Posts Tagged ‘Post-Punk’

Octavian Winters – By the Stars

Posted: 13 May 2026 in Reviews, Singles and EPs
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Stratis Capta Records – 13th May 2026

Christopher Nosnibor

While gearing up for a second EP, San Francisco’s Octavian Winters give us the single ‘By the Stars’ – and while it’s quite the contrast from its predecessor, the adrenalized slice of post-punk that is ‘Elements of Air’, the distinctive key elements are still very much in evidence, not least of all the robust drumming, and the catchy shoegaze pop shades, which are keenly reminiscent of Curve.

The intro sets the tone for the song, introducing elements of light and shade, whereby a soft chiming guitar – wistful and ponderous – contrasts with a darker-sounding Cure-like chorus-soaked bass and rolling tom-led drums which arrive shortly after. Ria Aursjoen’s sweetly melodic vocals add a whole other dimension. From hereon in, the song swirls around amidst hazy atmospheres.

The song possesses a dreamy quality, and the structure is more a sequence of segments than a more conventional verse / chorus, which only accentuates the sense of the song being a journey, with a sense of flow and transition instead of feeling constrained. The effect is to lift the listener, not necessarily out of body, but momentarily out of time, and to another space, a space apart from the grounded world. And right now, when the (supposedly) grounded world is hard to deal with, these five minutes of uplifting separation are absolute bliss.

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Octavian Winters 2026 (photo by David Kruschke) 02

Photo by David Kruschke

Irked / JUKU / Chaffinch / Duck – Fulfordgate WMC, York, 9th May 2026

Posted: 10 May 2026 in Live, Reviews
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Christopher Nosnibor

One measure of how much I’ve enjoyed a night is by volume the notes I’ve made. It’s not a hard and fast rule, but fewer notes tend to indicate that I’ve been too immersed in the performances – and likely being social in between – to write much. And so it is that I returned home tonight with a bunch of blurry photos and the grand total of fifty-four words.

Yes, for their one-year anniversary gig, Utterly Fuzzled have laid on a truly top-class lineup – and it’s drawn a deservedly significant crowd. And the gong is back! A feature of the early events, it’s a welcome return for this signature piece of instrumentation, which variously heralds the opening of a set, or otherwise

Sheffield’s Duck are making their Fuzzled debut, and showcase a northern post-punk style that emanates authenticity, due in no small part to their vintage drum machine and synths which define the sound. They had issues with their levels throughout the set, taking a song or two before the drum machine cut through some particularly murky, bassy guitar and the dominant synths, only to sink back beneath the waves two-thirds of the way through. But then the tide was in their favour, they were ace, with a crisp pop edge and some nice harmonies. In places, they reminded me of short-lived and criminally underrated goth-pop act Sunshot (whose guitarist, Toby Bricheno, is the brother of Tim Bricheno, formerly of All About Eve and The Sisters of Mercy).

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Duck

It wouldn’t be an Utterly Fuzzled event without one of the various projects of the organisers on the bill, and tonight we get a – comparatively rare – outing from Chaffinch, which in terms of lineup is essentially Knitting Circle plus an additional guitarist. Sonically, they are somewhat different. Precisely what they sound like seems to be a topic for debate, with different people hearing different things, and with no recordings, it’s impossible to verify. To my ear, it’s a cocktail of mathy post-punk with some c.86 indie jangle and a dash of shoegaze, which is perhaps best summarised as ‘chaffinchous’ (there you go, Jamie, the royalties from the coinage are in the post).

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Chaffinch

The aforementioned additional guitarist is a towering presence – both physically and sonically, and requires a lot of space for his expressive playing, playing in front of the stage, trading angular chords with Pete Dale, while Jo knocks out chunky, solid basslines by way of balance. Considering they’re debuting some new and recently revised material, they manage to keep it tight, and by the end of the set, all bar drummer Marc are in front of the stage.

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Chaffinch

Riff behemoths JUKU never disappoint, and tonight they’re fully pumped-up and giving 110%. They bring maximum riffs, and maximum rock ‘n’ roll, at maximum volume. On paper, comparatively primitive song structures, based around, repetitive chords hammered out hard is cool and all, but hardly a revelation. It’s not so much what they do, then, but how they do it: propelled by powerhouse percussion and blasting bass, the twin guitar assault forges a ferocious wall of sound. It’s not volume simply for its own sake, but with the function of rendering a visceral physicality to their performances. And they all play as if their instruments are plugged directly into the mains, with an electric, kinetic energy that positively crackles. Practically all of my photos of Dan Gott are unusable, his features blurred like a Francis Bacon portrait, and looking on, I feel as if my own face is melting in the face of the sheer sonic force tearing forth.

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JUKU

Any references likening the experience to being hit by a freight train, or a freewheeling juggernaut with failed brakes hitting terminal velocity as it screams downhill are entirely appropriate. But for all the noise, the three-way vocals and some deft detail within the guitar work demonstrates an attention to melody and nuance: they very much do have songs. ‘Out of Control’ is a straight-up grunger in the vein of Hole.

Irked were second from top of the bill at the first Utterly Fuzzled on 10th May last year (and with Crumbs and Slime City also featured, it’s possible to now look back and see just what a statement of intent this was). They’ve come quite some way in that time, having released their debut album, The Grievance at the start of the month, and won a high-profile fan in the form of none other than Simon le Bon. If they were phenomenal a year ago, they’re even better now. The formula is classic, vintage punk, with short, sharp songs focused on three-chord riffs played hard and very, very fast, with the lyrics hollered just and hard and just as fast. Irked do pissed off and angry, but they also do fun. Not only are they incredibly entertaining, but it’s clear they’re enjoying themselves, too: Helen may be endlessly pacing, lunging, clambering, in the crowd and in your face, but she’s equally prone to fits of giggles.

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Irked

It’s guitarist Simon who delivers the chat and banter, griefing his bandmates in a good-natured way, and oftentimes absolutely hilarious, although ahead of the last couple of songs, he does pause to reflect on the state of the nation and the dire prospects we face in the wake of last week’s council elections, but taking the opportunity to praise the community spirit of nights like this. He’s absolutely right: what Utterly Fuzzled give us is more than great bands. There’s a warmth in the room (and not just because it’s packed and there’s no aircon): people come here and feel able to leave the bad shit at the door and see first-hand that there is good in the world. We need to not lose sight of this.

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Irked

They close their blistering set with a quick one-two of ‘The Hardest Man in Billingham’ and debut single ‘Backstreets’, making for a ferocious finale to a fantastic night.

The buzz in the room as people draw breath and process what they’ve just witnessed is unmistakeable. Here’s looking to another year of Fuzzled brilliance.

The 113 / Mince / Disappear – The Fulford Arms, York, 6th May 2026

Posted: 7 May 2026 in Live, Reviews
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Christopher Nosnibor

Generally speaking, the role of the journalist is to tell the story while staying out of the picture, although Hunter S. Thompson redefined the role of the journalist when he invented gonzo. In the main, I try to remain in the shadows (quite literally), particularly when it comes to live reviews, but sometimes, there’s a narrative switch that simply could not have been anticipated that drags you into the story as a participant, rather than an observer.

“Last time we were here, we got called ‘shouty shit indie’”, says the main singer from Mince, four songs or so songs into their set. It’s true, that did happen, and I stand by that description, too. Given that the last time they were here was April last year, supporting Gans, it would seem it’s niggled them a bit. But, if you’re going to get up in front of people, don’t expect everyone to love it. At least it was no Dream Nails scenario.

Before we move forward, let’s first go back, back, back. The reason I’m here is because The 113, from Leeds, have just released their second EP, The Hedonist, and it’s nothing short of explosive. The real test of a band is whether they can cut it live, though. So now they’re out on the road, grafting – not grifting – and York on a Wednesday night is always going to be a test for an up-and-coming band working to build their fanbase.

It’s not heaving, but there’s a respectable turnout, and first on are Disappear, who trade in jangly country-flavoured indie with a hint of shoegaze. They don’t use plectrums, and the singer / guitarist demonstrates some interesting playing technique. It doesn’t always hit the mark, and the same is true of the off-key approximation of singing. The drummer keeps having to get out from behind his kit to adjust the guy’s guitar pedals, too, which is just weird. They can play, but the songs are uninspired and uninspiring. Toward the end of the set there’s a song that sounds like The Wedding Present circa Bizarro, but again, it’s let down by the vocals. As a band, they aren’t terrible, but I can’t in all conscience say they were any good. The drummer – who is impressive – needs to be in a better band.

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Disappear

And so Mince inform the crowd – who are largely enthusiastic, in fairness – about the review of the last time they were here. I stand by that description, although in fairness, there’s a bit more to it than that: there’s some 60s psych in the mix, and plenty of energy to the performance, too. They have two vocalists – the first, with mop-top haircut, wigs out while playing guitar, while the second paces petulantly, swaggers, and gives it all that. But after maybe three songs, he mostly sits or squats at the back of the stage beside the drum kit, scratching his forehead with his mic and rubbing his face, looking knackered, and stays largely quiet. After coming hard out of the traps, it’s as if he’s out of energy and given up, while the rest of the band thrash on. It’s a bit odd, and oddest of all is that it’s an exact rerun of their previous show here, and on balance they’re better when he takes a back seat (literally).

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Mince

The 113 have built considerable momentum, and fast. Their debut EP, To Combat Regret was released just over a year ago, and The Hedonist continues that arc of nihilistic post-punk aggro delivered with visceral energy. How would it translate live, and how would they fill a headline slot? It turns out they’ve got a solid album’s worth of material, which comfortably fills an hour with no long-winded waffle. They don’t need to pause for political platforming, or pass sociopolitical comment, since it’s all there in the song, which they pack in tightly. And they do so it a nonchalant confidence, too: they’ve got their sound absolutely nailed, and it’s a thick, dense sound, and crisp drums cut through, punchy percussion played with perfect precision. Much of the guitar work is sculpted feedback, but there are steely chords overlaid with sinewy lead parts, and there are times when I’m reminded of Red Lorry Yellow Lorry, another of Leeds’ finest from when the city was the spawning ground of the goth scene that emerged from post punk.

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The 113

They’re electric from start to finish, slamming in with ‘Leach’, and play with an urgency that’s impossible to manufacture. Each band member brings something specific, the towering bassist lurking in the background hammers out hefty grooves. The guitarist plays so hard he busts his A string four songs in, and because they’re not about to let up the momentum, takes another four songs to finally manage to replace it. They simply don’t pause for breath, they keep their heads down and blast them out. ‘When I Leave’ is a mid-set standout, and ‘Entertainment’ is nothing short of scorching. Set closer ‘Conscience’ is a lacerating blast and bang, that’s it, done. The 113 are a band who have got everything down – they hit hard, clinical, brutal, high impact. They’re already making inroads into Europe, and things will likely be quite different come this time next year…

Watch: ‘Dry Shampoo X’ by Astari Nite

Posted: 6 May 2026 in Recommended Streams and Videos, Singles and EPs
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With themes of validation, self-preservation, romance, glamour and decay running throughout the release, ASTARI NITE encourages the listener to wear the brightest lipstick, laugh the loudest, be brave and find courage to stand up for yourself. Find positivity in negativity. Open the door and say good morning to strangers. Medications In Bloom inspires and motivates acceptance. Everyone deserves to be loved.

Commenting on the EP’s title, vocalist, Mychael Ghost reveals: “My mother has not been doing well for quite some time. My life for the past four and a half years consists of doctor visits, chatting with nurses, buying her flowers that make me sneeze, my mind wandering about childhood memories while holding her hand. Nevertheless, whenever her prescription is re-filled, I’m quickly notified. One day I received that reassuring alert and thought to myself, YAY, “Medications In Bloom” again.”

Medications In Bloom is available on limited edition compact disc and on all major digital outlets worldwide.

Watch ‘Dry Shampoo X’ here: 

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ASTARI NITE is an alternative rock band, formed in Miami of 2013 by vocalist Mychael Ghost, and Drummer Illia Tulloch, who both began their friendship in the summer of 2007.  
Ghost and Tulloch were joined by Guitarist Howard Melnick, who became the bands official guitarist / producer after replacing a prior member in the final stages of their debut release album, Stereo Walz. An additional and final member was also added to the line-up. Danny Ae took on the role as keyboardist / bassist and joined Melnick as producer. This line-up has been finalized ever since!

Shortly after the album’s release on (Danse Macabre Records) in 2014, led by Bruno Kramm of Das Ich, the band was asked to be direct support for Peter Murphy (Bauhaus) in a one-off Miami show. To ASTARI NITE’s surprise, the following year (2015) they were also asked to perform in Leipzig, Germany at Wave-Gotik Treffen.

Several releases came to life since then, including: Midnight Conversations, produced by Tom Shear of Assemblage 23, strangely enough, the EP found its way to Cleopatra Records. Two full length albums titled Here Lies and Resolution of Happiness also found a vacancy at Negative Gain Records.

ASTARI NITE is known for blending elements of alternative, post-punk and new wave, resulting in a distinctive dark / glam alt sound. Their style is reminiscent of classic alternative bands like Clan of Xymox and Placebo.

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Salvation / The InSect / The Scarlet Hour – The Fulford Arms, York, 17th April 2026

Posted: 18 April 2026 in Live, Reviews
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Christopher Nosnibor

This is one of those occasions where music critique intersects with personal experience. I make no apology for this. I’ve long maintained that one’s relationship with music is personal, and it goes beyond the fact that the soundtrack of your life is something which evolves in ways beyond your control.

The first time I saw Salvation was ay my first ‘proper’ gig, when I was 14: they were supporting The Mission at Sheffield City Hall in March 1990. I didn’t know who they were at the time. But I soon discovered that they were an integral part of the early 80s Leeds milieu, and they’re noteworthy for having their first two singles produced by different members of The Sisters of Mercy, among other things.

The last time I saw them was at The Brudenell in Leeds, the day after the Queen died, and ahead of it, my wife bought me one of their T-shirts. It turned out to be the last birthday present she bought me, as she died just four months later. So here I am, wearing that shirt, to see a band I first saw thirty-six years ago, playing just fifteen minutes from my house in a 150-capacity pub venue. It’s a big deal, but also an occasion which lands with mixed emotions.

The Scarlet Hour are a duo with programmed synth and drum backing and live bass. But there’s an awkwardness about them and their set. The sound is a bit thin – that’s thanks to the bass and backing track being proportionally quiet, and the fairly clean vocals being a bit high in the mix, meaning the cliché lyrics are more audible than is desirable, and the vocals – trying and failing to sound menacing and tortured don’t help. Tim Synistyr (who really is anything but) has the poses – not to mention the leather jacket, open snakeskin-patterned shirt and ‘Body Electric’ T-shirt – but no aspect of the performance feels natural, the poses come across as being forced as the off-key singing. Dose makes the poison, and the naffness has a cumulative effect, making for a long half hour. ‘Stay Awake’ sounds like New Order circa ’83 and ‘Afterlife’ calls to mind the flimsy pop of Depeche Mode’s ‘New Life’ – novel, and a decent enough tune, but it would be a long time before they got interesting. Unfortunately, that’s something The Scarlet Hour never do. The applause is more polite than enthusiastic.

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The Scarlet Hour

The InSect, who released their debut album As It Ever Was a week ago, have a much more elaborate stage show and a full band lineup. Despite the fact I’m a fan of drum machines myself, their performance strikes a huge contrast with The Scarlet Hour’s in terms of dynamics, volume, sonic density, and energy, and much of this is on account of the band-ness they present. In terms of presentation, they’ve a lot more going for them, too: The Insect are flamboyant and theatrical, and look comfortable acting up and bringing the show to the audience. Ed Banshee is a natural from man who spends a good portion of the set among the crowd, and Athena FireChild provides the perfect interplay. Instrumentally, they’re tight, and compositionally and stylistically, there are strong hints of Bauhaus. They go all out to put on a show, to entertain, with bright white lights and various other accoutrements adding to the atmosphere. But ultimately, it’s their energy that makes their set what it is.

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The InSect

And so, to Salvation. For tonight, SASS-era guitarist Adam Clarkson is back in the band at short notice, and this has necessitated a revised set-list from the one played at The Old Woollen in Farsley a week or so previous – but as this seemingly means the reintroduction of ‘Jessica’s Crime’ in place of a cover of ‘Don’t Change’ by INXS, it’s hardly a bad thing. They confess to a few slips during the set, but it’s unlikely anyone out front noticed: the keenest of fans are getting down and busting moves at the front from the start, and this is a relaxed show, with some good-natured back-and-forth between band and audience throughout.

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Salvation

Salvation sound absolutely fantastic, and again highlight the difference between the old-school drum machine bands and more recent ones: they know how to crank up the beats – and the synth bass – to create a full sound which is at least equal to live instrumentation. Perhaps more specifically it’s an early 80s Leeds thing, but they, like The March Violets at The Warehouse last year, sound loud and vibrant, with a bass drum sound that truly kicks and a snare that cracks right into the cranium, punching through the interweaving mesh of the dual guitars.

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Salvation

They were always at the more accessible end of the spectrum in comparison to The Sisters and The Violets, but at the heart of songs like ‘The Shining’, there’s that solid bass groove, pumping drum sound, and nifty guitar work – and live, the guitars pack more punch than on the recordings. Tonight’s rendition of ‘Jessica’s Crime’ lands between the more guitar-orientated version recorded for she shelved Clash of Dreams album for Merciful Release, and the Wayne Hussey produced viola-soaked rerecording, released as a single in 1985, and it’s nothing short of killer. ‘All and More’ lands near the end of the set, which closes with ‘Why Lie’, and the pretence of an encore is tossed aide as they leap into a fun, chuggy cover of ‘Kids in America’ which brings the set to an elated conclusion.

And for all the weight of personal history pressing into this outing for me, I’m more than glad I turned out.

The 113 – The Hedonist

Posted: 17 April 2026 in Reviews, Singles and EPs
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17th April 2026

Christopher Nosnibor

The singles leading up to the release of The Hedonist, the second EP by The 113 have very much been cause for excitement and built a buzz about the band. Each of the four songs is tense, taut, edgy, quickfire vocals spitting lyrical depictions of the grim present in which we find ourselves with a splenetic urgency against a noisy backdrop where the combination of bass, drums, and guitar – in themselves, completely conventional – meld to forge a dense, unified aural assault.

As they put it, The Hedonist ‘revolves thematically around an anti-technology sentiment, raising questions about data, online worlds and how these can be weaponised against you.’ This – and various surveys and reports – is indicative of an increasingly anti-technology (and certainly an anti-AI) sentiment among younger generations. They have reason for concern, and it’s hard to decide what’s scarier, the prospect how personal data will be used, or how entire swathes of jobs will cease to exist in the imminent future. Anyone who blithely pisses about making caricatures and action figures in the name of fun is not only missing the point: they’ve already sold their soul and more. They’re part of the machine.

We’re living in every single dystopian fiction ever created all at once, right now. This isn’t hyperbole. And it feels as if we’re all trapped and helpless. It’s small wonder we’re experiencing a mental health crisis as we see an entire generation coming through paranoid and scared as we witness an existential threat in many ways worse than the cold war, inasmuch as it’s a war on all fronts.

The 113 recognise this, and The Hedonist is an articulation of this infinitely-faceted terror. Every single track is a standout, and in sustaining the high level of intensity across the whole EP, the potency of the material is amplified. Where The Hedonist succeeds is in the way it doesn’t depart from the blueprint of the debut, To Combat Regret, but instead builds on it.

It’s by no means music to chill out to: quite the opposite, in fact. It’ll likely raise your blood pressure and make you clench your jaw and fists. But if there’s a band that encapsulates the zeitgeist, it’s The 113.

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Watch: ‘The Party’ by KEE.

Posted: 10 April 2026 in Recommended Streams and Videos, Singles and EPs
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Nottingham band KEE. are back with new single ‘The Party’. After the release of their debut single ‘Sound’ in late 2025 which garnered acclaim from the likes of The Noise Magazine, this new single released on the 3rd of April has already been scheduled for airplay by BBC Introducing East Midlands. The band recently played at Rough Trade Nottingham and The Water Rats, King’s Cross and have upcoming gigs booked at The Dublin Castle, Camden and festivals in Spring and Summer.

Watch the video, by Tommy Keeling, here:

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KEE. Promo

Watch: ‘War on War’ by Frenchy and the Punk

Posted: 5 April 2026 in Recommended Streams and Videos, Singles and EPs
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Post-Punk duo Frenchy and the Punk present their new video for the powerful and compelling single ‘War on War’, along with an announcement of spring 2026 tour dates. Playing up to 100 shows a year, the duo thrives on the road. Now they are set to bring that energy to dozens of cities across the Midwest and East Coast before heading overseas for select UK dates.

Torchbearers of a new era in post-punk, Frenchy and the Punk was formed in 2005 by vocalist, percussionist, keyboardist and lyricist Samantha Stephenson and guitarist-composer Scott Helland, co-founder of Deep Wound (with Dinosaur Jr. icons J Mascis and Lou Barlow) and Outpatients, and also known for his exceptional solo music project Guitarmy of One.

Frenchy and the Punk, listed in the ‘Top 25 US duos’ by Yahoo! Music, is a powerhouse duo with a distinct sound, blending post-punk with a touch of new wave by way of electro-acoustic hybrid guitars, loop pedals, fiery live acoustic and electronic percussion, synth and rich commanding vocals.

The powerful video for ‘War on War’ was filmed and edited by Samantha Stephenson in New York State. The single itself was mixed and mastered by William Faith (The Bellwether Syndicate, Faith and the Muse) at William Faith Music Production, with vocal recording and production at Kale Shelter Studios by Hillary Johnson, known for her work with Jeff Buckley, The Misfits, Rufus Wainwright, The Ramones, Nile Rodgers, Vernon Reid and more.

Following ‘Not Under Your Spell’, released at the end of 2025, this is the band’s second release through Distortion Productions, having signed to the label after label-head Jim Semonik saw their performance at Dark Force Fest, in New Jersey last summer.

“This song is not only about war but also the deterioration of truth and destruction of progress. It’s the belief that the majority of people in this country and the world do not want to go backwards and do not want to see bloodshed,” says Samantha Stephenson.

“It is the frustration that the few, fueled by greed and lust for power, who manipulate for their and their cronies’ advantage, cause such grief and destruction for the many. It is a call to voice opposition to the chaos and insanity. It is a call for unity beyond borders.”

A veteran of the US hardcore punk scene, Scott Helland has spent years honing a dynamic, high-impact performance style that now drives Frenchy and the Punk’s electrifying live presence and genre-blurring sound. Over the course of his music career, he has shared the stage with Black Flag, Husker Du, GBH, C.O.C, Agnostic Front and CroMags, in addition to performing with Dinosaur Jr. on occasion.

Samantha’s artistic expression came from a completely different place, having started in dance, piano and the visual arts. These two worlds collided forming a musical incarnation that moves effortlessly from bombastic and driving songs to atmospheric and almost transcendent soundscapes.

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Knitting Circle / JUKU / Small Gauge – The Black Horse, York, 2nd April 2026

Posted: 3 April 2026 in Live, Reviews
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Christopher Nosnibor

Since starting out with Horsemusic last year, these nights – hosted at a pub (a classic boozer that for some years was a Tap and Spile before reverting to its previous name) just outside the city walls on the first Thursday of the month – have become rapidly established as showcases for local and regional talent, focusing primarily on York acts, but also providing a platform to emerging talents from places like Hull and Leeds. This, their seventh event, perfectly encapsulates their approach to curation and once again highlights the depth of quality acts knocking around in the locality right now.

Small Guage, from Leeds, are relative newcomers, but they’re clearly well-rehearsed and tight with some sharp endings played with precision. Pitched as ‘Leeds post-punk’, their sound is more mid-80s indie. There’s debate after their set as to which bands they’re actually reminiscent of, and while the whole C86 sound and 4AD are floating into my mind, I run into a friend at the bar who makes a spirited comparison to The Monochrome Set, while agreeing that there’s not just a slew of bands but a whole era that seems to have been absorbed into their sound, which is melodic and jangly, with two interweaving guitars and a singing female drummer with minimal kit – bass, snare, floor tom, no cymbals. The songs are held tightly together by some solid note-on-the-beat basslines. They’re also quite gentle…

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Small Gauge

The same can’t be said of JUKU. Discussing them beforehand, I summed them up to someone as ‘loud’. “C’mon,” was the reply, “That’s not a style, or what they sound like.” Ordinarily, I’d agree, but the description on the flyer simply states ‘bring earplugs’, and I pity anyone who didn’t. This band is nothing short of a rabid riff monster. They play big, dumb riffs, reminiscent at times of The Stooges, The Ramones… with everything cranked up to eleven… They play hard and fast and with a frothing intensity. Naomi sings and whacks her bass and spends the set willing her glasses to stay on her face to the end of each song. They have a few issues with feedback from the mics tonight, which have likely been turned up to compete with the blistering volume of the backline. But if the result is chaos, it’s utterly compelling and immensely powerful. Brittle surf-goth lead guitar lines echo through the squalling wall of noise, and it’s wild to see a band of this calibre – and of this volume – for free in a York pub with a capacity of maybe seventy-five, when they’re worthy of headlining at The Brudenell in Leeds.

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JUKU

Knitting Circle may not be as punishingly loud, but their busy live schedule means that they’re super-tight, and looking and sounding confident. As well they might: they’re on fine form, and in terms of performance, tonight is a couple of steps up from when they played on the other side of town at The Fulfordgate WMC in February. While the vocals are a bit muddy-sounding, and Pete’s guitar is a little more midrange in tone than usual, muffling the Andy Gill-style trebly chop, but it still cuts through against Jo’s bass, which is nicely up in the mix and positively throbs.

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Knitting Circle

The ultra-succinct ‘Create, Don’t Destroy’ (which may be a recent addition to the set, if I’m not mistaken) is a standout among a set of more established standouts, including ‘Safe Routes’, which (sadly) remains ever relevant, ‘The Fox’, and closer ‘Losing My Eggs’. The crowd want more, though, and manage top coax them to deliver an encore – and the unplanned and seemingly unrehearsed instrumental sound like Shellac, thunderous drumming exploding behind a rumbling bass groove and mathy guitar line. It’s a great finish to another great night. 

The 113 – When I Leave

Posted: 31 March 2026 in Reviews, Singles and EPs
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EMI North / Launchpad+ – 30th March 2026

Christopher Nosnibor

The 113 have done it again – only this time, more so. Like its predecessors, single ‘When I Leave’ is take from the forthcoming debut EP, The Hedonist, which is due to land on 17th April. And once again, it steps things up.

It follows the noisy path of debut, ‘Leach’, a vitriolic blast which powers in on a thick, thunderous overdriven bass, paired with an attack of heavy-hitting, cymbal-smashing percussion, slamming in with hard impact in the opening bars. Immediately, it’s the sound of a band that means business and arrives with a physical force. The vocals are straight in with a pumped-up spleen-venting tone of disaffection, and on this outing, the focus of their dissection and dissatisfaction with the conditions of contemporary living is lasered in on ‘the personal, exploring the gamified and repetitive nature of dating apps, where every interaction can seemingly begin to blur into the next’.

The accompanying notes expand on this, explaining how ‘the track captures that specific sense of cyclical monotony; scripted conversations, fleeting intimacy, and the almost inevitable feeling of disillusionment that can occur following the search for something real within systems designed with the purpose of endless scrolling: “Nice to meet you! Scratch the skin and we’re done, and hold the stench of a thousand pros playing for fun”.

Does anyone actually gain anything but grief and stress from dating apps? A few shit experiences, perhaps gathering a stalker or pest along the way, but really, how many find love – versus how many find nothing but the dregs of humanity?

It’s perhaps relevant to mention here that I met my (now late) wife online, in a music chatroom, at the turn of the millennium, before dating sites existed and before it was socially acceptable to meet people from online in real life. Her friends and parents were far from encouraging about her meeting me: back in 2000, the perception was that the Internet was full of weirdos, creeps, stalkers, and worse. Now… perhaps we’re more willing to take those gambles with the ever-expanding creep of isolation as a result of floating office hours, where people only see one another occasionally, the death of after-work drinks, and social media taking precedence over in-person interaction. How do you meet new people nowadays? Is this really what we’ve come to? It would seem the answer is yes….

And then, the guitar kicks in over that thick bass and pounding percussion, and it’s squalling and dissonant and then everything hits a laser focus to drive home a blistering chorus – their strongest yet – and POW! ‘When I Leave’ is two minutes and thirty-seven seconds of concentrated, distilled intensity.

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Credit: Naomi Whitehead

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