage Blues’ this week. It’s the kind of soaring indie banger that the band have become known for at festivals all over the UK – introspective verses depict two people discussing all the changes in their lives before the track makes way for a massive, euphoric chorus that delivers the comforting message ‘I will always be there’. It’s wonderfully simple yet mightily effective; a coming-of-age anthem that shows that being ‘blue’ doesn’t always equate to being along.
Kohla ‘_Gorgeous’
Nearly a year on from the release of her debut single, Kohla has unveiled her finest track to date in ‘_Gorgeous’. After spending a significant amount of time perfecting her craft and honing in on her sound, the track sees the singer, songwriter and dancer embolden her brooding R&B sound with retro trip hop influences and contemporary beats. Citing Massive Attack, Moby and Grimes as influences, it’s a stunning return that feels both nostalgically vintage and suitably modern as Johnson’s beautifully wispy vocals are delivered over shuffling beats and a swell of strings. Easily her best work to date, it’s a minimal yet deeply hypnotic and ethereal return that is based around a message of body positivity.
Two Tone Television ‘Cab Driver’
Produced in the hallowed 7 West Studios, Two Tone Television are back with a head-banging new single called ‘Cab Driver’. Having previously shown their ability to draw influence from across the punk/indie landscape, their latest single channels early Arctic Monkeys before verging into the same unpredictable territory as madcap punk/goth thrashers Eighties Matchbox B-Line Disaster. A charismatic, at times frenzied, lead vocal brings the enigmatic ‘cab driver’ character to life against an amalgamation of strong basslines, gothic synths and thrashing guitars before the band unleash another rip-roaring chorus. Pushing the parameters of their sound once again, it’s a bold and gripping return from the outfit.
Japanese House ‘Chewing Cotton Wool’
‘Chewing Cotton Wool’ is Amber Bain at her most pensive and dreamy. Less than a year after releasing her debut album ‘Good at Falling, the track is lifted from a forthcoming new EP due next year. Intimate and honest, Bain’s gorgeous voice and candid lyrics come together seamlessly with the shimmering backdrop of keys and airy electronics. Inviting us into her dreamy world once again, it’s like listening to a calmly poetic stream of thoughts that doesn’t reach a conclusion. It doesn’t need to though as Bain demonstrates her ability to pull on the harshest of heart strings yet again.
Arlo Parks ‘Sophie’ EP
After seizing the attention of the music industry with a handful of stand-alone singles, Arlo Parks brings all her early promise to fruition with the release of her debut EP ‘Sophie’. Citing influences as far-reaching as MF Doom, Sufjan Stevens, Allen Ginsburg and Sylvia Plath, Parks’ confessional, coming-of-age bedroom-pop effortlessly captures the emotional rollercoaster that is adolescensce through a nuanced blend of observational poetry and smooth bedroom beats. Consistently warm and enveloping, her EP brings vintage keys, blissful choruses, carefully crafted lyrics and intimate harmonies together in stunning fashion but it’s Parks’ rich soulful croon that sits front and centre. It’s a sound that already feels timeless as she puts her first foot forward in what is shaping up to be a very promising career.
Gengahr ‘Heavenly Maybe’
As if from nowhere, Gengahr shared their funkiest track to date this week in the shape of ‘Heavenly Maybe’. Debuted as Annie Mac’s Hottest Record in the World on Radio 1, the disco-inflected track details Felix Bushe’s experience of partying in order to distract him from his real life problems. Heavy with ennui, it’s anchored by a powerful, hugely infectious melody that is sure to incite euphoria on the dancefloor. The track will feature on the band’s upcoming third album ‘Sanctuary’ which is due out in January.
Sorry ‘Rock n Roll Star’
With each innovative new release, London indie rockers Sorry entice us further into their dark and shape-shifting sonic world. Their latest single ‘Rock n Roll Star’ displays the band’s incredibly unique manipulation of sound and atmosphere once again, morphing from what feels like a deconstructed sleazy jazz track into an enthralling piece of idiosyncratic pop. Over the course of four minimalist, debauched minutes, the band wield chaos with Asha Lorenz’ hypnotising vocal tones directing us through a mix of saxophone trills, swaggering basslines and tempo shifts. Quietly building a reputation as one of the UK’s most thrilling new outfits, the track will feature on their debut album ‘925’.
Bombay Bicycle Club ‘Everything Else Has Gone Wrong’
Bombay Bicycle Club strike indie gold once again on the title track of their upcoming album. Exploring themes of hope and renewal, the track is largely influenced by the band’s return to the limelight. After taking some time away from the stagnant situation they found themselves in following the release of 2014’s ‘So Long, See You Tomorrow’, the track is quite literally the sound of the band gaining their second wind. “I guess I’ve found my peace again, and yes, I’ve found my second wind,” Jack Steadman sings on the song which explores the idea of music becoming a tool of catharsis. “The irony is that the song is about not wanting to write lyrics, but it has lyrics I’m really proud of. And after that, we realised a lot of the other songs had that theme, of music as a cathartic refuge.” Steadman says of the track. Paired with nostalgic indie guitars and an instantly addictive melody, it’s a classic Bombay Bicycle Club track that indicates the band are back to their very best.
