Flaming Youthe – Library Girl

Sometimes it can feel overwhelming to share how we actually feel, especially within this technology-driven generation. We can become stagnant when it comes to expressing ourselves, often feeling too proud to be honest. 

Library Girl is the story of having a crush on someone who we deem to be out of our league. Relationships are an extremely close topic for Flaming Youthe to write about as a Trans and Bisexual Musician. Their musicianship comes from a personal space, “Our shared experiences and traumas as queer people can help us bond really deeply, but since most of us have mental health needs it can also be really hard to sustain meaningful relationships.”

The stripped- instrumentation of the vocals paired with the piano mirror this, leaving the listener with no distractions.

Whilst the track holds the importance of openness and there is an obvious level of bravery that we should acknowledge from the New Zealand solo artist, the production of the track doesn’t meet with the emotion. Much of the song is overpowered by high volumes, which overbears the dictation of the lyrics. However, the slow, dreamy effect of the mellow playing of the piano works as a metaphor for how books give you the chance of escapism. The chorus has a touching overall feeling of freedom due to the raw proclamation of human connection. Flaming Youthe is a great storyteller, with a lingering purity intertwined in their vocals giving library girl an almost musical theatre essence to it.

The Amber Bugs – Frankenstein Was The Monster

A Thunderstorm to the ear. Frankenstein is unmasked and personified as a young doctor again, skipping class whilst building up a student debt. The Amber Bugs offer a fast poetical narrative of the very seasonal green monster. A gruesome tale, matched with artwork resembling a melting Picasso-esc painting with subtle mathematic equations scrawled over the cover.

Lyrically self-soothing, like when a child sees a spider, The Amber Bugs appear to be frequently reassuring themselves that everything is going to be ok. The frantic bouncy rhythm is reflective of a racing heart, as percussion and brass are at the forefront of the Scooby doo hallway-like chase you’re led down a path of unpleasant imagery. “Pitchforks, Torches, Head on a spike there ain’t no rules do whatever you like.” At the beginning of the song we’re told he is coming after us then very quickly he’s around the corner and about midway through we’re met with an instrumental which is seemingly our gap to get away. 

Undeniably fun. Frankenstein Was The Monster is a tangle of eerie Halloween sound effects and crazy mixed levels of instruments. Creating a song this way is not an easy feat, as getting the balance between stereotypical horror and the chance of not being taken seriously as a musician is at stake but The Amber Bugs seem to have used their spirit level when crafting this creepy number. Reminiscent of Polish folk music, the fantasy-driven track definitely works. The question is, will it stay in October?

Silverlake – Falling 

Silverlake’s previous songs feature themes of dealing with work, love, sex and mortality and this track doesn’t deviate as they have just revealed their third single off their anticipated second album, ‘Jim Rockford’s Smile’ releasing this November. Fusing disco with art-pop, the Worcester trio have this time dabbled with the idea of toxicity in relationships. The question this song rhetorically asks is about reaching the cool or crazed peaks of romantic connections where you really begin to query your sanity.

Overtly 80’s inspired, Tony Sherrad’s bass is the driving force of this song alongside the catchy synths and cymbal solo. Falling provides both the glamour and the dangerous feeling of being out of control, captured in full within the music video which happens in front of Hollywood. Silverlake lends a big noise which can be backed up by their airtime and support across BBC Introducing and Radio 6. Although inspired by indie electronica, Silverlake takes on the sound of Top of the Pops and if you listen close enough you will hear the nostalgia of a Braun digital alarm clock.

A crashing car and a rocket ship. The single cover defines Sally-Ann Parker’s vocals as they lend themselves to this otherworldly space as her delicate tones flow comfortably giving an ethereal nuance. Although the song was written by band guitarist R. R Dallaway, Sally-Ann naturally claims them. After having sat on the single for revision for quite some time, the finer details definitely make the track.

Inder Paul Sandhu – Letter To Self 

Reminding us that it’s ok to have a bad day. Inder Paul Sandhu writes about loving someone more than the other in relationships. From the upcoming EP ‘Sincerely Me’, Inder gives a candid take on things not always going your way, making him even more relatable than his previous release ‘Monster’. Although you are met with deep melodic piano and bass instrumentals his spirited vocals dominate the track as his lyrics are seemly biographical. The accompanying music video, filmed by renowned photographer Roger Sargent, is like a self-taped message adding a more personal touch.

Released on Pete Doherty’s label Strap Originals, a project of timely self-reflection has resulted in a letter to the people along with himself. The East London vocalist serves a mix of Rag ‘n’ Bone Man grit with comforting Blues influences. Built on the grounds of acceptance, his voice cracks and soulful notation gives you the illusion of the lyrics being thrown together late at night. The familiarity surrounding Inder is what makes you listen, the relaxation and sincerity in his tone matched with the ’90s rapper aesthetic are what makes him naturally alluring. Just when you think he can’t be any more passionate, the track ends with looping harmonisation. Being supported by the greats, and with his upcoming London Headline show at The Nottinghill Arts Club, it wouldn’t be wrong to assume a rise in Inder and his heartfelt lyricism. 


Insistent like a nesting of wasps, IST IST are back with a song you cannot ignore. After the announcement of their third studio album ‘Protagonists’ set to release March 31st 2023 on Kind Violence Records. The Manchester foursome have produced a fight song to the shambolic of politics and police state with booming vocals and an air of unrest. 

A follow-up from their lockdown written, ‘The Art Of Lying.’ There is a liberation that can be heard through the lack of creative pressure. There seems to be no limit to their inspiration taken from film, books and tv. Lead Adam Houghton embeds his creations through a facade. 

Alarming us with insurgent themes and a blurring of reality. The interlude to ‘Stamp It Out’ heightens anxiety as the post-punk guitar riffs drift you into a spiral. Andy Keating’s rebelling bass line acts as the shedding of previous societal confinements. 

Accompanied by a straightforward music video, with blue and red lighting IST IST give a vigorous performance guiding you into the heavily collective finish. A mark of impending doom, a wall of sound is created by a wanting for more from the powers above us. The unsung spotlight in this song is optimism for change and a calling out for freedom. It strikes a punishing talk and reignites their status of being one of the most exciting acts.