AFTER another busy week for new releases, we’ve got a bumper edition of New Music Radar to share with you that features Glasvegas, Savage Mansion, The Roly Mo, All Things Blue, Tamzene and more. Check them out below.

Glasvegas ‘Keep Me A Space’

Seven years after the release of their last album ‘Later… When The TV Turns To Static’, Scottish cult heroes Glasvegas have confirmed their long-awaited return with the announcement of their fourth album ‘Godpseed’. Slated for release in April 2021 on their own Go Wow label, the news has arrived with a brand new single called ‘Keep Me Space’. Said to be inspired by the 2018 tour that saw them celebrate the tenth anniversary of their acclaimed debut album, the band decided to revisit one of their older, unfinished numbers to mark their return – a song that was originally written for a grieving relative, someone for whom, “from one day to the next, something changed and it couldn’t be fixed, couldn’t be brought back. It’s an emphatic comeback and one that fits nicely alongside some of their most anthemic material – raw, epic and soaked in devastating emotion.

The Roly Mo ‘Control Yourself’ 

Having wasted no time in making themselves known with the release of one formidable track after another since early 2019, The Roly Mo are topping off a prolific couple of years with the announcement of their debut EP ‘TRM’. Set to feature a mix of material both old and new, the six-track EP is today being previewed with the release of ‘Control Yourself’ – a song that transforms the well-known fear we’ve all felt after a night out into a slice of anthemic indie-rock. Much like the tracks that have come before it, ‘Control Yourself’ is a surging anthem with catchy riffs, Strokes-esque guitar lines and anthemic choruses, only this time emboldened by the heartfelt sincerity in Joe Morton’s delivery. Known for their illustrious storytelling, whether crafting fictional characters or delving into the personal, ‘Control Yourself’ falls into the latter category as the frontman turns the aftermath of a night out into a moment of candid self-reflection – one that finds solace in upbeat guitars and catchy melodies. He says “it’s a personal favourite of mine as I feel I’ve given myself the best advice I could receive but never seem to put into practice”.

Tamzene ‘Intro’ EP

Following the release of two stripped-back singles in recent months ‘Unreachable’ and ‘Best Of Me’, Scottish singer-songwriter Tamzene has completed her ‘Intro’ EP with two new tracks, an acoustic version of her 2019 single ‘You’re With Somebody Now’ and ‘Don’t Say A Word’. Featuring her most strikingly vulnerable material to date, it’s beautifully crafted collection that puts the spotlight on her soulful vocals and candid lyrics.

Community Swimming Pool ‘Upside Down’ 

Community Swimming Pool is the new project of Glasgow-based multi-instrumentalist Brett McCann who today unveils his gorgeous debut single ‘Upside Down’. It’s a lovely dose of dream-pop escapism that channels the likes of Alvvays and Teenage Fanclub – all shimmering 80s-influenced guitars, enticing melodies and wistful vocals delivered via an intimate, DIY production style. The track’s sunny disposition is juxtaposed by darker lyrical themes though as McCann broaches issues of the heart and mind over its dreamy soundscape, touching down on anxiety, sleepless nights and feelings of helplessness in an increasingly troubled world. He said “I’ve worked so hard on this music for the past four years or so and it’s hard to believe I’m finally here. This song in particular was only written a couple of months ago in light of all the fucked up BLM shit going down, when I was utterly helpless like the lot of us. Desperate to be able to see it end but unfortunately having no end in sight.”

Savage Mansion ‘Third Lanark’

A band who have a seemingly irrepressible strike rate at the moment, Savage Mansion have unveiled the final track from their ‘Weird Country’ sessions of last year. Those who fell in love with that album and its warm, playful songwriting will naturally enjoy ‘Third Lanark’ which similarly eases its way into the subconscious with enticing melodies and thought-provoking lyrics. Described as “a meditation on the wealth that built Glasgow” and as one of their favourite tracks from the sessions, it also features some monster guitar work with one of their most triumphant solos to date.

Dylan Fraser ‘Vipers’ 

Another Scottish artist making his debut appearance today is Dylan Fraser who has unveiled his very first single ‘Vipers’. Having amassed a large online following thanks to posting a series of well-received covers and originals on his Instagram, the young singer-songwriter displays heaps of potential on this dark, effortlessly cool production – his soulful vocals delivered over a kinetic, continuously shifting instrumentation that sits somewhere between Billie Eilish and Young Fathers. With the arrival of ‘Vipers’, Dylan Fraser marks himself out as a popstar-in-waiting.

The Cribs ‘Running Into You’ 

Along with the announcement of their eighth album ‘Night Network’, The Cribs have shared their first new track in three years ‘Running Into You’. Following legal issues with their management company that began to threaten their immediate future, Dave Grohl invited the trio into the Foo Fighters’ studio over in LA where they recorded the new album alongside Foos engineer James Brown and frequent collaborator John O’Mahoney. Our first insight is this new track ‘Running Into You’ – a quintessential Cribs track that feels like a warm hug from an old friend. All fuzzy guitars and lilted vocals, it’s a welcome return from one of the UK’s most treasured indie outfits.

Marsicans ‘Ursa Major’

Marsicans’ debut album ‘Ursa Major’ may have been a long time coming but it has most certainly been worth the wait. A vital shot of indie-pop adrenaline, it’s an album that condenses the feeling of youthful, carefree summers spent in drinking in the park and camping in fields into sixteen fun, feverish and intimate tracks. We may have heard a few of these songs before but ‘Ursa Major’ is a product of relentless drive and hard graft over the last few years; an album that’s testament to their unwavering passion for their craft and determination to make it work. As expected, it’s absolutely full of indie bangers (‘Juliet’, Summery in Angus’, ‘Sunday’) but the album also takes some unexpected turns such as with the sombre, slow-building ‘Dr Jekyll’ that culminates in a thunderous finale, the devastating ode to lost love on ‘Somebody Else’s Touch’ and the intimate duet ‘Blood In My Eye’. Brimming with charisma, it’s a ride that never quite lets up – soaring from jubilant highs to moments of pause and reflection, staying true to themselves but also switching things up when they need to. More than anything though, it’s the sound of four musicians who love what they do and they want everyone to hear it.

Future Islands ‘Thrill’

Over the three years after the release of their last album ‘The Far Field’, Baltimore outfit Future Islands have finally announced details of its l0ng-awaited follow-up ‘As Long As You Are’. Slated for release on 9th October, the band’s sixth album has been described as a nod “to the past as well as the future, confronting old ghosts and embracing a new hope” and will feature last year’s swelling single ‘For Sure’ as well as the newly released ‘Thrill’. The new track finds the band in quite a sombre and reflective mood with Samuel T. Herring delivering an emotive performance against lush synth sounds and subtle R&B influences. Check it out below.

The Japanese House ”Chewing Cotton Wool’ EP

Amber Bain’s debut album ‘Good At Falling’ was a moving portrayal of insecurity and heart-break, revealed through a lens of bright, glistening and slick dream-pop that lived up to all the hype of her opening EPs. Just a year after its release and the singer-songwriter is back to that very format with the release of a new EP titled ‘Chewing Cotton Wool’. Featuring the previously released title track and ‘Something Has To Change’ from last year, the collection also includes two new offerings – ‘Sharing Beds’ and ‘Dionne’ which features an appearance from Justin Vernon of Bon Iver fame. The former is a mournful affair full of heavily-processed vocals and subtle piano lines while ‘Dionne’ is another beautifully crafted track that speaks to the emotional depths of the EP. All shimmering electronics and hazy vocals, Justin Vernon is instantly recognisable as the pair fuse Amber Bain’s penchant for dreamy melodies with Bon Iver’s glitchy production style. A short but sweet addition to The Japanese House’s incredible back catalogue, ‘Chewing Cotton Wool’ marks yet another elevation on her meticulously crafted sound.

Sylvan Esso ‘Rooftop Dancing’

Sylvan Esso are gearing up for the release of their third album ‘Free Love’ with the release of another taster track called ‘Rooftop Dancing’. The track follows recent offerings ‘Ferris Wheel’ and ‘What If’ and finds them leaning harder on their folky influences than the dancey elements of their sound. A song about losing yourself in the moment, Amelia Meath sings softly and wistfully over a repetitive vocal sample as they take inspiration from New York City. They have said of the track ““Rooftop Dancing” is about the excitement of being part of a collective humming whole — a city that contains multitudes — with your small story shining softly amidst it.” Accompanied by a joyful video by Cheryl Dunn, the director added: “To me this song reflects the social climate of NY right now, its historical resilience to re-invent – to create new things from the discarded, to take back the streets, to not dwell on what you can’t do but to get excited about what you can do”.

Working Men’s Club ‘Valley’

After seizing our attention with the likes of ‘A.A.A.A.’ and ‘White Rooms And People’, Working Men’s Club have shared ‘Valley’ from their upcoming self-titled debut album, out on 2nd October. Described as “the most honest song on the record”, the track is an invigorating preview of what to expect, opening with an intoxicating mix of dancefloor rhythms and shimmering synth hooks before Syd Minsky-Sargeant enters the foray with his characteristically sharp, deadpan delivery. “Trapped inside a town, inside my mind” he proclaims over a heady instrumental that drives towards the six minute mark, flitting between Blur-like choruses and pulsating electronica that channels The Chemical Brothers. Inspired by the feeling of “growing up in a small town and trying to escape”, it’s a track that revels in hedonistic desire and swaggering confidence.

Biffy Clyro ‘A Celebration Of Endings’

Biffy Clyro’s latest album ‘A Celebration of Endings’ feels appropriately timed given that its loosely based around the idea that the world we once knew has irrevocably changed and we’re entering a new period of uncertainty. Similarly, the Kilmarnock trio find no comfort in safety as they release their ninth record – ‘A Celebration Of Endings’ may be unequivocally Biffy in its anthemic energy and blistering guitar riffs but they continue to take us down unpredictable routes and propel their sound to new heights of ambition across its 11 tracks. Opening with the visceral ‘North Of No South’, the record effortlessly shifts between energetic, crushingly heavy rock songs and emotionally poignant moments that feel particularly prescient against the backdrop of the pandemic and the political climate. Full of fresh ideas and in the mood to fully embrace their own absurdities, it traverses through the feral ‘Weird Leisure’,  slow-building piano ballad ‘The Champ’ which culminates in bass-propelled fury , the electronic-tinged ‘Instant History’ and arena-sized single ‘Tiny Indoor Fireworks’ with its choppy time signatures and singalong choruses. Having always prided themselves on pushing the edges of twisted hard rock alongside the radio-friendly anthems, Simon Neil is a man unleashed on album closer ‘Cop Syrup’ which morphs from 90s hardcore into an orchestral prog section. It’s a fittingly frenzied and joyous end to another triumphant album from the Scottish rock behemoths.

All Things Blue ‘White Lady Dogs’ 

India Coombs takes aim at gentrification on her latest single as All Things Blue. Inspired by the dissolution of her own community in Southern LA by outside forces, ‘White Lady Dogs’ arrives with a deep-seated disdain that we’ve not heard from the singer on recent singles ‘Dicking Around’ and ‘Chad’. While those songs were framed by the band’s quirky, dreamy soundscapes, this latest track pairs those blissed out sounds with the fury of punk –  Coombs pulls no punches in her depiction of the gentrification she sees around her with some of her sharpest lyrics to date.

Pillow Queens ‘Holy Show’ 

Dublin outfit Pillow Queens are gearing up for the release of their eagerly anticipated debut album ‘In Waiting’, out on 25th September. Known for channeling wrought emotion through an enticing mix of 90s grunge, punk and bedroom pop sounds, ‘Holy Show’ follows recent singles such as ‘Brothers’ and ‘Handsome Wife’  and marks another deeply moving addition to their catalogue. Bearing the hallmarks of previous material with prominent guitars, solid drums and poetic lyrics, the track is doused in melancholy and angst – as if the instrumentation carries the weight of the ‘what-could-have-beens’ circling in Pamela Connolly’s lyrics. They say “Holy Show” is a song that relays the feeling of regret and insecurity about past words spoken and actions taken, even when they’re ultimately meaningless. The song tries to articulate the heavy burden of being the only person who is concerned about the minute details of how you present yourself to the world.”

Exploring the crippling nature of self-consciousness and the process of discarding shame, all it takes is one  final act of catharsis to leave us feeling a bit more optimistic as the gentle track gradually builds to a soaring finale with a climbing guitar solo and sweet choral harmonies.

IDLES ‘Model Village’

IDLES have given us another taster of their upcoming third album ‘Ultra Mono’ with the fast and furious ‘Model Village’. Joe Talbot takes aim at small-town Britain and the close-minded ideals that permeate it in typically unflinching fashion against barbed guitars and a driving drumbeat. It’s the kind of seething display we’ve come to know and love from the Bristol punks with Joe Talbot saying of the track “I hated growing up in a city that was really a town that was really a fishbowl. I left as soon as I could, only to realize the fishbowl didn’t exist… just the fish, and they’re everywhere.”