Maybeshewill / Her Name Is Calla

This Time Last Year / Last Time This Year / Condor and River

A monumental split from Field Records, cementing the Leeds / Leicester connection beyond sharing an initial letter. It has to be said, Leicester has almost as much of an obsession with the slow-build-loud-crescendo-fade-to-nothing stuff as we of the LS persuasion have. Maybeshewill's style will be no surprise to those already familiar with 65days and Vessels, but with an extra dollop of chugging and a suitably manic rant sample on 'This Time Next Year', it's… perfectly adequate. More interesting is new song 'Last Time This Year'; still pacy, still chuggy but with a hint of seventies minimalism and a wedge of piano-lent warmth – Eno-ish, but reassuring. And blown out of the water by 'Condor and River'. Seventeen minutes long, it's still over too quickly. The tragic events depicted by the lone guitar and dark background noises that gather pace and explode in screams, only to be replaced by a regret-sodden piano passage are vaguely expressed to heartbreaking effect by Tom Morris' woeful, despairing voice. We are left with a sonorous sustained piano note that fades into reality. Epic is not the word; play until they agree to return.

Rob Wright

Sol Gravy

Sun Son EP

With so many acoustic artists on the market, you have to be something rather special to stand out. Fortunately, Sol Gravy shows signs that he might just be able to do that. The 'Sun Son EP' contains six tracks which combine a dark, folky sound and elements of Nick Drake with much success. Opener, 'Remember Me (Summer Gone)' is a wistful lament for a lost love that builds pleasantly, whilst 'Liar Liar' and 'For The Flow' both have an intense, darker sound that conveys even more emotion. 'Autumn Chile' comes in with a more bluesy sound, before 'I Am The One' steals the show with its 'Wonderwall'-esque intro and heartfelt lyrics. Promising stuff.

Joe De Saulles

The Vanguards

Regress EP

When the first track on Regress – 'Hey You' – hits you, it's with a metallicy, precise riff that sounds more American than an episode of Friends. Quick – get Dave Grohl on the blower – there's some competition in town! But it soon becomes apparent that 'Hey You' is suffering from stunted growth, it's a cock without balls, offering an enticing verse but without backing it up with a decent chorus. It's not all bad though – 'If Only' and the title track sparkle with chin-scratching melodies and more comprehensible lyrics. There's an atmospheric quality to The Vanguards that, like Rory Bremner impersonating Tony Blair, sounds all-too-familiar to the point of blandness, yet draws you in for the duration. Thank God these songs are so layered, and particularly on 'If Only,' boasting a coupla good hooks, because it suggests The Vanguards are a potentially potent live proposition.

David Smith

Indigo Slam

Raise Your Hand EP

Melton Mowbray's Indigo Slam's debut EP has them raiding their 6th form music teacher's instrument cupboard and brother's record collections. Nestling nicely in the hoodied bosom of The Music's psychedelic rock is title track 'Raise Your Hand'. The eerie midi guitar, squelchy bass and overactive high hat would have Robert Harvey reaching for his maracas and cranking up the bpm. The darkness of 'Raise Your Hand' is stripped away by the jaunty steel drums and helium vocals at the start of 'Life Goes On'. The track disappointingly becomes a jumble of sub 90s indie pop and grunge, as a misplaced chorus dripping in distortion and teenage apathy rips away the pop sensibilities of the song. Tales of golden hills, travellers and betrayal on 'Western Kiss' have Indigo Slam masquerading as blues outsider. The howl of the slide guitar and screamed vocals make you feel the band are pretending to be something beyond their years. 'Raise You Hand' shows that Indigo Slam have a lot of potential however you hope that the band choose their own path rather than imitating others.

Marie Wood

Darlings of the Split Screen

This is How We Roll

Firmly rooted in their Sheffield heritage, and wending a path back to the groundbreaking sounds of the Human League and Heaven 17, Darlings of the Splitscreen (or DOTS as they now seem to want to be called) have released a mission statement of their intent to carry the genre forward. It has an intentionally retro-electronic sound, and for me conjures up visions of 80's hairdos and fashions I hoped never to see again. It's all very well executed, and could so easily become a self-parody, but it manages to rise above that. Hugely enjoyable. I'm off out to have my hair cut now, but only on one side.

Chris Xenra

Zed's Dead

Of The Fallen EP

'This is not fashion' declares the press release that accompanies this four-track EP. They're not wrong. But when did fashion ever maketh good music? Okay, okay, we'll give you The Strokes. But Sheffield duo Zed's Dead don't make music to tap your dirty Converse to. They don't make music to pull that sexy girl in the vintage tee shirt to. They don't even make music to dance to. Of The Fallen EP is awash with sweeping harmonies, frantically-plucked guitars and heavy rock vocals. It's like Soundgarden with a heart or Jeff Buckley on a Harley: don't expect anything in the foreboding 'Late Nights, Heavy Eyes' or the plaintive title track that's in step with anything you'll hear down your average indie disco – but with so much of music's rich tapestry still grossly under-represented, that's only a good thing.

David Smith

The Carletons

Debut EP

Sporting an interesting name that seemingly goes some way between ripping off a certain former Manc heavyweight's moniker and maybe as a nod towards Carl Barat of Libertines fame The Carletons seem to be garnering themselves quite a bit of attention for a starting band out of Preston. Having appeared on Radio 1 and supporting The Subways on a recent tour, this group seems blessed, already well on the road to success after only one year in the game. The Carletons seem to continue the stop / start interlinking vocal style first made popular by Pete and Carl of the Libertines and their music is cut from the same brash, indie rock template. The vocals however don't quite match the frenetic pace of the music. In comparison with the music the vocals can come across as being a bit monotonous, with the lead singer sounding perhaps more bored than thrilled with the success they've had so far. Having said that, it's important to remember that The Carletons are a young band (17 at last check) and as such have plenty of time to mature into their own style. Each of the band members are talented musicians and play with commensurate skill, this presumably granted them the favourable attention that they picked up so early on. For the time being their sound could do with some individualising, as at the moment they seem to be focusing maybe a bit too much on emulating previous bands' work.

Paul Walters

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