50. DMA'S

Finishing off a pretty impressive year with an extensive UK tour including shows in Glasgow and London, Sydney’s DMA’S released their single ‘Lay Down’ to rave reviews in the British press. Not only due to the fact it’s soaked in Brit Pop influences; ‘Lay Down’ was a riff-laden hooky thumper of a release. Released via Infectious Music. It’s was the first track taken from their forthcoming full length debut which dropped at the end of this year. With the band now back in their hometown in Oz, it’ll be interesting to witness what 2016 brings for this promising band. Watch our live session recorded with the band to understand just why the band lands in our list.


Disappearing in 2010 before reappearing from nowhere in October of last year, Los Angeles based three piece Mini Mansions have undountably re-established themselves with their sophomore record. The side project of Queens Of The Stone Age bassist Michael Shuman, the band returned with the Alex Turner-assisted ‘Vertigo’, a track that lies somewhere between psych era Beatles and Tame Impala’s Lonerism. The beautiful track is accented by delicate piano and dramatic strings. Utilising his unmistakable croon and the same kind of gravitas that oozes from every Arctic Monkeys release, Turner’s vocals work in tandem with the more subdued offerings of Shuman to create a sound that is unlike anything else that has emerged in 2015 thus far.


A staple of the band’s refreshingly reckless and high tempo live set, ‘This House’ has long been a highlight of the band’s repertoire but never felt quite as explosive and urgent as it had the potential to be. After retooling the track in preparation for a single release and turning it over to the capable hands of PRIDES’ Lewis Gardiner for mixing, what emerged was nothing short of a masterclass in exhilarating art pop.  Exuding the decadence of 80’s new wave yet with a notably considered and modern approach, it sees the band embrace their eccentricity in an incredibly effective fashion. Culminating in a flamboyant deluge of synth and post punk tinged guitar,’This House’ serves as an excellent introduction to those who may not yet be acquainted with this ambitious and exhilarating outfit .


From the squalor of South London, are a band that in one breath could be described as disgusting, vile, Satanists, and the preservers of the spirit of rock n roll. Everything about them is a huge middle finger to conforming, to mainstream and to political correctness. With lewd album covers, lyrics that sink below depravity and a stage show that can only shock even the least shockable, they are certainly out to make a point. And from all of this spawns music that is as interesting as anything you will hear these days. Perhaps it’s because of their reputation, but the softly sung track ‘Whitest Boy on the Beach’ seems to carry menace at every corner, and the hypnotic spiralling of the song really pulls you in. Be careful not to get sucked too far in though, because the inner workings of Fat White Family must truly be a scary place.


Unknown Mortal Orchestra’s third album Multi-Love is inspired by real events that took place in singer Ruban Nielson’s life. It portrays Nielson’s life over a year when he and his wife were joined by another woman, and they lived together like a family. He describes it all as a strange but thrilling – “I feel like I’m gonna spend the rest of my life trying to live last year down. It was such a beautiful time.” ‘Can’t Keep Checking My Phone’ opens with jazzy horns and a more restrained atmosphere before lurching rhythms, deep bass and boisterous guitar soon take over. Lyrically, the track features some of the record’s most interesting and insightful verses; providing a look into the painful nature of the longing that Nielson has underwent toward the absent third side of the triangle that formed his newly defined home life. For the eloquence of creating music that represents feelings so well, this deservedly sneaks into our list.


Having written themselves into the history books by becoming the first unsigned band to ever appear on the front cover of the legendary Rolling Stone Magazine, Canada’s The Sheepdogs have built a reputation upon releasing one album of 70’s indebted yet nonetheless attention grabbing rock & roll. 2015 has seen them carry on in this same fruitful vein on their ‘Future Nostalgia’ LP; an album title which very well may be an exercise in playful self awareness. Known for bringing together elements of classic rock, psychedelia and folk all into a delectable melting pot that seldom fails to deliver, the album’s centrepiece is undoubtedly the rootsy ‘Same Old Feeling .‘ Predominately focusing on an upbeat piano melody and the alluring vocal style of Ewan Currie, ‘Same Old Feeling’ harks back to the days in which acts such as The Band, Free and Family were known to release material of this blues-tinged ilk and could penetrate the mainstream by doing so.


Joining forces as a two-man songwriting partnership before morphing into a fully fledged and extremely adept band, Strawberry Wine have accomplished a considerable amount during their relatively brief time together. Despite being coy with their recorded material and leaving those who’ve caught them live curious as to the sheer depth of their catalogue, the band delivered a powerful mission statement in the form of debut track ‘I Think I’m In Love.’ Setting out with a barrage of rugged guitar and immediate licks that are steeped in the tradition of the legendary John Squire, ‘I Think I’m In Love’ is strengthened by ferocious, primal percussion and a truly irrepressible bassline. With its emphatic verses and incessantly catchy chorus rendered in frontman Glenn Corrigan’s unique and distinctive drawl, the track soon reaches a momentous crescendo in which it is besieged by swaggering guitar interplay and absolutely frantic drumming that brings the track home on an exalted high.


Harry & the Hendersons are a seven piece band from Glasgow featuring multi-instrumentalists coming together to create a blend of americana, country, soul and blues alongside awesome harmonies which create a unique and distinct sound. In the summer, we featured ‘Behind The Curve’ as an exclusive premiere. The track features the exquisite harmonies that the band create so effortlessly, layered with some classic americana riffs, lazy jazz melodies and powerful lyrics. It truly is a beautiful affair. Having released their debut EP last year through Electric Honey (Biffy Clyro, Snow Patrol, Belle & Sebastian), the band have have packed in some sold out shows in Glasgow and great performances at the likes of Eden Festival earlier this summer and Tenement Trail in October. We hope to see the band playing their hearts and souls out in 2016.


Capturing the imagination of those who had the pleasure of catching the band live this year, The Wytches are an act who inhabit a territory which is resolutely their own. Taken from the four track EP ‘Thunder Lizard’s Reprieve’ released earlier this year, ‘If Not For Money’ lands on our list thanks to its brooding psychedelia. Dark, mysterious and entrancing, the track which sounds borderline apocalyptic thanks to its thunderous, plodding drums and disjointed tangents of guitar. The Bolan-esque brogue of frontman Kristian Bell only adds to the otherworldly quality, sounding as though he’s broadcasting from a dire, dystopian future.


Hailing from Philadelphia, Kurt Vile’s signed to Matador Records and released the record ‘B’Liieve Me I’m Goin Down’ this year of which the awesome ‘Pretty Pimpin’ is taken from. As an artist, Vile gives of a cool sense of mystery about him much like Ryan Adams pre-Swift friendship where he does what the fuck he wants. Like last month when he sang with Cyndi Lauper on ‘Money Changes Everything’ and covered The Rolling Stones’ ‘As Tears Go By.’ And ‘Pretty Pimping’ makes the cut on our list for exactly that, it’s cookiness, weirdness and pure simplicity. Effortlessly intelligent songwriting is intwinned with an infectious melody to make one of Vile’s best tracks to date and quite frankly one of the entire year.


When a band proclaims that they’ve laid plans to record a concept album; particularly one that’s as relatively inexperienced as LA duo Girlpool, it tends to send unsettling waves of trepidation through the listener as their minds hark back to the overblown and preposterous exemplars that other groups have turned in previously. Luckily Girlpool’s Before The World Was Big proceeds with caution and ends being a very entertaining listen and that is no more epitomised than on its fantastic title track.Opening with clattering xylophone strikes that are atypical of the manner which a child would experiment with an instrument, their dual vocals soon emerge accompanied by chirpy guitar. Proclaiming to have “walked around my neighbourhood 100 billion trillion times”, the track is inherently infantile down to its adoption of a young child’s penchant for exaggeration. The track’s chorus longs for the idyllic aspects of childhood before their teenage years and subsequent adult life made short work of their youthful exuberance.


Medicine Men have had quite a year. Surfing the success of T Break in 2014, the band played Isle of Wight festival alongside the likes of Glasgow’s Tijuana Bibles in the summer and just a couple of weeks ago revealed a video for fresh new track ‘Opposite’. Describing their year as transitional, Medicine Men’s frontman Ian Mackinnon spoke exclusively to TTV about the new track saying: “The lyrics for the track came from me thinking about how we all turn in to machines when we are using a computer, iPad, smart phone, and how in turn that allows the “machine” to get away with things. I’m probably as bad as anyone else for being on my phone so it’s self critical in a big way.” Packed with fizzling synth and poignant chords, ‘Opposite’ is an exciting glimpse into new material set to surface in the new year.


A garage rock outfit hailing from Madrid, The Parrots; along with their equally remarkable comrades Hinds, are re-energising Spain’s music scene at an unprecedented level. Having stopped by TTV HQ to turn in a truly thrilling two song session that epitomised everything that make them such a hot prospect. The standout track from their fantastic Weed For The Parrots EP, ‘To The People Who Showed Me Love While I Was Here’ displays their unique and charismatic sound like no other composition that they’ve released thus far. Spurred on by a brooding and despondent riff that manages to feel as pungent and enveloping as vastly  heavier guitar parts due to its wallowing pace, their distinct vocal delivery and knack for atmospherics has placed them in a very prosperous position as they continue to find their feet in the ever-changing industry.


Earlier this year Glasgow’s Monogram dropped the track ‘ANNO’. The outrageously catchy electro-pop track is – in their own words – a “big-drum-jangly-guitar’d” piece of music. They also made appearances at T in the Park and Electric Fields this year, so keep your ears open for these guys.


Possessing a witty rhetoric that’s all of her, Courtney Barnett has accrued fans by the thousands over the course of 2015 and has positioned herself as an artist who harbours all the talent and style required to become a global force. With a stream of consciousness style approach to lyricism and potent guitar riffs by the dozen, her debut full length Sometimes I Sit And Think, Other Times I just Sit has shot her straight into the limelight and she’s taken it in her stride. While it’s proven difficult to single out just one track from her incredible debut, ‘Nobody Really Cares If You Don’t Go To The Party’ truly encapsulates what’s at the core of her sound. Recalling the lo-fi material of artists such as The Screaming Trees and Mudhoney albeit with a more exuberant tone, it often appears as though Barnett is waging a constant war with herself between adhering to her pop sensibilities or abandoning them in favour of more rugged material. Luckily, she doesn’t have to make a decision as her intermittent transitions into the harder spectrum of music hit the mark on every occasion that they occur upon the record and that’s certainly the case with this  rugged composition.

35. YAK

The London-based trio shot to popularity in 2015, with a headline tour and high profile support slots. Purveyors of an electrifying mix of hard rock infused with the wooziness of pyschedelia, Yak’s sound is simultaneously familiar and yet exhilarating in its originality. Emerging into a musical landscape in which heavier riffs are no longer frowned upon by critics and music lovers alike; the desert rock vibe of ‘Hungry Heart’ along with Olivier Burslem’s  Jim Morrison inspired drawl will help to garner them a fervent fanbase.


Signing to a major label such as Sony can be a daunting procedure for a burgeoning band and one that’s had the tendency to throw a promising career into disarray as the group struggle to adjust to the additional pressure that’s heaped on their collective shoulders. In the case of Scotland’s very own Fatherson, they seem to have bucked this trend with aplomb if the striking and bold ‘Always’ is anything to go by.  A track which provides us with the first taste of what to expect from their label debut, ‘Always’ is a heavy, assaulting affair which ensures that they’ve got your full attention; precisely what a band on the ascendancy should be looking to do. Recalling Brand New on account of the poignancy and sincerity which radiates through both the track’s instrumentation and lyricism, they’ve firmly exhibited their knowledge of the prevailing structure of pop music yet remained resiliently powerful


Led by the extraordinary vocal talents of Alicia Boganno, Bully are the Nashville-based four piece with a visceral sound reminiscent of acts such as Babes In Toyland, Mudhoney and Cloud Nothings. Following a spot upon Jack White’s Third Man Records showcase at SXSW, their track ‘Trying’ opens with enticing guitar licks that touch upon slacker rock royalty such as Pavement and Guided By Voices, a slinking bassline and the adoption of soothing lilt from Boganno lead the listener into a false sense of security before an uproarious chorus. Harking back to The Smashing Pumpkins during their Siamese Dream period with its howled vocals and imposing riff ; the track’s well constructed hook presents the band in all of their clamorous glory.


Released as part of the Double A side to double A-side of ‘I Can’t Stop Loving You’, ‘Yours To Destroy’, the track sets off with plaintive guitar from The Amazing Snakeheads’ former frontman Dale Barclay. ‘Yours To Destroy’ is based upon St Jude’s calm and collected delivery that tows the line between Siouxie Sioux and a less exuberant Etta James. The band’s much more imposing presence upon this track creates a sound that is indebted to the moody tendencies of film noir; looming over her vocals without ever suppressing them. With little information as to what the future holds for St Jude, it’s sure to yield excellent results if she manages to continue to create such an alluring sound.


A self-coined no nonsense grunge rock band, The Van T’s are rocked full steam ahead in 2015. Dual-lead twin sisters Hannah and Chloe Van-Thompson lay down effortless harmonies and riffs onto this melodic, grungy, heavy-reverb track full off crashing drums sweetened with the Van-Thompson touch we’re growing to love. Possessing the sass and talent that’s shot the likes of Dum Dum Girls, Spain’s Hinds and fellow Scot’s Honeyblood to ample success, this latest offering from The Van T’s is a promising snapshot into the future of the band.


A timeless band whose influence over popular culture and the music industry at large has hardly waned since their heyday, New Order have yet again provided their vitality with 2015’s Music Complete, an album which both acknowledges the band’s past whilst looking unflinchingly towards their future. Treading familiar ground between indie rock and the dance-oriented sound that has been the driving force of their sound since their formation, ‘Restless’ personifies all that makes the band great over its five minute running time and features one of their most immediate and powerful choruses in years.


Stark, beautiful and magnificent, Kathryn Joseph birthed something absolutely exquisite with Bones You Have Thrown Me And Blood I’ve Spilled. With an album as cohesive and acclaimed (her debut LP went on the win the top prize at this year’s Scottish Album Of The Year (SAY) Awards) as her opening gambit, you’d think that every single morsel of music that she’d created in the process of putting it together would’ve made the record; but much to our delight this wasn’t the case. Released at the tail end of July alongside ‘The Bird’, was the track ‘The Worm’. The album weaved together sparse piano but what is really captivating about Joseph is her wavering, emotion-filled voice. ‘The Worm’ is slow, repetitive and simple, but all the better for it, as we can marvel in that voice.


After releasing their debut album The Bones of What You Believe, CHVRCHES quickly established themselves as one of Scotland’s most exciting bands. More than this though, they sparked a surge in the popularity of synth-pop and now a host of other Glaswegian bands drop into that category. Their follow-up album Every Open Eye landed in 2015 with big boots to fill, but thankfully fitted comfortably into them. With the track ‘Clearest Blue’ they demonstrate the true greatness of the band. It doesn’t have any earth shattering lyrics, but the talent is making something with layers appear so utterly simple. It is fitting creativity and originality inside a basic three minute pop song.


Continuously tinkering with the rules of modern rock, Glasgow band United Fruit’s 2015 EP was a further departure from the tried and tested formula, and moved into territory that crosses paths with post-punk, post-rock and shoegaze influences whilst retaining the melodic surges and choruses that have so far served them well. Their track ‘Nightmare, Recovery’ explains this combination perfectly, and for this they catapult up our list.


Hailed by many as one of the freshest propositions to embed themselves within its modern landscape, Queens-native Action Bronson has long been regarded as an MC with the kind of innate sense of humour and awe inspiring lyricism that has enabled a small minority of rappers to transcend its boundaries and become a true cultural figure. ‘Actin’ Crazy’ infuses heart pounding boom bap drums alongside bizarre synths that recall the production of Flatbush Zombies’ Erik ‘Arc’ Elliot, it enables Bronson to navigate the kind of amped-up territory that saw him touted for greatness by so many following 2013’s Saaab Stories. Lyrically, the track sees Bronson reiterate the hedonistic rhetoric of many of his verses, stating: “All I do is eat oysters and speak six languages in three voices.”


JR Green are the latest signing to Hit the Fan Records, who released Frightened Rabbit’s incredible debut album, and more recently the SAY award winning album by Kathryn Joseph. It’s safe to say then that they know how to pick a winner, and might just have done so again with JR Green. They are two brothers who grew up in the west of Scotland and combine a traditional folk sound with angst ridden lyrics and modern twists: “I’m sorry for my output I’m surrounded by wankers, I’m only 17 and I don’t have all the answers, yet.” This line from their track ‘Nigerian Princess’, which features on their debut EP Bring the Witch Doctor, sums up their youthful verve. Listening to the song as a whole you can’t help but succumb to the acoustic guitar – accordion combination, and the vocals which carry confidence, wisdom and maturity in abundance.

24. DIIV

They may have kept us waiting for a frustratingly long time between records but their release of ‘Under The Sun’ earlier this year. Defined by an intense motorik beat that harks back to the heyday of krautrock bands such as Neu! and Can, the track treads water between aggressive and ornately beautiful throughout its duration. Filled with the kind of stark yet exhilarating guitar that helped establish their foothold in the industry, Frontman Zachary Cole Smith’s stoic vocals add to the track’s hypnotic aesthetic and results in a track which recalls The War On Drugs if they’d been raised on a healthy diet of Lush instead of Springsteen.


They’ve already shared the stage with genre stalwarts Metz, Cloud Nothings, Paws and Honeyblood and it seems that Glasgow duo WOMPS are making friends in all the right places. Their fuzzy, unrelenting lo-fi indie rock could have been lifted straight out of the 90s and that’s no bad thing. As WOMPS frontman Ewan Grant sings “I want to live a little less” through a glorious vocal distortion, the influence of bands like The Lemonheads and Pixies seems pretty clear. Their sound is one that definitely lends itself to live shows; the band were a true highlight of this year’s Tenement Trail and with choruses to go with the energy, ‘Live a Little Less’ is a massively deserving entry in our top list.


Comprised of enigmatic frontman Jesse ‘Boots Electric’ Hughes and the multi faceted Josh Homme of Kyuss/Queens Of The Stone Age/Them Crooked Vultures fame, Eagles of Death Metal were making headlines for all the wrong reasons this year but thanks to their show-stopping rock sound, nothing will overshadow the music. Packed full of sleazy riffs and their trademark charisma, this track is fun, visceral rock ‘n’ roll that refuses to take itself too seriously and is completely devoid of even the slightest iota of pretense. Taken from their record Zipper Down which dropped in October, EODM are an inspiration to the music world proving that terror won’t stop the music.

I FEEL LOVE (Every Million Miles)

If Alison Mosshart had been cooped up in a box for the last couple of years only to be released in the recording studio straight away, her gritty, grungy, sexy, rock ‘n’ roll performance on this track would be the result. The band unleashed a return this year that is so shockingly amazing that it’s been on repeat at TTV HQ ever since. With bands and music like this around, it’s a great time to be alive. Describing the regrouping of The Dead Weather as “the best thing ever” adding that she feels “joy” and recording “feels so good”, the band, made up of Mosshart alongside Jack White, Dean Fertita and Jack Lawrence, released their third album Dodge & Burn in September via White’s own label Third Man Records. It was hard to pick a favourite from that release but ‘I Feel Love (Every Million Miles)’ wins.


Exploding onto Scotland’s music scene this year, The Bar Dogs have wasted little time in ensuring that they’re now synonymous with the nation’s ever fruitful rock ‘n’ roll scene. Attracting new fans with every single live show (including a recent well received support slot with Dundee’s The View at a sold-out 02 Academy) and with big plans abound for the year ahead, ‘Glasgow Saturday Night’ serves as a testament as to just how potent and thrilling the band can be at full pelt.  Well versed in the history of guitar music and therefore capable of harnessing its finest attributes for their own gain, ‘Glasgow Saturday Night’ sees them adopt a Springsteen-esque storytelling approach over a myriad of intoxicating licks and percussion. The self-confidence which exudes from the track comes across as more than misguided hubris and is indicative of just how far this band can travel as they look ahead to 2016. Although this is just a demo, the band have been in the studio with plans to unveil new material in the New Year. We can’t wait….


A band that shone this year on the amid the daunting lights of the T Break Stage as well as turning in a landmark performance at our very own Tenement Trail, Other Humans have went from strength to strength in 2015 and they’re likely to only grow in stature going forward. Whilst tracks such as ‘Valley’ must be acknowledged for their assistance in aiding the band to gain a foothold, it’s the austere yet scintillating ‘In Future’ that left us absolutely riveted and assured of the band’s full potential. Laden with cold and stark synths that hark back to 80’s outfits such as Soft Cell and Gary Numan at their most potent, ‘In Future’ notably deviates from the more frenetic style of many of their other tracks and turns its focus to more brooding atmospherics. With a sense of menace in its instrumentation that wouldn’t sound out of place on the soundtrack of a Nicolas Winding Refn film, Other Humans manage to marry their poppier sensibilities with a sense of bleakness and have subsequently created something which not requests but demands your full attention .


The notion of the singer/songwriter providing the listener with an insight into his life is alive and well in 2015 and undoubtedly epitomised by Tobias Jesso Jr, a Canadian musician who captured the world’s imagination with Goon; an album of mainly piano-based tracks which were painfully honest, at times uplifting and beautifully rendered. Adopting the traditions of legendary artists ranging from Billy Joel and Elton John to Harry Nilsson and Nick Drake, ‘How Could You Babe?’ sees Tobias unleash a tidal wave of emotion toward a former lover over 70’s indebted production that only adds to its effectiveness. Demonstrating his knack for simplistic yet pure sentiment with lyrics such as “did you have some help deciding to forget my name?’,  this wonderful track and the album that followed crowned Jesso Jr as one of the modern generation’s greatest pop songwriters and we can’t wait to see how he follows it up.


Tame Impala blew the team away at shows around the world including Austin City Limits, Paris’ Rock En Seine and closer to home, Glasgow’s Barrowlands where the crowd and band were in awe of each other in equal measures. ‘Eventually’ landed in the TTV inbox back in May ahead of the release of their new record, ‘Currents’ released via Interscope to much hype. This track was a sure bet for our top lists thanks to its future pop sound with heavy 80s balladry tinging the sound. Harmonising vocals are filtered through a thoroughly modern psychedelic third eye making for a hefty slice of Tame Impala class. Would we expect anything less from Parker and co?


Joshua Tillman, aka Father John Misty is a master of story-telling, lyrics writing, and song-building. His album I Love You, Honeybear is a delight of witty, well-crafted tunes. We could have chosen a few from the album, but opted for the self-referencing ‘The Night Josh Tillman Came to Our Apartment’. It is a love song of sorts, in the way that it is about a girl, but as he is wont to do the story that tumbles out is complex and strange – “She blames her excess on my influence but gladly Hoovers all my drugs / I found her naked with the best friend in the tub”. Who hasn’t experienced that in a relationship right? This sardonic tale finds itself comfortably at number 17 this year.


Taken from the forthcoming new record White Bear, The Temperance Movement are back with ‘Three Bulleits’. With that instantly-recongisable Temperance melodic rock ‘n’ roll sound, the track is a huge roller full of lead Phil Campbell’s raspy vocals and rising riffs that are sure to take the roof off the Barrowlands when they play the venue as part of a massive UK tour. ‘Three Bulleits’ is yet another class slice of rock from the band that have toured with The Rolling Stones and with a blues, spine chilling guitar solo thrown in for good measure, they show that tour was an education in itself.


An artist that does things on her terms and hers alone, Be Charlotte has gained notoriety for her deft fusion of genres ranging from synth pop to elements of hip-hop. Leaving jaws ajar and winning over new converts at events such as T in the Park and our very own Tenement Trail, Be Charlotte’s unique style is likely to propel her far beyond the confines of Scotland and into the wider consciousness. Doling out insightful lyrics at will against a backdrop of sparse yet inviting instrumentation, ‘Discover’ sees Charlotte allow the public a fleeting glimpse of the wonders that reside in her catalogue. Filled with infectious hooks, joyful percussion and a thrilling build up which leads to a vigorous conclusion, it’s manages to capture the essence of modern day catchy pop yet is the furthest thing from frivolous or throwaway.


Continually impressing as one of Glasgow’s hottest rock bands is the aggressive Tijuana Bibles. Released earlier this year was the track ‘Ghost Dance’. In true Bibles style it is a hard-hitting rock ‘n’ roll number with a pounding back-beat. But slotted oxymoronically into it are the lyrics, which are poetic, spiritual and seamlessly elegant. In a typically gruff voice lead singer Tony Costello yells out “I feed from the fire of the sun / Love is the only weapon.” Wrapping this beautiful sentiment in rock armour is a special trick that places the band firmly in our top ten this year.


A slacker pop hero and lauded figure among modern circles, Canada’s Mac Demarco is a musician whose exuberant personality shines through on every track he’s ever released. Attaining an almost cult-like status over the course of his career, Demarco’s penchant for superb and at times deeply emotive songwriting has resonated with fans in a manner that very few artists have in recent years. With ‘The Way You’d Love Her’, he Remained firmly within the territory of 2014’s Salad Days, a warped and distorted central guitar riff provides the wistful mystique that is ever-present throughout his output before his signature staid vocal delivery fully entrances the listener. One progression which must be noted is the track’s incredible guitar solo that appears towards its climax, with Mac landing upon a sound that resides somewhere between John Frusciante and Eric Clapton.


When considering the breakout acts of this year, it’s hard to look past the massive crater that Catholic Action have left in the landscape in 2015. Starting from humble beginnings with a limited edition run of tapes released by Fuzzkill Records, the band have since went on to tour the UK with Swim Deep and supported legendary outfits such as The Libertines and F.F.S. (Franz Ferdinand and Sparks). A track which inarguably helped them along the way is ‘LUV’, the most formidable track in their catalogue and one which has been part of many a music lover’s soundtrack of 2015. Laced with the decadence of glam rock outfits such as T Rex, Sweet and Cockney Rebel, ‘LUV’ is spurred on by an engrossing bassline, extravagant guitar parts reminiscent of Thin Lizzy in their pomp and a chorus which a melody which is bound to linger in your head for days to come.


Uncompromising, exhilarating and every bit as dangerous as the bands that paved the way for them, Slaves have provided today’s modern alt-rock landscape with a much-needed jolt of adrenaline and has ensured that placidness and mediocrity will no longer be tolerated. Capable of intermingling the raw, putrid aggression of ’77 punk with scathing social commentary which epitomises the graveness of our times, Slaves’ most culturally vital moment of the year was undoubtedly their colossal hit ‘The Hunter’. Laced with booming riffs, viscous drums and lyrics pertaining to mankind, its inherent corruptibility and its disregard for the hospitable planet that provides us with life, there’s no denying that Slaves turned in one of the year’s most far reaching anthems without compromising on their vision to any extent whatsoever.


One of the finest rock ‘n’ roll bands that Glasgow has spawned in generations, it’s only a matter of time before Baby Strange are lauded by the masses. Having embarked upon their biggest ever headline tour this year (which featured a truly special homecoming at the city’s Saint Luke’s), all the pieces are beginning to fall into place for the band and that’s partly thanks to the impactful ‘California Sun.’  With an aesthetic akin to that which The Jesus And Mary Chain outlined on their seminal Psychocandy,  ‘California Sun’s’ triumphant use of guitar effects and thoughtful approach to percussion demonstrated that they’re capable of much more than the unfettered fury which defined much of their earlier material. Frontman Johnny Madden’s vocal work as is captivating as it’s ever been as he proclaims that “I’ll be here for you” while the band sound every inch the stars which they’re destined to become in the not too distant future.


A band that has grown in leaps and bounds over the past year, Man Of Moon have found themselves beset with ever-increasing hype from various corners of the industry. Impressing throngs of music lovers with their set at the likes of Live at Glasgow and Electric Fields in the summer and more recently their support show with Twilight Sad and headline Hug & Pint gig last weekend, the band astounded us with debut single ‘The Road.’ Hazy and yet incredibly lucid, ‘The Road’ touches upon the psychedelic tendencies of acts such as Unknown Mortal Orchestra and Smith Westerns whilst coming across as altogether more direct and pop-based. Led by a propulsive riff and equally attention-grabbing percussion, the ethereal synth textures and vivid vocal presence of Chris Bainbridge merge to create something truly special.

‘They Made A Porno On A Mobile Phone & Everybody Laughed’ feat. Marc Rooney

This song has been on repeat at TTV HQ since it was released in October this year. Featuring Marc Rooney of Pronto Mama, the latest Hector tune is every bit as prolific, infectious, intelligent, inspiring and ground breaking as the music they’ve been seamlessly creating for the past few years. Posting on social media, the band commented: “This is a story about when teenagers and iPhones collide with the authorities.” The band played this song live on French radio during their recent stint at Transmusicales in Rennes giving Scottish hip-hop an international voice and thus proving music and ideas know no limits, have no boundaries. Long live Hector Bizerk! Listen to the track alongside our footage shot on the road with the band in Rennes below.


Breathing new life into a genre that had strayed down a wayward and misguided path, Scotland’s very own Crash Club have all the tools required to incite a sea change in modern dance music and bring things back to a golden era. Filled with the hedonism and ecstasy of Factory-era Madchester and with influences ranging from anthemic  indie such as Kasabian and The Coral to Orbital and The Chemical Brothers, the band released a definitive statement earlier this year in the shape of ‘Recondition’. A track which sent the audience into raptures in Flat 0/1 during our own Tenement Trail, ‘Recondition’s’ intermingling of mind melding electronica and strutting guitar is nothing short of mesmerising. Combine that with the powerful vocals of Medicine Men’s Ian Mckinnon and you’ve got the recipe for a track which could galvanise the most hostile of audiences. With a new record due in 2016, the only way is up for Crash Club.


Unless you’ve been living under a rock for the past 18 months it’s been near impossible to have not taken notice of Young Fathers meteoric rise from rank Edinburgh outsiders to critically lauded Mercury prize and SAY winners. Having briefly paused to regroup and take stock of a year which also saw them play a sold out UK tour and perform on the Jimmy Fallon show, the Leith experimentalists returned with their much-anticipated sophomore, White Men are Black Too. To a perfunctory ear, the rhythmic and exuberant ‘Shame’ might relay the impression of a band moving in a poppier and more accessible direction, yet repeated listening reveals an irate and sinister underbelly. Distorted synth loops and puttering percussion is swamped by backing vocals that harp to Cookie Mountain-era TV on the Radio as singer Alloysious Massaquoi disconsolately wonders: “Where’s your gall when it’s a shame on you?”


If Holy Fire catapulted Foals into indie fame, What Went Down contributed towards the upscaling to arenas – and ‘Mountain At My Gates’ most-certainly contributed towards that feat. With the textbook anthemic Foals chorus, it drives the band into the direction of stadium rock in a place where they sound most comfortable, without sonically deviating from their signature sound. It’s frenetic, intense, and most certainly Foals at their very best. This image was captured by one of our photographers at Sziget festival in Budapest this summer, and if one image sums up a year for Foals this is it. Heroic.


The track that started it all for the band that have became Scotland’s premier purveyors of art rock in the modern era, ‘Future Pleasures’ was the stepping stone that WHITE have used to assert themselves as a band capable of conquering anything they set their mind to. Having initially released (before subsequently removing) the Talking Heads-tinged ‘Living Fiction’ last year, the band had gained the music world’s attention but had yet to capture their imaginations prior to the emergence of ‘Future Pleasures’, a track which lures you in from its very first note before engulfing you in their forward-thinking post punk sound.  Driven by an utterly enticing riff that lands in the uninhabited ground between the pioneering P-funk of Funkaedlic’s heyday and the post punk laced fury of Gang Of Four guitarist Andy Gill, ‘Future Pleasures’ proves to be more than worth the arduous wait for new material that they’d imposed upon their fans. Leo Condie’s resounding vocals begin in an emphatic and enticingly sinister manner before becoming ever more eccentric as the track picks up momentum; led by the inclusion of an incredible bassline and dense, new wave influenced synth.


Holy Esque have always been a fantastic band; a group capable of producing material that was both crushingly emotive and unabashedly cathartic, yet it’s hard to imagine that anyone had grasped just how much brilliance they were capable of conjuring until they unveiled their phenomenal Submission EP. An EP that re-invigorated both the band and their devoted fanbase, it built upon everything that had made tracks such as ‘Rose’ and ‘Sovereign’ so enthralling and amplified those qualities beyond that could’ve been imagined. This concept is perfectly distilled within ‘Fade’ the EP in question’s opening track and one which ushered in a wonderful new era for the band. Capturing the intangible magic that emanates from their live performances like never before, ‘Fade’ tows the line between sneering post punk indebted aggression and more blissful and poppy aspects. Underscored by surging bursts of dense electro pop that seem fraught with a sense of uplifting optimism, its more chirpy moments shroud themselves in impenetrable shadows; all of which assists in the opener becoming nothing short of a riveting listen that you’ll be all too happy to submerge yourself in.


Invading the UK from the North are Neon Waltz, who look poised to take 2016 by storm just as they have in 2015. Their soft indie-rock is tinged with folk and tradition, as exemplified by the track ‘Perfect Frame’. Singer Jordan Shearer puts his voice through its paces, starting with delicate melodies and then laying it all on the line with a gut-bursting chorus. It creates a strange mix of up-beat yet sombre rock, which will make you either want to dance or lash out in frustration. Either way, the outcome is a lot of fun, and that’s why we love these highland rockers. For this they find themselves deservedly in the number one spot – look out for Neon Waltz, because on this form they are going to hit the big time hard.