A sultry offering featuring tender backing vocals from Smokey Robinson, the track finds Paak reflecting on the ups and downs of a relationship as he strives to ‘make it better’. Steeped in romance and allure, there’s a throwback soulful groove to the song that’s fleshed out even further by the addition of cinematic strings, punchy bass and slick guitars.

Rising UK artist and recent Dirty Hit signee Beabadoobee released a scrappy, grungy ode to the frontman of legendary indie outfit Pavement earlier this year. The singer has not been short in forthcoming about her love for the band and the track is a fittingly fuzzy and laconic tribute to the titular frontman Stephen Malkmus. Full of heavy guitars and soft, melodic vocals, the track is imbued with a charming sense of nostalgia.

Quiche teamed up with esteemed producer Chris McCrory on this track, a lament to the day to day distractions of everyday life while simultaneously chasing the need for something more. The band’s lyrical introspection is combined with soaring hooks and a lively rhythm section to create their most adventurous and addictive offering to date. McCrory’s influence is evident on the glam-esque, wiggly guitar riffs while the band’s penchant for dreamy, hazy psychedelia, big choruses and swooning melodies has never been so effective.

Metronomy unveiled another slinky, playful number for their back catalogue this year called ‘Salted Caramel Ice Cream’. The second single taken from their album ‘Metronomy Forever’, this tune features some delectably funky rhythms and a brilliantly infectious chorus that stays with you long after your first listen. Speaking of the track, band leader Joseph Mount said “I wanted to write a song that would get played at weddings.”

‘Your Light’ is an uplifting antidote to the tumultuous world we live in, all about finding personal strength and freeing yourself from the anxieties of the real world. Much like its predecessor ‘It’s Easy Then’ with its electronic-tinged soundscape, it’s a bold and ambitious offering full of lush harmonies, celestial synths and a buzzing bassline.

London indie giants Bombay Bicycle Club made their long-awaited return this year with ‘Eat, Sleep, Wake (Nothing But You)’. Their first single in five years saw them go back to their guitar-led roots and is driven by an invigorating hook that sounds like it would slot in nicely with some of their older material. Exploring the feeling of being infatuated with someone, the track is a tantalising teaser of what’s to come from their next record.

It’s all there. The palpable uncertainty, the menagerie of nerves, the temporary feeling of weightlessness when you cast aside your inhibitions and lay your feelings bare. Over the course of 4 exhilarating minutes, Paisley’s D R I F T engender one of life’s most multi-faceted emotions on ‘Edge Of Love.’ Set against a fluid, mesmeric backdrop of synths and slow-burning electronica, the ambience that we’ve grown accustomed to from the duo’s material is not only present and correct but taken to a new plateau.

‘People’ is a bone-rattling blast of pure punk that sounds like nothing they have ever done before; a complete act of sabotage and rebellion, a rallying cry to humankind to sort their shit out. Matty Healy sounds like he’s screaming over a megaphone against an adrenaline-inducing backdrop of gnarly guitars and breakneck drums. A track that finally sees them embrace their love of cult hardcore bands, it’s the heaviest and most confrontational they’ve ever been. 

Hotly tipped Australian punk band Amyl and the Sniffers dropped the utterly relentless ‘Monsoon Rock’ this year and the music world rejoiced. This tune is s a thunderous beast of a track that rains down with force. Full of metal-style guitar solos, feral vocals and ferocious riffs, it comes in at just under two and a half minutes to form an electrifying introduction to the outfit.

A band who are not afraid to be meticulous in their approach to both songwriting and production, their relentless hard work has once again paid off on ‘Blank Eyes’. Bathed in a warm, soulful aura and steeped in romance, their smooth blend of funk, indie and soul is harnessed deftly in this vibrant, melodic number. And brimming with the same sense of fun and breezy confidence that has prevailed in all their work thus far (see the gang chants at the end of the track), ‘Blank Eyes’ displays an attention to detail that cannot go unnoticed; from Ryan Caldwell’s distinct falsetto to those funky guitar tones to those all-important dexterous basslines.

‘Nice Guy’ recalls the jazz-infused funk of Anderson Paak with its flourishes of brass and loose-limbed rhythms. Known for picking apart the indie template and refashioning it in their own unique, genre-busting style, their latest hazy hip-hop inspired number displays their innate musicality in abundance, taking cues from the West Coast and effortlessly shifting between laid-back grooves, deliriously infectious melodies and celebratory horn sections. Brimming with optimism and woozy feel-good vibes, it’s another vibrant and creatively instinctive insight to the unique sonic world of Easy Life. “For some paradoxical reason, sometimes you get penalised for being nice,” the group say of the new track. “Perhaps this song is an anthem for all the lovely people in this world.”

Featuring a jazzier palette than we’re used to hearing from the trio, the influence of Lou Reed’s ‘Walk on the Wild Side’ can’t be ignored in one of the most exciting releases from Haim to date. A loose bassline ambles along, offering a lackadaisical groove that is matched by the light drums while a saxophone floats over the track in a loose, improvised style. Singing along with an almost meditative composure, Danielle Haim’s light vocals are tinged with sadness and uncertainty as she grapples with her situation – as if behind the warmth and joy of summer, she is holding back tears from behind her sunglasses. It’s a moving concoction that finds Haim treading new ground. We’re excited as to what’s to come next for Haim in 2020.

In the years since they first burst onto the industry’s radar, The Vegan Leather have been casually redefining the parameters of their own music and that of what an “art pop” band can be as a whole. ‘The Hit’ is a conduit for the band to not only show off the sheer magnitude of their rhythm section but for the duelling vocals of Gianluca Bernacchi and Marie Collins to have one of their most compelling dialogues to date. As if that wasn’t enough, the track culminates with a riff that would leave the staunchest purveyors of desert rock with plenty to smile about. Exemplary in their complete and utter inventiveness, ‘The Hit’ not only demands incessant replays but leaves you fascinated by what they’ve got waiting in the wings.

The constantly evolving, ever prolific Edwin Organ returned with ‘Truths & Beliefs’ this year. The songwriter and producer offers his own unique take on the subject of mansplaining and high-minded discussions at the most inappropriate of times as he explores a more muscular side to his songwriting. Crunching beats and stabbing synths are paired with his distinctively breezy vocal to create a brilliantly odd slice of summery pop that recalls Metronomy at their most weird and wonderful. Restless with creativity and blessed with an entirely unique vision, Edwin Organ is an artist who continues to surprise and astonish.

Armed with an intangible knack for songwriting that transcends the dissonance of their punk roots and heads towards something more affecting, Pleasure Heads’ finest outing of 2019 saw them pen a heartfelt ode to their hometown on ‘Back In FK.’ Hinged around the notion of forcibly removing yourself from the place that allotted you “formation, fortune and friends” to allow for personal growth, it speaks of the solace that can be found in your familiar surroundings and its constrictive capabilities with intimacy and honesty. Rock and roll balladeering in its classic guise, it’s a track that displays the versatility of Pleasure Heads in all their biting glory

Bred from equal parts slinking sonic depravity and the intersection between post-punk and dance music, ‘Skin’ is anything but a passive listen. Ominous and cloaked in a lingering sense of menace, Bainbridge’s emotionless tone on its mantra-like chorus and the steady build of its layered synths and rhythms gives the track a ritualistic ambience that beckons you in further and further.

Combining their signature modern psychedelic sound with propulsive rhythms and screeching, siren-like guitar lines, ‘It Might Be Time’ is a dense and driving return from Tame Impala which deals with ageing and the inevitable passage of time. Recorded in both Los Angeles and Kevin Parker’s hometown of Freemantle, Australia, ‘The Slow Rush’ will feature 12 tracks and will be officially released on 14th February, 2020. The album will feature ‘It Might Be Time’ as well as the previously released ‘Borderline’.

Looking to follow in the footsteps of fellow Bathgate native and former school friend Lewis Capaldi, Luke La Volpe has risen to prominence this year with new tunes like ‘Can’t Seem to Get Enough’ and ‘Nightmare of the Streets’. ‘Can’t Seem to Get Enough’ was a defining moment for this band as it signified a move to a fuller, more distinctive sound – one brimming with confidence and swagger. Bringing their love of vintage rock & roll and the blues together, the track simmers with atmosphere as the band marry a traditional songwriting flare with a modern production style.

Heralded as one of the biggest tracks of the year and undoubted standout moment of Lizzo’s 2019 album ‘Cuz I Love You’, the infectious funk romp of ‘Juice’ acts as a galvanising call-to-arms that soon had everyone singing her praises. A monument to self-belief, self-acceptance and empowerment, Lizzo bucks every societal expectation with a smile on her face and an insatiable strut to her every step.

Stockport 5-piece Blossoms traded intense indie synths for a swooning poem to a best friend’s girlfriend. Singer Tom Ogden crams a pop-tastic chorus, intricately worded verses about the charm of films stars, going to the movies and fuming friends, and a crescendo of defeat into just over 2 and a half minutes of perfectly relatable hopeless romanticism. It’s one of the finest tunes Blossoms have produced and has us eagerly anticipating the new record. 

Foals dropped their gnarliest, heaviest track to date earlier this year in ‘Black Bull’. Yannis Philappakis squawks over an onslaught of meaty riffs and a tumultuous soundtrack as the band tackle conflicted masculinity and delusions of grandeur. It’s absolutely huge and so relentless that it feels under the threat of collapse at any given moment. Following in the same vein as ‘Inhaler’ and ‘What Went Down’, the band flex their rock muscles once again but take it to a new level of aggression – one which truly captures the mindless abandon of their live shows.

Carefully crafted yet loose-limbed and unconstrained in its approach, ‘Ad Lib’ is one of the duo’s more introspective offerings. Anchored by a steady drumbeat yet drenched in meandering psychedelia, vibrant guitar lines meet a warm glow of synths and a soulful vocal to create wholly spellbinding sonic journey that envelops the listener. Whether exploring the more hedonistic, introspective, Balearic or even abrasive tendencies of their sound, the duo have the incredible gift of being able to transport the listener to any headspace they want within minutes of each other.

Confidence Man made their emphatic return in 2019 with ‘Does It Make You Feel Good?’. It’s another glorious banger that sparkles and shines with their very own raw exuberance. Tantalising 90s dance beats and disco vibes channel the likes of Giorgio Moroder and Donna Summer with Janet Planet and Sugar Bones once again taking the lead, being their usual charismatic selves over tantalising rhythms, hypnotic keys and a vibrant whirl of house pop and disco.

After enthralling us with their 2017 debut album Strange Hymns and its equally compelling follow-up EP Bring Me To Light, the revitalised outfit shifted things up a gear with this track at the start of 2019. Taking the dreamy psych-pop and anthemic spirit of their debut and exploring them through a more refined and visceral lens, ‘Friends Who Lost Control’ is an instantly addictive, pulse-quickening return from the outfit. Jordan Shearer’s subtly powerful vocal and thoughtful lyricism is delivered against the kind of soaring, sparkling backdrop that wouldn’t sound out of place on a War On Drugs album.

Never without a burning indignation in the pits of their stomachs, Glasgow’s punk scene progenitors Baby Strange deliver a sermon on inner-city hysteria with ‘Viewpoint.’ Led by a frenetic, three pronged assault on the senses, the much loved trio take you beyond the PR sloganry of the city and in to wade among the inequality that persists to this day.

Over a luscious musical base that incorporates poignant piano and more optimistic bursts of synth, ‘Do Not Disturb’ is a touching examination of a life that’s been left reeling but demonstrates the innate courage to carry on. The track is both polished and invigorating all at once and retains the thoughtful introspection that made her a hot prospect in the first place. Based on this evidence, Be Charlotte could be the next Scottish export to go toe-to-toe with pop music’s elite.

Setting off on a whimsical note, ‘Looking Like a Mess’ submerges itself in Gallus’ trademark barrage of guitar and rhythm that’s levelled against the maniacal and imposing drawl of frontman Barry Dolan. ‘Looking Like A Mess’ employs its lament over a bedraggled appearance as a parallel for the unrest that resides below the veneer. Concluding on an uproarious note, this acerbic effort leaves you pondering where this riotous and eccentric outfit will go next.

Renowned for an honest portrayal of life through their guitar-driven punk-flavoured indie, Catholic Action show no signs of wavering that honesty on this tune, as Chris McCrory explained.
“One of Us was written as a direct response to what I see happening in the UK – a country ravaged by poverty and a disintegrating social fabric of increasingly isolated and intoxicated people. This song is a comment on the aggressive divide and conquer politics that has kept this status quo of radical inequality in the UK firmly in place.”

TTV have been covering Lewis Capaldi since way back in 2017, when we were at the King Tut’s shows and his appearance at our very own TENEMENT TRAIL. What has happened to the artist this year is nothing short of incredible, with a Grammy nomination, sold-out international shows and an American number one all under his belt it really seems like there is no stopping Bathgate’s finest export. One of his newest songs, released after the success of his debut album (which features at number six in our top records of 2019), ‘Hold Me While You Wait’ sees the artist create another big hitter after the success of tunes ‘Bruises’ and ‘Someone You Loved’. We loved Capaldi when he was playing pubs and we’ll love him with every banger he drops in 2020.

Glasgow’s up and coming jazz artist Kitti is one the shining stars of Scotland. With the backing of her supremely talented four-piece band, the singer-songwriter has been tipped as Glasgow’s very own Amy Winehouse and this year delivered a show-stopping performance at TENEMENT TRAIL that showcased her tremendous vocal range and incredibly raw, honest songwriting. Sharing tales of unrequited love and immersive sermons on self-acceptance against a lush backdrop of contemporary R&B and soul-shifting jazz, ‘Chasing the Crowd’ is one of the hottest tracks to come out of the UK, not just Scotland this year.

Bold and incredibly dynamic in execution, ‘Want God’ is perhaps one of the duo’s most intricate releases to date. Katie Lynch’s distinctively dreamy vocals are contrasted by her hard-hitting lyrics as she grapples with anxiety and her own relationship with faith. Her restless state of mind is reflected by the song’s equally tumultuous instrumentation; surging guitar parts meet languid melodies to create something that is as visceral as it is poignant.

Vlure defy the rules, rip up the trends and create new ones. They get in your face and get under your skin. They make you feel things, the way music should. Just a couple of weeks ago, we were delighted to bring you the premiere of their first online offering, a live recording of ‘Desire’ – a confrontational, visceral slice of industrial post-punk that has already received a massive reaction from fans and critics alike. Performances at The Great Escape and Tenement Trail have seen the band rise to unshakeable promise throughout 2019 and if ‘Desire’ is anything to go by, we can’t wait to see what comes next from this formidable outfit.

Will We Talk?’ is a high-octane, driving slice of Springsteen-esque rock that showcases all of Sam Fender’s arena-sized ambitions in truly anthemic fashion. Shedding the larger themes that ran through all the previous singles for a track that focuses on modern relationships and disposable relationships, this is a storming, euphoric number that increased all the hype for the equally as brilliant full-length debut that landed in our TTV Records of 2019. Relentless from the very get-go with a heady blast of guitars and strings, this tune comes alive live and one we’ve had on repeat all year.

Astounding new audiences at every turn, VanIves’ incline is one of the steepest we’ve seen in recent memory. Continually adding new dynamics to their sound while others conservatively languish in a singular dimension, their adeptness at carving out beautiful soundscapes that factor in R&B, electronica and splashes of the convivial resonance of folk is only rivalled by the limitless emotional vocabulary that they’ve nurtured over the course of two accomplished EP’s. ‘Lavender’ sees the band dabble in the unremitting chaos of longing. Resplendent in the delicately realised instrumentation that they’ve garnered so much praise for in the past, Stuart Ramage’s soul-baring vocals transfigured and manipulated in a way that recalls the poignancy that Frank Ocean extracted from the same technique on 2017’s Blonde.

New to Edinburgh’s indie scene this year, Swim School dropped the hugely infectious debut single ‘Sway’ in 2019. Formed from a shared love of modern indie bands like Pale Waves, Wolf Alice and The Amazons, it was a strong introduction from the quartet which bursts with vibrant guitar lines, glossy synths and grooving basslines. And while shades of their influences are evident throughout, the band’s smooth, slick execution is impressive given their recent formation. Led by the restrained yet alluring vocal tones of Alice Johnson, what they have delivered is an instantly addictive slice of indie-pop that’s made for dreamy sunny afternoons. 

Voodoos gave us another fizzing indie anthem ‘Do it to Myself’ this year. After a string of impressive singles, the four-piece showed off their songwriting talents once again on this instantly addictive track that brings their pop sensibilities to the forefront. Steeped in the throes of a failed romance, a lightly distorted lead vocal seeks clarity over a barrage of taut rhythms and fuzzy guitars and while it’s a sound that may be familiar, Voodoos are certainly well on their way to leaving their own stamp on the guitar-centred soundscape. Mixing the hard-edged aspects of punk with a more measured and melodic approach, it’s another fiercely impressive outing which is sure to incite mayhem at their now renowned live shows.

The second single to be released on Glasgow’s brand new imprint 7 West Music was ‘I’ll Be Happy When You Die’ by The Roly Mo and it’s been on repeat in the TTV Studio ever since. Teaming up with the same prolific team that brought you The Dunts, Spyres, Pleasure Heads and more, this young Glasgow band gained a strong foothold in the city’s ever-growing punk scene this year with a string of well-received singles and shows. And after giving their burgeoning reputation a well-deserved boost at Tenement Trail this year, this tune explores the racing thoughts of a tumultuous mind. It’s another rampaging slice of indie-rock to add to their increasingly impressive repertoire – one that matches its fearsome title with early Arctic Monkeys-esque riffs, a tight rhythm section and a rapturous guitar solo. We’re 100% going along for The Roly Mo ride in 2020 thanks to bangers like this. 

Walt Disco have always shown an ability to extend their artistic endeavours beyond the realm of music. Whether in fashion, music or film, the quintet have carefully carved their own unique space in Scotland’s creative scene that is entirely of their own devising. Known as much for their intriguing visual creations as they are for their glittering, angular post-punk glam, the sky is the limit for Walt Disco and we’re pretty positive the new music in 2020 will take things to a whole other level for the Glasgow band.

Backed by an army of fans that has now grown far beyond the reaches of their hometown, it’s no surprise that a tangible, all-consuming buzz seems to precede every new release from The Dunts. ‘Bad Decisions’ is another rollicking punk assault to add to their increasingly impressive catalogue. A formidable display of scything riffs and pummelling rhythms, the barrages of blistering guitar are offset by brief moments of melodic tenderness before they launch into another rambunctious chorus. Full of the vivacious spirit and untamed vitality that has defined all of their previous work, the band’s tendency for lyrical introspection is also very much present and correct as they reflect on the after-effects of a hedonistic night-out; the kind that sees frivolity turn into paranoia and anxiety in a matter of hours. It’s a subject that will feel incredibly relatable to the pleasure-seekers inside us all. Recorded at 7-West Studio and produced by the band’s frequent collaborators Chris Marshall and Johnny Madden, it’s a tune that defines what is happening in the Glasgow scene right now.

After blowing TTV away with the comeback track ‘Pretty Boy’ earlier this year which went onto be remixed by none other than Hudson Mohawke, Wuh Oh went onto release the mind-melting ‘Ziggy’ and we were obsessed. If the last track marked the beginning of an exciting new era for the artist, ‘Ziggy’  confirmed all suspicions that Wuh Oh is an artist reborn. Conceived after he had a dream about a “super heavy club tune”, it’s another short but wildly creative number that displays his love for the feel of music aswell as the physical technicality of it. Highly modern and off-kilter in every sense of the word, there’s a hyperactive clash of styles as he brings together wonky melodies and a lot of jubilant energy in a weird and wonderful mash of electro-synth sounds and glitchy hip-hop influences.

Renowned as one of the most frenetic live acts on the circuit today, Sports Team placed their pulsating rhythms on the front foot on the riveting ‘Here It Comes Again’ this year. Brimming with the caustic energy of The Strokes’ ‘Is This It’ era, the Cambridge sextet deliver an anthem for those bogged down with modern life’s relentlessness while Alex Rice’s cutting vocal delivery marks him out as a frontman with undeniable gravitas. Their recent King Tut’s show was one of the most enthralling performances seen in the iconic venue this year, with energy aplenty and if 2019 was the year of this band cutting their teeth into sold-out venues, 2020 is the year of acquiring a whole new mass heard of fans. 

After the sprawling, shape-shifter that was ‘The Cleaner’, one of the most talked-about bands of the year Squid followed it up with an equally exquisite offering called ‘Match Bet’ this year. Opening with a tight finger-picked melody, the track lulls the listener into a false sense of security as playful speak-sing vocals are thrown into the mix. Things then take a turn as the instrumentation erupts with a swirl of bass and chugging percussion. It’s another wildly innovative slice of post-punk that was brought to life at their set at our very own TENEMENT TRAIL in October. Squid are a band set to rip up the rule book in 2020. 

Over an onslaught of searing guitar lines and furiously paced rhythms, Declan Welsh and the Decadent West rails against the moronic, self-absorbed characters you meet on nights out that you just can’t wait to get away from on album track ‘No Fun’. Delivered in typically scathing yet lyrically astute fashion, ‘No Fun’ is a damning, almost comical character assassination; one that exposes such characters for their banal chat, music taste and penchant for bucket hats and buckfast in cups. ‘You’re no fun at a party’ Welsh proclaims on the track’s fierce chorus. Dark, relentless and perhaps their heaviest cut to date, ‘No Fun’ is a track that led TTV appointing the band’s debut to the number one spot on our Top Records list.

The Snuts’ assault on the UK indie-rock scene continued with the release of ‘Juan Belmonte’. Arriving in the midst of their massive UK tour and taking its name from the famous Spanish bullfighter, the track is driven by the kind of electrifying guitar work that would appease the staunchest purveyors of desert rock. With its stomping rhythmd, it’s a track that wouldn’t be out of place in the middle of Arctic Monkeys’ ‘AM’ heyday. It’s a simple yet effortlessly cool concoction that finds The Snuts raising the game once again.

Aaron Smith finally unleashed his debut single into the world earlier this year and it was certainly worth the wait. With an extraordinary voice that has the ability to stop you dead in your tracks thanks to his incredible range and beautiful falsetto, ‘Unspoken’ was the perfect introduction to an artist who is destined for very big things indeed. Written about a relationship that is moving faster for one person than the other, and that person’s fears of commitment, his stunning voice, so moving in every affectation, is delivered over a minimalist piano melody in what is a deeply emotional and poignant listening experience. There’s something almost James Blake-esque in its stunning simplicity.

After giving us a sneak preview of their new material at that riotous gig in McChuills at Tenement Trail, the newly renamed Lucia & the Best Boys unveiled ‘Good Girls Gone Bad’ to rave reviews at the tail end of this year. Recorded in LA with none other than Carlos De La Garza (Wolf Alice, Best Coast, Paramore), the scale of the band’s stadium-sized ambition is clear for all to see on this 80s synth-fused banger. And while the big hooks and grungy edginess are still there, the track also marks a sonic shift that sees them dive headfirst into their 80s influences such as Madonna, The Human League, New Order and more. With Lucia’s distinctive vocals brought to the forefront more than ever, she lays down her combative message against driving rhythms, chugging basslines and synths. Staking her claim as a frontwoman we can all believe in, this is dark-edged, glossy pop that grabs you with intent.

They may have only officially formed at the start of the year, but Glasgow/East Kilbride quartet Spyres have already stirred up a considerable amount of interest thanks to great live showings and a certified banger called ‘Otherside’. After securing the support of Radio 1 and building their fanbase with a series of exciting local live shows including a support at the sold-out Dunts’ show last weekend, Spyres’ are brimming with a sense of vitality and ambition that makes them one of the most exciting bands on the Glasgow scene right now. In what was a startling introduction of their screaming potential, get ready for an exciting Spyres-themed 2020 ahead.

As if transporting you to a bygone era in the vein of Amy Winehouse, it’s Joesef’s vocal that immediately seizes your attention; so rich and distinctively soulful that it can’t possibly root itself in Glasgow. Yet somehow it does; and it feels so vital and unique to the city’s constantly developing soundscape. Wrapped in warm, alluring harmonies, Joesef sings over a rich, deeply seductive instrumentation. It’s impossible to pin down yet so brilliantly intoxicating. ‘Limbo’ is part of a collection of tunes I wrote in the midst of my first breakup,” says Joesef of the song. “I kinda went off the rails when it ended and my head was up my arse for quite a while. So this was me trying to process the situation we were in, separated, but still together all the time shagging and talking. ‘Limbo’ is the grey area in-between being in love, and not being able to let it go.” An artist driven by his own singular vision, the only way is the top for Joesef in 2020.

Dropped on Radio 1 by Jack Saunders, The Ninth Wave’s stunning  ‘Imitation’ is taken from ‘Infancy Part 2’. The track is a shot of adrenaline; a very direct and straightforward anthem that captures the band at their most anthemic. Relentless from the very get-go, the listener’s attention never wavers across its entirety. And with its lyrical themes reflected in its very songwriting process, frontman Haydn says: “Imitation is what happens when I forget about my lonely disposition and get too caught up in everyone else’s lives. It’s about how easy it is to become something you hate and we hate simple songs, so we made this song really simple and straightforward.” We can’t wait to see what The Ninth Wave do with 2020. 

Every bit as thrilling as we hoped it would be, Fontaines D.C debut album ‘Dogrel’ was biting, visceral and poetic in equal measure. Coming in at number 2 on our biggest record of the year list earlier this month the ultimate track of 2019 is taken from that album and is of course, ‘Boys In the Better Land’. It is the pinnacle sound of 2019 and matched with the band’s live shows… have been big highlights throughout this year. Starting off with King Tut’s in April, TRNSMT in the summer and SWG3 in the winter, Fontaines D.C have shown time and time again that they are vital, pure and aggressive. This reimagined tune captures the band at their fiery best. Quicker and more biting than its original, it barrels with excitement from start to finish.