Keith

Up in the Clouds

If you want a suggestion for a band to see while you still can, rather than diving onto the internet as soon as their live gigs are announced, take a tip from me and check out Keith. Their second album is now finished, and by what I've heard here, is about to blow the collective socks off the Manchester music scene. Their inventive and varied sound is tremendously infectious and if there's any justice should be heard by as wide an audience as possible. So highly regarded are their musical abilities that they were recently seen backing French superstar Sebastian Tellier, and performed with former Can front-man Damo Suzuki. High praise indeed.

Jennifer Taylor

Oasis

Shock of Lightening

"Toniggggghht" arguably the most repeated word in Noel Gallaghers repertoire, and lord and behold from the first song on Definitely Maybe to the lead single on Dig Out Your Soul it appears again. Having said that, the similarities to songs on Definitely Maybe are abundant: the immediacy and vitality, the pedantic drumming and of course the suppressed vocals of Liam. It's instantly recognisable as an Oasis "choon" and it ponders whether they can escape this similar sound in the future. Personally they've had fourteen years too long to escape and nothing they can provide will change that. When they do it effectively you have classics, when they don't then you have Standing On The Shoulders Of Giants. Again the single isn't going to push them to the top again but as usual there's nothing to enlighten you.

Sean Stanley

Steller

What you Believe

Inoffensive sounds, clean shaven vocals and a tidy haircut of musical offerings make up Steller – the indie four piece from Macclesfield. Exploring that saturated sanitised indie pop sound the band have got a tough job of trying to soak up some of the excess water from the genre, but they're doing alright. The single 'What you believe' is well produced and with a catchy melody and chorus is easily better than most unsigned singles released from the genre. This is solidified with a tight structure, flow and accompaniment which is complimentary bordering on faultless. All in all, an organised memorable single which is a gateway into more of same, if you're interested.

Adam Adshead

All The Kings Men

Peterloo

A slick, angst ridden Indie Pop tune, rich on style and influence. Featuring elements of Ska, lashings of Hard-Fi, a big hook chorus and one instance of crude language this tune is commercially clever with a big appeal. Preaching to the beat like Reverend and the Makers, and not unlike Oasis during their late 90's pomp. This hasn't dated the sound; in fact Peterloo is a track surprisingly refreshing to hear. This bemoaning song about the pleasantries of a 'Mancunian Summer' has all the elements needed to be a big crowd pleaser. Full of attitude and spark.

Nick Sell

The Old Romantic Killer Band

You Don't Know How to Love

Even ahead of the release of their debut single, this guitar and drums duo from Leeds have been racking up some impressive connections that have yielded a support slot with US surf-punk outfit Black Lips and even a spot at South By South West. There's an admirable brevity to the songs and they don't really suffer from the limited musical template that so often scuppers this kind of set up - the swaggering, loose-limbed playing of drummer Bunse is key to their sound, with Harry Johns' guitar just about managing to keep pace, the bluesy Led Zeppelin thrusts on B-side 'Things to Come' especially effective. Johns' thin, reedy voice isn't very convincing as a vehicle for the seething lust that inspires his lyrics though.

Johnny Ersatz-Culture

The Coral

Being Somebody Else

I feel a little guilty writing such a glowing review of this song, as it pricks my conscience over the fact I've neglected The Coral over the last few years. Whilst I took my eye off the ball, they've developed into one of our finest bands. It's not been all that easy for them, and they have had to do some serious soul searching to get to where they are now, almost calling it a day in the process. This really is a great song in a long line of similar quality tracks from Hoylake's most famous sons and is released to showcase their new singles collection.

Chris Xenra

The Whippets

It's Nice To Pretend

I honestly think that bands would be better served by not releasing ludicrous PR material that makes (presumably drunken) boasts they can't possibly make good on. Wakefield's The Whippets, on their merits, are a perfectly adequate indie rock band, so why do they antagonise me before I've even heard them? Musically The Whippets don't look like such a bad proposition, combining the non-lyrical vocals that have served The Cribs so well with pretty guitar parts and the now customary abuse of the hi-hat. In terms of songwriting I think they are still someway short of the mark but given time they may just be worthy of such a histrionic press release. Until then, leave it out yeah?

Chris Wood

Run Hide Survive

Dyson

Since the seventies, Sheffield has a strong tradition of producing cutting edge electronica. Run Hide Survive have picked up that baton and run with it all over town They are Luke Adey-Rennard and Mike Forest during daylight hours, but by night they have been assaulting our local dance floors with their dark techno sound. I would even dare to say techno noir, if that actually meant anything. You cannot fail to appreciate the groove of their bagless-vaccum cleaner tribute song, and Pigeon is a similar slice of electronic mayhem.

Vivian Bonzo

The Conspirators

One Sure Thing

Whether guest vocalist Judy Dyble's impeccably enunciated, reedy voice is a good match for the pulsating straight ahead rock number that is 'One Sure Thing' is a matter of opinion. I'm going to say it isn't, although it's hard to see what could make this song stand out from the crowd. It feels rhythmically charged and full of pent up energy, but instead of exploding it just circles round and round like a hyperactive child. 'Take Me To Your Leader' is more exciting but inexcusably clichéd, meaningless lyrics taking the shine off an otherwise promising composition. Imagine a group of first year drama students writing an unintentionally camp musical about alien invasion – this would be their title song. Final track 'Connected' has a good Depeche Mode tune lurking in there somewhere, but it's also incredibly earnest, slow and over-produced.

Alistair Brown

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