Right then, let's start with some premium STN content, Trust Fund feat. Gareth Campesinos. Their contribution to Art Is Hard's Postcard Club sees Gareth fulfil his Heaton fantasies with a version of the Beautiful South's I'll Sail This Ship Alone that transforms it from tender ballad to muscular fuzzpop. Also new on Art Is Hard, through more conventional means, are the established psych-popper Oliver Wilde and Lucky Shivers' Nicholas Stevenson (who we're pretty sure was a promising solo artist himself at one point) by their powers combined Oro Swimming Hour, Martial Arts Washing Cars being just over two minutes of a more restrained version of campfire Animal Collective, all harmonies and odd sounds. Album Penrose Winoa is out 28th July.
Hey, Everything Everything are actually now back after what seems like months of something being "impending"! You wouldn't really confuse Can't Do, from A Fever Dream out August 18th, for anyone else with the jittery elastic beats, tricksy guitar interruption and semi-cryptic lyrics in nasal, occasionally strained falsetto vocals, but it's evolution rather than revolution and ties in better with their debut than what's come since. A band who've been away for rather a lot longer, Ride, have slightly underwhelmed with their track choices thus far, but Lannoy Point, the opener to Weather Diaries, does the trick, classic floaty shoegaze to a fault with a fluid motorik undertow and Andy Bell set to 'chime'.
Here's a band we've never written about before - Wolf Alice. It's surprising given they pretty much have the kind of bases and influences we generally thrive off, but it just hasn't happened for us. Turns out all they needed to do on Yuk Foo (and maybe Visions Of A Life, out 29th September) is turn away from their radio friendly destiny and instead become Bratmobile. While we're on two minute ire and dynamism, Charmpit are two Californians based in London who deal in harmonic sparkly lo-fi garage pop, this Free The Burbs (a song they're on record as wanting Peaness to cover) from Jelly EP out 14th July. Across the self-sufficient way, part of that ever fluent Leeds DIY scene that we've featured plenty of bands from in the past, "post-punk pop party pack" Crumbs are a jittery, danceable, form that recalls the Au Pairs. Their debut album Mind Yr Manners is out July 28th. Are The Popguns spiritual parents of the scene? So Long, from the just released second post-reformation album Sugar Kisses, suggests their emotionally damaged janglepop has barely aged at all. From a slightly different place Superglu's songs aren't much longer, through a more restrained but still vital melodic indie-punk template with joy forefront on Communion Singles Club offering Welcome Home.
And now for something completely different, the post-apocalyptic industrial soul of Algiers. Inspired by the killing of Tamir Rice and the concept of injustice, Cleveland sees Franklin James Fisher deliver his best righteous fire-eyed preacher delivery over looped gospel samples and a surprising Detroit techno passage. The Underside Of Power is out Friday and might even top their stellar debut, our third best album of 2015. Meanwhile The Horrors have gone industrial on Machine, churning Cabaret Voltaire-style warped beats and synths replacing the shoegaze synths and pedals prowling around in the shadows looking for something to take on in a way their forthcoming tourmates Depeche Mode would recognise from circa 1983. Perhaps surprisingly, Paul Epworth is the man at the controls.
The Surfing Magazines are Dave and Franic of the Wave Pictures, Charles Slow Club and... a drummer, and they have an album out on 1st September. Even though Charles takes lead on Lines And Shadows the Wave Pictures influence is pervasive, at least in their laidback soulful variant and definitely sounding like that hallmark of sounding like they're casually tossing a melodic marvel off just because they can. Yes, of course there's an abrasive Tattersall solo. It's not difficult to imagine many of the records lying around in their studio are also in the collection of Ralegh Long, whose Sleeping On My Dreams commands power-pop and 1970s US radio rock for a homebrew English version of classic rock, if classic rock tended to last only 2:19. That kind of track length seems to have become this week's accidental theme.