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

Sherry: I’m really happy to be writing this week’s Fresh Faves with Neil. This week turned out to be a surprise for us, but a good one. We jumped in to help Tony with a last-minute swap, and I’m actually glad it worked out this way because the music is amazing. Our readers have picked a brilliant set of songs, and I’m excited to share my thoughts alongside my friend and bandmate, Neil. Let’s get into it!

Neil: Well this has been a little surprise for us as we were originally scheduled to write next weekend’s faves reviews. But thanks to a late swap with our very good friend Tony Hardy, we have had the privilege of reviewing the faves in an insanely strong week for new tracks. In another week that left a bad taste in the mouth in terms of the conduct of political leaders on both sides of the Atlantic, it is important to be able to turn to music and a grassroots community that does not reflect the cynical demonising of migrants and general nastiness that seems to dominate the narrative in the UK right now. Our readers have spoken, providing us with ten top tracks to research and review. Once again, it is extra fun to be sharing the reviews with my close friend, Trust The Doc colleague and lead singer of our band, Sherry.

ALORIC – In My Head

Aloric’s Instagram account is quite abstract, all in black and white with rhetorical questions and symbolic words, some of which turn out to be song titles. There is precious little information on the website but there are no shortage of links to Aloric’s music. Their Bandcamp account has releases going back to 2016 and there are numerous videos on their YouTube channel.

Sherry: I love how the drums and piano move around each other. The rhythm feels a bit broken and unusual, but the piano smooths it out, so you get this really interesting contrast. It keeps the song feeling dreamy but also a little edgy at the same time. Even though the track is almost nine minutes long, it never feels too much. It keeps changing and growing, and every section has something new to offer. It’s a bold and unique piece, and I really enjoyed listening to it.

Neil: An intriguingly broken up rhythmic configuration on the drums opens this track before corresponding bassline and chords join in and an upper register male vocal takes centre stage, a little Thom Yorke-ish before rising into a haunting falsetto for the hook. The harmonic language created by the instrumental interplay is clever, mildly dissonant at times and yet, by the same token, quite dreamy and fluid. As the song develops, so too does its intensity. The break after the second chorus ushers in a contrasting passage that also sees another build-up of intensity before a vocal yelp takes into some crashinfg chords, guitars put through a phaser and some pyrotechnics for our troubles. Next it slows into a reflective soliloquy before long melancholy tones lead the track off into the ether. As Sherry rightly says, the whole thing lasts nearly nine minutes without ever seeming to overstay its welcome.

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AURORA ENGINE – Coal Dust

Harp-playing songwriter and pianist Aurora Engine is described as being from Newcastle/Scotland although, judging by her Instagram posts, we would surmise more so Scotland where current location is concerned. She has also been taking her unique ethereal music out into the live arena as well as getting support from BBC Introducing in Scotland. She is actually originally from County Durham in the English North East.

Neil: The opening arpeggios on the harp and slightly distant but ghostly ambience set the scene for this track. Aurora Engine manages to make the harp resemble bright little raindrops reflecting in the rainbow-inducing sun while her vocals are genuinely otherworldly, high register and soft but powerful. There are shades of Elizabeth Fraser perhaps in a mash with Julianna Barwick while another celebrated harpist Joanna Newsom adds chops. The atmosphere she creates is both haunting and heartwarming, the harp always driving events while an array of synth and string sounds swirl around the vocals. Truly stunning.

Sherry: I really agree with Neil on this one. This track is stunning. The first thing that pulled me in was the vocal. It feels siren-like, soft but powerful, almost as if it’s calling you into a dream. There’s something very magical about the way she sings, and it blends beautifully with the harp. It creates a world that feels both cold and warm at the same time. It has that winter feeling; quiet, still, almost snowy but her voice brings a comforting warmth that wraps around you. Listening to this felt like stepping into a dream you don’t want to leave. It’s delicate, emotional and incredibly beautiful.

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BENKIO – IF YOU WANT ME

Norwich’s Ben Townsend aka Benkio has been recording between his home city and Thailand (where he moved after initially landing up in Vietnam) and his album This Is The Year was released two weeks ago. He is a veteran of playing in bands whose solo career arose out of a serious bout in hospital some years ago. He certainly seems to be having a great time in the Far East these days and still managed to bag some support from BBC Introducing in East Anglia earlier this year.

Sherry: This track has such a cool, easy vibe to it. The melody is simple but so catchy; the kind that sticks in your head after just one listen. There’s a really warm, feel-good energy running through the whole song. I love the guitar parts too. They have this light feel that keeps everything moving without ever taking over. It’s one of those tracks that feels effortless in the best way; bright, catchy, and very enjoyable to listen to.

Neil: I agree with Sherry. If you want me to is a cheery slice of Alt Pop with choppy, slightly jangly guitar, mainly root bass and unobtrusive beat accompanying an engaging melody in a mid-tempo feel with a chorus there is no escape from. The added guitar tracks add some cool spread chords, bendy figures and little melodic figures to keep events moving. The octave apart vocals reinforce the hook.

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BLOKEACOLA – Troublesome Lie

The famously orange crash helmet-sporting Welsh Psychedelic artist based in China, Blokeacola is a regular in these pages and another who has had support from BBC Introducing and 6 Music. He is prolific in his releases and has one of the most instantly recognisable sounds and voices in grassroots indie music. His videos are always well worth checking out too.

Neil: This represents a shift in direction away from Blokecola’s usual Psychedelic style and towards an almost folky sound. A striking picked acoustic guitar figure sets the scene, soon joined by multi-tracked vocal harmonies and busy bassline. The chord sequence is imaginative and his ability to use the two contrasting instruments to provide such a satisfactory and free flowing accompaniment to a slightly melancholy melody and rich harmonies is a measure of his talent. Another true gem from Blokeacola.

Sherry: I feel the same as Neil. This track shows a really beautiful shift in Blokeacola’s sound. It’s slower and far more emotional than what I’m used to hearing from him, and it really works. The picked acoustic guitar feels gentle and honest, almost like someone quietly opening up to you. And the vocals are gorgeous; soft, layered, and full of feeling. The harmonies add this warm glow that makes the whole track even more touching. It’s a simple track on the surface, but the emotion in it hits deeply.

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BOX 5 – Hi There

The apparent absence of any visible social media other than the 4 pics on his Instagram means, much as we would dearly love to tell you all about who Box 5 is and what he has been doing to promote his music, we can’t! A little birdie tells us he aims to be the Banksy of independent music. If so, he will need to come up with a strategy for getting his music in front of a wider audience. Perhaps being voted into the faves is the first stage in that strategy.

Sherry: This is such a wonderfully unique duet. The way the two voices — one male and one female play off each other feels really fun and relaxed. Both vocals sound great in their own way, and the contrast between them gives the track its charm. The guitars, keys, and steady beat keep everything moving gently underneath the vocals. It’s simple, different, and really enjoyable; a cool little track that stands out because of how natural and effortless it feels.

Neil: As Sherry rightly noted, Hi There appears to have two vocalists, one male and female, in a laid back call and response, with very different recording techniques used on the two voices, swapping lyrics against a backdrop of guitar and keyboard twin figures and chugging beat and bassline. There is a lo-fi quality to this that is very notable. Atmospherically it feels like a bit of a throwback but infused with contemporary values. Recorded, I feel, with tongues somewhat in cheek. Step one taken then?

Instagram

HOLLOWS – Blood

Manchester’s Hollows are described on their Soundcloud as a trio but there are four of them in the pic on their Spotify profile so we will assume they are a quartet these days. 2025 saw them play Kelly Munro’s End of the Trail stage at the inaugural UK-based SXSW Festival. Their live itinerary is generally pretty impressive and they have had airplay from Steve Lamacq on BBC 6 Music as well as support from BBC Introducing in Wales and praise from Music For All magazine.

Neil: Somehow, as soon as I hear the opening spread chord against strumming guitar and piano melody, I know this is going to grow into something more anthemic. The lead singer’s distinctive tenor range voice is passionate, yearning even. The first crashing fuzztone chords to join the fray hint further as do the power-driven drums and pumping bass. Before we know it, this is sounding big, expansive, epic even. Alt Rock with all the trimmings, crying out to be heard on a festival stage to a large crowd of mobile phone-waving fans. But definitely in a good way. Echoes of Travis in a jam with Radiohead while Fontaines D.C bring the wine. The great textural, timbral and dynamic contrasts, including the sparse finale, all add to the aura.

Sherry: Like Neil said, the moment the track starts, you can feel it building into something big. What really grabbed me straight away were the vocals. They’re so full of emotion, and the melody is incredibly memorable. It’s the kind of chorus you hear once and instantly feel lifted by. The electric guitar parts are a huge highlight for me too. They add this cool energy that pushes the song forward and makes everything feel even more epic. Along with the drums and bass, the whole track opens up into a powerful, anthemic moment that you can easily imagine echoing across a festival crowd. It’s bold, emotional and packed with impact.

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PAUL TAYLOR – Clandesteinway I

Hailing from Newcastle-Upon-Tyne in the English North East, Paul Taylor is a composer, improviser and virtuoso pianist who has been building a reputation for his formidable abilities over more than a decade. Indeed, in 2014, The Guardian newspaper described Paul’s music as ‘… gorgeous, and in all honesty, probably far too good to be included in this reviews shower’. Much more recently, two months ago in fact, Paul Bream writing in Jazz Alert stated ‘In the world of free improvisation, Paul Taylor stands out as almost completely untrammelled by predetermination strategies – I don’t think I’ve ever heard him, even obliquely, work with recognised tunes, nor is he audibly influenced by any other pianist’ – words that echo our own in numerous reviews in Trust The Doc as well as pointing to another aspect of Paul Taylor’s music; namely the way he traverses the boundaries between classical, jazz, ambient and improv but always from an entirely individual perspective.

Sherry: This is such an impressive piano track. From the very first notes, you can tell Paul Taylor has an incredible command of the instrument. There’s so much emotion and imagination in the playing. Even without any other instruments, the track feels full and alive, taking you on a journey through different moods and textures. It’s the kind of piece that really shows off both technical skill and creative vision, and I found myself completely absorbed from start to finish.

Neil: I once had the privilege of watching the highly likeable and quietly spoken Paul Taylor play a live solo set on my very own, rather basic upright, piano at AMP Studios in 2022. Of course, for reasons Sherry has already alluded to, he made it sing! Among the many elements that continuously impress me about his style is that Paul can improvise freely and virtuosically even when doing so in modes that go beyond the conventional major and minor, something even the best pianists frequently find intimidating to achieve. On Clandesteinway I [which I imagine is performed on an actual Steinway piano], he immediately introduces an otherworldly fantasia that then takes us on a journey through so many aspects of Paul’s creative imagination. He composes but then embellishes his compositions with improv. This is stunning both in the breadth of his piano playing skills and in the beauty of the music that ensues. Maybe if Claude Debussy had collaborated with Chick Corea or Herbie Hancock and invited Mark Anthony Turnage to throw some ideas into the pot, it might have sounded vaguely like this! Further evidence of his utterly outstanding talent.

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RRYRRY – Fanny Kaplan (At The Second Time Of Asking)

Fun fact about Harry Perry (aka rryrry) is that he was Neil’s classmate when they both studied for a masters degree in music composition at Goldsmiths, University of London in 2008-9. Neil was a ‘mature student’ though whereas Harry was a young upcoming composer. Since then, as well as establishing himself as a FOTN regular who counts Tom Robinson among his fans, he has been based out in Sweden, building a formidable reputation for his eclectic and original works and achieving international recognition. Somehow, among his busy itinerary of compositions and performances, he also acquired a PhD from Bangor University in 2024, underlining his academic prowess too.

Neil: One thing I can always guarantee about a new track from Harry is that it will be nothing like the previous one and it will be strikingly individual. So it is with Fanny Kaplan (At The Second Time Of Asking). This track lives up to all my expectations and then some! Rapid fire vocals and clever lyrics play off against lively staccato guitar-like synths, soon joined by roaring drone and an additional vocal harmony. It is insanely catchy, bristling with energy and full of little surprises like the dreamy strings that suddenly engulf us and the female vocal in counterpoint with Harry’s. This is inventive, invigorating and imaginative music of a breathtakingly high standard.

Sherry: From my perspective, this track could easily be in a Disney movie. It has that playful, energetic vibe that just makes you smile. I really love how lively and imaginative it feels from start to finish. The vocals are fun and full of character, bouncing perfectly against the synths and other layers in the track. There are little surprises throughout, like the dreamy strings and harmonies, that keep you completely engaged. It’s clever, catchy, and bursting with energy; a track that feels joyful and inventive all at once.

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SAM LEOH – Flickers

Sam Leoh, from the English North West, first came to our attention in 2020 with a track that appeared in our Trust The Doc blog and corresponding radio show. She also had support from BBC Introducing in Lancashire and Amazing Radio and played Glastonbury the following year. It looks like there was a significant gap in activity but now she is very much back and getting out there again, including further support from Amazing Radio, which is good news.

Sherry: The first thing that struck me about this track was the vocals. They’re airy and ethereal, almost like drifting into a dream. It gives the whole song a really soft, magical feel. The track itself feels like a synth-pop journey bright and energetic, but at the same time emotional and touching. There’s a playful energy in the beat and the layers of sound that keeps you hooked, while the vocals give it a kind of wistful, heartfelt edge. It’s a really uplifting listen, full of life and feeling, and it manages to be both fun and moving at the same time.

Neil: Sherry’s comments are spot on. Flickers is in a quick tempo with crisp beat and highly reverberant effect on the vocal, lendng it a slightly ethereal quality. The I – VIm – IV – V pattern in the bridge (which then switches the last two chords around in the chorus) creates a classic Pop feel while the soft tone of the vocals and harmonies lift an already catchy, slightly rueful sounding melody. The result is a kind of synth-driven pop with retro leanings. Bright, buoyant and engaging.

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SOCK DRAWER – FISHES

Brighton’s Michael Baker gets everywhere. He recently surfaced under the artist name Roman Joon and now it turns out he is part of Sock Drawer, a band born from a songwriting collaboration with Ebony Grace. Already singled out and reviewed by fellow FOTN mod and singer-songwriter Alan Dreezer, Sock Drawer have been fresh faves at least twice before and are becoming obvious favourites with our readers. They have also managed the impressive feat of getting played by BBC 6 Music’s Lauren Laverne and have been busy gigging where they generally end the set with this very track.

Neil: An enigmatic ambient opening with distant sounds, picked acoustic guitar and husky tenor range vocals immediately grabs attention. The combination of male and female voices singing such reflective and matter-of-fact lyrics about love, death and everyday life is very effective and quite moving. The bendy echoing horns in the background add to an aura of open landscapes leading to cliffs overlooking expanses of water. The single played notes harmonising the vocals in a lower octave are equally evocative and the song ends with just ambient noises floating away on the wind. This is all rather beautiful; a kind of rich ambient folk pop (or something like that!).

Sherry: This ambient track is so peaceful it creates a really blissful feeling while you listen. The vocals, with both male and female parts, feel natural and calming, and the lyrics are simple but very relatable, touching on everyday life and emotions. The track is straightforward in its approach but stays in your mind long after it ends. It’s one of those songs that feels comforting and reflective at the same time; simple, memorable, and really beautiful.

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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.