These Fresh Faves were picked by our readers over the weekend – and reviewed by Fresh On The Net’s THOM HARRISON this week. You can hear all these tracks in a single Soundcloud playlist here.

A word from Del:

Hi everyone this week’s faves were written by new kid on the block THOM HARRISON, this is his first set of faves…

Take it away Thom!

What an absolute privilege to be tasked with reviewing such a stellar set of Fresh Faves for my debut. From diverse genres to compelling messages and inventive instrumentation, these tracks are united by one key element: Undeniable quality. The artistry, lyricism, and irresistible sonic appeal of this week’s top ten are a true testament to the talents of these rising artists. I’m thrilled to share my thoughts on this collection and celebrate the well-deserved attention they’re receiving in the wider world of music.

AISHA BADRU – Side Of The Moon

Originating from Yonkers, New York, Nigerian-American singer-songwriter Aisha Badru is a rising star in the indie folk and soul scene. She is known for blending personal, reflective lyrics with atmospheric soundscapes. With previous releases such as Pendulum (2018), she gained attention for her emotionally vulnerable songwriting and minimalist yet lush arrangements. Co-written and produced with Handsome Ghost’s Eddie Byun and Tim Noyes, “Side of the Moon,” her latest release—taken from her upcoming second album The Sun Still Rises, out on November 29 via Nettwerk—captures the same meditative quality that has drawn comparisons to artists like Daughter and Joni Mitchell. Her music has garnered support from outlets like NPR Music, Okayplayer, The Line of Best Fit, Afropunk, Clash, and Ones to Watch, as well as appearances at various festivals and intimate live shows.

“Side of the Moon” is anchored by a soothing acoustic steel-string refrain, layered with soft, clean electric guitar enhanced by reverb, chorus, and a gentle delay. The track’s delicate arrangement mirrors its thematic content, with Badru’s silky vocals delivering cosmic metaphors about resilience and self-affirmation. Her voice effortlessly hovers over a dreamy backdrop, pulling the listener into a reflective journey right alongside her, as she takes this “trip across the galaxy.” The production remains simple yet deeply impactful, allowing each element to breathe and contribute meaningfully to the song’s atmosphere of gentle determination and calm introspection—much like a quiet night under the stars might allow us to organise our thoughts and quieten our minds.

Badru weaves cosmic imagery with messages of personal strength and purpose. She sings, “Saw your name written on the side of the moon / It’s almost like somebody made this place for you / Like it’s all for you,” offering a sense of comfort and reassurance. The lyrics touch on the idea that we are not only a part of the universe but that we are the universe itself—a sentiment perfectly captured by the 13th-century Persian poet Rumi: “You are not a drop in the ocean, you are the ocean in a drop.”

In the chorus, the lines “You are here / You have a purpose / Your heart is hurting / But it will be worth it” beautifully capture the theme of resilience amidst struggle, encouraging the listener to trust the process of healing. The second verse mirrors this sentiment with lines about overcoming emotional turmoil, such as “The waves are big and the air in your chest is gone / But you will find a way out like you always do.” These lyrics are not only poetic, alluding to the physical breathlessness that often accompanies mental anxiety, but also deeply motivational, making the listener feel capable of weathering any storm.

Reflecting on the song, Badru has said: “This song is about having faith that everything happens in our lives for a divine purpose, and that everything we go through leads us toward wholeness and healing, which in turn contributes to the wholeness and healing of the world.”

As Beethoven once said, “music is the mediator between the spiritual and the sensual life.”

“Side of the Moon” beautifully exemplifies this sentiment and speaks to Badru’s deep connection with her craft. Personally, I find the track captivating, embodying the serene, reflective quality that makes Badru’s music so engaging.

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BAND SPECTRA – Bizarre & Temporary World

This next track serves as a perfect contrast to Aisha Badru’s reflective tone. In “Bizarre & Temporary World,” Band Spectra explores unsettling themes of alienation and disconnection that resonate in today’s society.

Known for blending electro-pop with alternative rock, Band Spectra delves deeply into existential themes, pushing the boundaries of both sonic experimentation and lyrical depth. Drawing comparisons to Nine Inch Nails and post-Kid A Radiohead, their latest track reflects a commitment to challenging conventions within these genres.

Recently featured on BBC Radio 6 by Huw Stephens, “Bizarre & Temporary World” is a collaborative project led by Robert Manning, who performs under the moniker Band Spectra. The track features vocals by Olivesque (aka Olivia Rees, lead singer of the Manchester trio Nightbus), mixing by producer Dave Sanderson, and mastering by Sam Proctor of Lismore Mastering. The artwork is provided by Kelly Wilder.

The song opens with swirling synthesizers and a pulsating, bass-heavy beat, instantly creating a dystopian atmosphere that draws the listener in. Haunting, detached vocals amplify the track’s exploration of alienation and impermanence. As the song progresses, echoic, sharp laser-like synth notes and staccato digital sounds—reminiscent of Gary Numan’s mechanical, cold synth work—add texture, while the bassline gradually builds in intensity, driving the song’s sonic complexity. The high production quality ensures that every element, from the vocals to the precisely placed, almost discordant synths, feels crisp and immersive. The fragmented, uneasy nature of the synths reflects the fractured and disconnected state of modern life, enhancing the track’s exploration of societal alienation, making the listening experience all the more compelling.

Lyrically, “Bizarre & Temporary World” captures the fragility of existence and the disconnection inherent in modern life. Lines like “We’re all cogs in a machine, spinning round in circles unseen” highlight the existential crisis at the heart of the song. More personal reflections, such as “I reach out but can’t hold on to anything,” emphasize the fleeting nature of human experience and the difficulty of forming lasting connections in an increasingly detached world.

The chorus, with lines like “If I’d known you’d be the death of me, I’d have run back to serenity,” is juxtaposed with the insistent question, “What are you waiting for?” This internal conflict builds both lyrically and sonically as the song progresses, with overlapping vocals and swelling instrumentation contributing to a growing sense of claustrophobia. The chorus is particularly catchy, mirroring how anxious thoughts can often loop and catch in our minds, despite the track’s darker, introspective themes. The result is a soundscape that feels disorienting and tense, like being trapped in an echoic chamber of anxious thoughts—yet all of this is delivered with a synth-pop backing that makes it just as engaging as it is thought-provoking.

All in all, “Bizarre & Temporary World” is a brilliant piece of music and a potent social commentary, with high production quality that enhances its emotional impact.

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FANSANDRO – Onyx

Known for blending uplifting melodies with thoughtful lyrics, FanSandro delves deeply into themes of personal struggle and the desire to reclaim joy in life. Their track “Onyx” demonstrates a commitment to layered instrumentation and emotional depth.

FanSandro is the collaborative project of childhood friends Mike ‘Ivan’ Clarke and Alex ‘Sandro’ Smyth, members of the London band Nolita View. Recently releasing their album Ease Up On Yourself in July, they’ve spent the past two years refining their sound in Mike’s studio in Battersea. Previous accolades include airplay on BBC Radio 1 as an unsigned artist, along with regular airtime on BBC Radio 6 Music, and support from indie platforms like Kool Rock Radio.

“Onyx” opens with layered electric guitar lines—one playing a consistent but slightly muted strumming pattern, while the other introduces a syncopated rhythm with staccato chord stabs, plucked rather than strummed. This blend creates a driving, off-kilter momentum in the verses, enriched by a minimal yet effective bassline and an airy stream of synth flowing throughout. The vocals are soft, conveying a sense of downtrodden introspection that matches the song’s contemplative tone.

The chorus bursts in with a cymbal crash, as if signalling a call to action, aligning with lyrics that express a desire to regain control after a period of disruption. Lines like “But I don’t want to waste more time, I want to draw a line and try to get back.” capture the internal struggle between the yearning to improve one’s life and the temptation to give up. The triumphant drums towards the end amplify this feeling of resolve.

The post-chorus outro delves deeper into this emotional conflict:

“Tired eyes and I’m feeling out of sorts
Lie down this is nothing like I thought
Get back, get back”

This internal conflict builds as the song progresses, both lyrically and sonically, with overlapping vocals and swelling instrumentation. A short but impactful guitar solo leads into the outro, carried by the persistent drum and cymbal line, leaving the listener with a sense of both closure and lingering contemplation.

“Onyx” holds particular significance for the band. Alex shared with me that it was the first song he wrote after a significant breakup. Isolated in a South London flat, a visiting cat named Onyx became an unexpected comfort during this difficult time. This inspiration not only shaped the song but also informed the album’s title. “It’s sort of about a battle between wanting to try and sort out your life and wanting to give up,” Alex reflects. “And also about not wanting things to be so serious—which feeds into the name of our album, Ease Up On Yourself.”

“Onyx” is a brilliant piece of music that resonates on both a personal and universal level, marrying thoughtful lyricism with a rich musical landscape.

Featured below, courtesy of Alex – a dashing picture captured of the titular Onyx:

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MAX BIANCO – Sometimes

A Quick Preface:

Max Bianco’s “Sometimes” is my track of the week. I’m conscious of the length of this particular review (even though I could write more). Hopefully, if you listen to this track, you will understand why I have been set alight with admiration for this artful piece of music. This review takes on a slightly different structure to the others as a result, and I indulge a little more in some personal reflection.

Intro:

There is a certain ineffable quality to some music that defines my all-time favourite artists—Nirvana, Nick Drake, Nina Simone, Joy Division, to name a few. These musicians possess an unwavering, palpable authenticity that feels painfully sincere. Listening to Max Bianco’s “Sometimes,” I was immediately struck by the presence of this very quality.

Bianco, from the Northeast of England, is steadily garnering the recognition he deserves in the indie folk scene with his poetic storytelling and emotive melodies. His journey as a self-taught musician, learning to play on a three-stringed acoustic guitar, led him to busk across the UK and Europe. Comparisons to Bob Dylan are inevitable, especially given his vocal delivery and stripped-back instrumentation.

Bianco described his song upon its recent release:
“It’s a very honest and naked song, and it makes me feel vulnerable to get this song out, but it had to be done, and it had to be done right. It’s taken a lot of time to prepare.”

The Lyrics of Bianco’s “Sometimes”
Firstly, I’d like to focus on his lyrics. I couldn’t find any official external sources that provided them, but Bianco’s voice is so clear and central in the mix that I think (fingers crossed) I’ve got it 90% right (apologies if not, Max).

A deeply introspective exploration of themes like isolation, the complexity of mental health struggles, the impact of both externally and internally-imposed pressure and the anxieties it creates (famously explored by the classic Bowie and Freddie Mercury collaboration), societal judgment, the desire to more comfortably navigate a world that is often overwhelming and unaccommodating, and despite it all, maintain the capacity for empathy—this track is a perfect example of how vulnerability can be a very powerful artistic tool.

The song’s narrative opens with the first appearance of the recurring motif of isolation, and an allusion to the very human desire to be seen, remembered – to feel significant in a way that I think is more about connection and belonging than feeding the ego:

“There’s an empty room, and a man that was brave.
There’s an empty space from a man they could not save.
He’s just another name; I feel his pain.”

Along with lines like “Hiding in the same four walls,” and “Sometimes it’s just too hard to leave my room,” the reluctance to “meet all the strangers outside” thinking he’d “be able to keep [him]self discreet,” the singer has a preference for the safety offered by solitude; despite wanting to experience the beauty of the world (“I see the colours of the rainbow”) – the painful parts of social exposure and judgement are often too strong a deterrent: “I touched the door; Reminded me of all the bad times before.”

Moments of attempted freedom arise, symbolised by “One time I tried to grab the jailer’s key” and “I tried to paint the trees in bloom,” though these efforts seem thwarted by internal struggles. This physical and emotional isolation is compounded by anxiety, as seen in “Waiting for the clock to crow for my mind to implode.” There are several potential interpretations of this line, but what first comes to me is the suffocating feeling of anxiety generated by any kind of impending deadline, whether imposed by others or ourselves.

Although the repeated admission that it’s “too hard” to engage with the world reflects the narrator’s deep exhaustion, there are tools he equips in order to do so – namely, a metaphorical armour provided by a particular coat that offers a comforting degree of emotional (as well as physical) insulation:

“So I wear my coat,
Every time I’m outside and people stare and wonder why,
Most of the time my coat’s too thick or the knife’s too blunt to hurt me inside.
But sometimes, sometimes…”

As if I needed any more convincing of the real honesty and soul-bearing nature of the song—during my research, I often found Bianco pictured in a particular coat. As someone who makes very conscious choices about how I dress and the way it affects my mind and capacity to exist in the outside world, this metaphor was especially moving.

The narrator oscillates between moments of clarity and darkness, reinforcing the emotional complexity of the song. Despite these personal struggles, the narrator demonstrates empathy toward others, with lines like “If you fall, I’ll do my best to catch you.” And then, the song comes to a powerfully hopeful conclusion:

“Sometimes I find the strength to keep going on, I’ll see you dancing by the morning sun.”

The resilience and hope that glimmers amidst the pain will prevail.

Production and Musical Components

Recorded at The Albion Rooms in Margate—a creative space owned by The Libertines—the track benefits from the expertise of engineer Jason Stafford and producer Mark Pickering. The clarity and balance of the production allow the raw emotion at the song’s core to shine.

The way Bianco plays the guitar in this song especially caught my attention—and admiration. As a browser of ‘guitar communities’, I’ve found the instrument commonly referred to as an “axe”. Perhaps cliché—but for me, the object that would serve as a more apt metaphorical stand-in is the paintbrush, with its potential for an infinite range of palettes. At the risk of sounding pretentious (I’m by no means an art historian or expert), I find “Sometimes” evocative of the same melancholic tones as one of my favourite paintings: Picasso’s The Old Guitarist from his Blue Period. But make Bianco the musician in Picasso’s painting instead, and from the sound hole of his guitar, we might glimpse a glowing, growing glimmer of light. Bianco expertly harnesses the guitar’s capacity for dynamic variation; the rise and fall of its volume mirrors the emotional arc of his narrative beautifully. A fine demonstration of how strumming patterns can be just as expressive and impressive as intricate fingerpicking.

The Dylan-esque minimalist arrangement allows for subtle yet impactful instrumental contributions, such as Fabian Boomer’s double bass and Sean O’Hanrahan’s piano. These elements enhance the song’s texture without overshadowing its raw emotional core. As the song progresses, the piano gradually takes on a more prominent role, mirroring Bianco’s emotional journey. It begins to explore more intricate melodic lines, as though released from constraint, much like Bianco freeing the contents of his psyche, like a valve slowly releasing pressure.

Adding to this, the guitar strumming in “Sometimes” shifts dynamically throughout the song, offering contrast between moments of vulnerability and resolve. Early in the track, the guitar is played with a soft, almost hesitant touch, enhancing the introspective tone. As the song builds, Bianco intensifies his strumming, filling out the sonic space in moments of emotional release, particularly in the chorus, where the guitar becomes a central driving force. This dynamic play between soft and strong strumming amplifies the emotional highs and lows, reflecting the internal battles detailed in the lyrics.

The use of the piano and double bass is subtle yet crucial to the song’s depth. The piano, which begins as a gentle undercurrent, rises to prominence as the song evolves, echoing Bianco’s growing sense of self-awareness and release, reminiscent of Nick Drake’s powerful incorporation of the piano in songs like “Pink Moon.” Meanwhile, the double bass serves to ground the track, providing a gentle yet persistent pulse that mirrors the song’s steady emotional build.

What’s Next for Bianco, and a conclusion:

Earlier in the review, I mentioned that The Libertines have personally invited Bianco to support them on their upcoming tour—a testament to the growing recognition of his talent. This endorsement speaks volumes about his potential and the quality of his music.

“Sometimes” is a profound and moving piece of music that balances vulnerability with strength. Max Bianco’s ability to turn personal struggles into universally relatable art is a rare gift, and this track leaves a lasting impression on those who hear it.

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NX PANTHER FEATURING NEITAN LION – Man In The Moon

Released on September 6, 2024, “Man in the Moon” marks a dynamic collaboration between UK-based NX Panther and the rich-toned Neitan Lion, under the production of Wana Benjamin. This track blends Afrofusion, Dancehall, and Afrobeats, delivering a sound both fresh and deeply rooted in African and Caribbean rhythms. Known for her distinct grime flow and genre-blending style, NX Panther continues to expand her sonic palette with “Man in the Moon.”

NX Panther has seemingly (and understandably) become a Fresh on the Net favourite. The artist performed this song at the recent Fresh on the Net Live event, and the track has already been featured on Del Osei-Owusu’s Islington Radio Show and Neil March’s Trust the Doc Radio Show on Exile FM. It has quickly gained attention for its clever lyricism and infectious beats. NX Panther’s style, described as “energetic, fun, and easy to engage with,” shines brightly here, solidifying her place among VEVO’s top 10 UK rap artists, alongside names like J Hus and Manga St Hilaire.

The song opens with classic Afrobeat-inspired instrumentation, setting the tone for what’s to come. Neitan Lion’s smooth, rhythmic vocals are the first to grace the track, providing a rich and grounding presence in the chorus. His voice pairs effortlessly with NX Panther’s high-energy delivery in the verses. Their contrasting vocal tones create a catchy and dynamic interplay, particularly in the chorus, where Neitan Lion’s deeper vocals balance out NX Panther’s lighter, more melodic flow.

Lyrically, NX Panther stays true to her signature sharpness, with lines that reflect both her confidence and playful wit. In the opening verse, she introduces herself with a bold swagger:

“Something you need to know about me
I’m high profile but I’m low key
Yeah it’s naturally curly
So you know this tune is wavy.”

Her delivery is marked by clever wordplay and rhythmic agility, making the track stand out beyond its danceable beat. The well-constructed, infectious rhythm keeps the listener engaged.

The second verse continues this theme with standout lines like:

“And when I enter the room
They all wanna put their flag on the moon.”

It’s a testament to her commanding presence and self-assurance, reinforced by her evolving “Pantheress” persona, a character defined by grace, strength, and mystery.

Neitan Lion’s contribution is equally compelling. His vocal agility and rhythmic command provide a counterbalance to NX Panther’s sharp delivery. His deep, resonant tone adds richness to the song, complementing the smoothness of the melody and lending an extra layer of depth.

Musically, “Man in the Moon” is a masterclass in genre fusion. The Afrobeat intro transitions into a vibrant blend of Afrofusion, Dancehall, and subtle electronic elements. Wana Benjamin’s production is polished yet lush, allowing the vocals and instrumentation to breathe, while maintaining a pulsating energy that drives the song forward.

“Man in the Moon” is a vibrant, confident track that showcases NX Panther’s distinctive style alongside Neitan Lion’s rich vocal presence. With its clever lyricism, catchy melodies, and expert production, the track solidifies both artists as exciting voices in the Afrofusion and Dancehall scenes. It invites listeners to dance while leaving them to reflect on the wit and charisma behind each lyric.

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RUNNER UP – Curriculum Vitae

Bristol-based multi-instrumentalist Dave Huntriss, the creative force behind Runner Up, has crafted a quirky, high-energy ode to the mundanity of job-seeking with his latest track, “Curriculum Vitae.” Released on August 23, 2024, this single marks the third offering from the Runner Up project, which showcases Huntriss’s talent for blending indie rock with observational, often humorous lyricism. Contributions from members of Bristol’s thriving music scene, including Nicholson Heal and Muncle, add to the offbeat and relatable take on the frustrating process of selling oneself in the job market.

The track opens with a cheeky monologue, resembling the polite pleasantries of a job interview. You hear the applicant—perhaps a version of Huntriss himself—rattling off personal details like academic qualifications (5 A’s, 4 B’s, a D in an IT course), work history, and a list of generic job-ready skills. Set against a driving instrumental backdrop, the frantic energy of the song perfectly mirrors the pressure and repetitive nature of completing job applications. The clever use of vocal effects employed (pun intended) at the right moments, making the singer sound as though he’s speaking through a phone – or perhaps the interview is an online one, enhances the theme, placing the listener directly into the uncomfortable space of a job interview.

Musically, “Curriculum Vitae” strikes an intriguing balance between sharp, spiky guitar lines reminiscent of early The Strokes and a punchy rhythm section that propels the song forward. The arrangement builds in intensity as the track progresses, layering guitars and drums into a full, rich sound that culminates in a powerful crescendo.

By the end, the chorus of:

“I work well in a team, as well as on my own.
My administration skills are exemplary”

becomes an earworm—likely the oddest refrain you’ll catch yourself humming while waiting for the bus or opening the fridge.

Top-notch production quality allows the track to shine. It boasts a brilliantly clean yet full-bodied sound, expertly mixed by Andy Monaghan of Frightened Rabbit. Every element—whether it’s the tight guitar riffs, the bass groove, or the subtle keyboard lines—feels perfectly balanced. The production’s attention to detail is especially evident in the way the instruments gradually layer throughout the track, building tension before bursting into the song’s climactic final section. The use of space in the mix allows each instrument to shine without overpowering the vocals or losing the song’s kinetic energy. It’s polished without feeling overly slick, retaining a rawness that complements the indie rock aesthetic.

The final moments of the track see the song reach a playful climax, with a drum fill leading into a cathartic bridge where the chorus, featuring harmonies from Ellie James and others, joins Huntriss’s deadpan delivery. Huntriss continues to weave absurdist but relatable reflections on modern employment, bringing a refreshing wit to a topic that’s often treated with little humour.

What makes “Curriculum Vitae” stand out isn’t just its clever lyricism but the sheer energy that drives the song. Huntriss and his bandmates never let the momentum drop, keeping the listener engaged as the instrumental sections build towards a rousing finish. It’s an anthem for anyone who’s ever awkwardly justified their worth to an employer while secretly wondering if they even believe it themselves.

Runner Up may be a modest name, but “Curriculum Vitae” proves that Huntriss and his bandmates are worthy of far more than a second interview. With a debut album on the horizon, this project is one to keep your ears on.

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SKI LIFT – Have Fun, Make Friends

Ski Lift, the energetic indie-rock trio fronted by Welsh songwriter Benji Tranter, returns with “Have Fun, Make Friends”—a track that perfectly encapsulates the band’s energetic charm and knack for catchy indie-rock. With Elizabeth Walsh on bass and Adam Fletcher on drums, the band blends their signature sound, mixing classic indie rock with a playful, laid-back feel that’s both fun and introspective.

Since forming their current lineup in 2021, Ski Lift has been steadily building momentum, with support from radio legends like Fresh on the Net creator Tom Robinson (BBC 6 Music) and Huw Stephens (BBC Radio 1), as well as editorial playlists like Fresh Finds and Feel Good Indie Rock. Their music has also found its way to TV, being featured on Channel 4’s Made in Chelsea, further expanding their reach. Known for their blend of heartfelt lyrics and sing-along-worthy hooks, Ski Lift has become a rising force in the UK indie scene, crafting songs that resonate both emotionally and sonically.

“Have Fun, Make Friends” opens with a syncopated shuffle rhythm—kick, snare, and wood block—that sets a propulsive groove. As the first guitar mirrors this rhythm, the track builds momentum while retaining a laid-back vibe. A spacey lead guitar soon enters, drenched in reverb and chorus effects, creating a textured soundscape that complements the playful yet reflective lyrics.

Lines like “Don’t put your back out trying to do something hard” encapsulate the song’s easy-going philosophy, making the repeated refrain “Have fun, make friends” feel like a mantra for enjoying life without overcomplicating it.

The track builds gradually, with harmonies and ear-tingling rhythmic guitar layers that provide depth and drive the song to its uplifting finale. By the time the final chorus arrives, the harmonies, crashing cymbals, and vocal runs that deviate from established pattern, leave a lasting impression. The closing repetition of “make friends” brings the track to a satisfying conclusion, with a feel-good energy that lingers long after the song ends.

“Have Fun, Make Friends” is a brilliant indie-rock track that blends nostalgia for 2000s indie with fresh, modern production. The syncopated rhythms, clever guitar layers, and thoughtful lyrics make it a standout entry in Ski Lift’s discography—one that will undoubtedly stick with listeners long after the first play.

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SUNSTACK JONES – Luminous Hands

Following the success of their 2020 release Golden Repair, which garnered praise from outlets like Mojo and Shindig!, Liverpool’s Sunstack Jones continues their upward trajectory with “Luminous Hands.” With support from tastemakers like Steve Lamacq at BBC 6 Music and collaborations with artists such as Simon Jones (The Verve) and Tan Cologne, the band has firmly established themselves in the indie and psychedelic rock scenes. Their music consistently draws attention for its lush soundscapes and emotional depth, blending classic influences with a modern edge.

“Luminous Hands” opens with shimmering, reverb-soaked guitars and laid-back rhythms, reminiscent of Galaxie 500’s dreamy expansiveness but with a grittier, more grounded edge. While the track evokes ethereal, spacey qualities, it also channels the hazy atmospheres of The Brian Jonestown Massacre, known for their psychedelic layers and lo-fi sensibility, particularly in the gradual buildup of fuzzy guitar textures.

The song’s repetitive lyrics, such as “Follow the rain to the river / Back to the sea,” complement the atmospheric music, creating a meditative, almost hypnotic effect. These simple yet evocative lines reflect the journeying quality of the track, as the instrumentation mirrors this fluid movement with its slowly building layers.

Musically, “Luminous Hands” progresses with understated percussion, deep bass, and layers of shimmering guitars. As the song evolves, fuzzy and overdriven guitar tones gradually enter the mix, growing into a wall of sound. These raw, distorted tones contrast with the earlier ambient passages, adding emotional weight to the track. This dynamic is reminiscent of bands like My Bloody Valentine, though Sunstack Jones uses these effects sparingly, heightening the song’s impact without letting distortion dominate the sound.

The balance between delicate introspection and raw power is what makes “Luminous Hands” so compelling. The gentle, reverby guitars give way to moments of intensity as the song builds to a crescendo, culminating in a multi-instrumental surge that feels both cathartic and expansive. This combination of atmospheric lightness with gritty, distorted moments is another hallmark of bands like The Brian Jonestown Massacre, who similarly blend psychedelia with rawness.

“Luminous Hands” is a masterclass in creating a soundscape that feels both intimate and expansive, a hallmark of Sunstack Jones’ unique blend of Northern classicism with a cosmic, Americana twist. For fans of Galaxie 500, The Brian Jonestown Massacre, or anyone who enjoys richly layered, atmospheric music, this track is a must-listen, seamlessly combining timeless indie traditions with a modern, forward-looking touch.

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THE SILVER LINES – Watch Yourself Boy

Birmingham’s alt-rock quartet, The Silver Lines, brings gritty energy and punk-driven intensity in their track “Watch Yourself Boy,” taken from their latest EP “…And The Lord Don’t Think I Can Handle It.” The song encapsulates the band’s signature high-octane sound, built around a driving four-note structure with biting guitars and a fast-paced bassline that gives the song its unrelenting momentum.

Lyrically, the song explores the allure and pitfalls of the rock ‘n’ roll lifestyle, reflecting on its excesses and consequences. The raw, rebellious vocal delivery, particularly in lines like “Look at me now mommy and dad, this is a life you’ll never have”—a clever homage to The Runaways’ “Cherry Bomb”—adds an extra layer of defiance. However, while The Runaways fully embraced the rock ‘n’ roll lifestyle, The Silver Lines offer a word of caution. The refrain “Watch yourself boy” serves as both a warning and a mantra, cautioning against losing oneself in the rock star fantasy.

Produced by David Radahd-Jones, the track shines with raw energy, marked by its simplicity and effective use of light and shade. The production ensures the song’s fast tempo and infectious energy translate perfectly into their live performances, which have garnered attention across Europe. The Silver Lines have evolved their sound to focus on what resonates with live audiences, balancing ferocity with introspective commentary on the consequences of the lifestyle they critique.

With its biting humor, thought-provoking lyrics, and undeniable energy, “Watch Yourself Boy” solidifies The Silver Lines as a band that pushes the boundaries of indie and alt-rock while staying true to their punk roots. Whether blasting from your speakers or in a packed venue, this track is a powerful statement from a band on the rise.

The Silver Lines continue to gain recognition, having played on major stages across Europe and received support from BBC Radio 1, BBC Radio 6 Music, Radio X, and Spotify editorials. The band has performed at major festivals such as France’s Trans Musicales and New York’s New Colossus Festival. With a growing fanbase and a reputation for delivering electrifying live shows, “Watch Yourself Boy” is further proof of their potential to make waves in the indie rock scene.

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ZOE KONEZ – Yeah I Know

British singer-songwriter Zoe Konez delivers an emotionally intimate and soothing track with “Yeah I Know,” released on August 2, 2024. Konez, praised by Tom Robinson of BBC Radio 6 for her “understated acoustic guitar brilliance & forensic songwriting precision,” blends indie-folk and ambient acoustic styles, capturing personal reflections through warm, layered vocals and intricate guitar lines. Based in Brighton, she has steadily gained recognition in the UK indie scene.

“Yeah I Know” reflects on the anxiety of worrying about loved ones and finding peace amidst those fears. Known for blending acoustic warmth with ambient, multi-layered vocals, Konez taps into vulnerability through delicate guitar fingerpicking and harmonies.

The lyrics focus on small, relatable fears like “I don’t like you driving fast” and “you don’t like hospitals,” before evolving into something more hopeful. The repetition of “Yeah I know” becomes a comforting refrain, almost like self-assurance. Konez explains that writing the song was therapeutic, transforming her own feelings from fear to peace:

“I started the song feeling anxious about the ‘big bad world,’ but by the end, the slow, gentle pace and hypnotic melodies helped the lyrics come to a peaceful, hopeful place.”

Her minimalist acoustic production, with layered harmonies and subtle instrumental dynamics, allows Konez’s vocals and guitar to carry the emotional weight of the track. Her harmonies flow with tenderness, reminiscent of early Sufjan Stevens, and the repetition of the chorus adds a lullaby-like comfort, making the song feel deeply personal.
Following the release of “Yeah I Know,” Konez continued to build momentum with the release of “This Utopia.” Both songs highlight her ability to deliver personal narratives with emotional clarity. The music video for “Yeah I Know,” created by @heygirlmagazine, enhances the song’s introspective and calming mood.

For more music, listeners can explore “Yeah I Know” and “This Utopia” across streaming platforms and view the accompanying video, which visually complements Konez’s reflective songwriting and comforting soundscapes.

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PS from Del: If you’ve submitted a track that hasn’t been picked for the Listening Post, our team has definitely listened to it and there’s no need to send it again: feel free to send us an even stronger track another week. The same goes if you were picked for the Listening Post but didn’t feature in our Fresh Faves.

But if we’ve recently featured you in our Fresh Faves please wait three months before sending us another track, so we have space to help other deserving artists… For more info see Robinson Has A Good Old Moan.