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Algorithm Is A Chancer – #6 ‘The Sound of Rough Trade

Welcome to part six of this now not so new series, where I explore the many playlists that Amazon and Spotify have left lying around on my accounts. What normally happens is that I choose a playlist at random, press shuffle and post around 30 minutes of music from it.

I have no idea what these playlists will throw up – although sometimes the title will offer a handy hint – but this series will probably hang on whether or not the playlists chosen are any good or not, so far the algorithm has performed pretty well.

Sometimes we may find ourselves going down a couple new band rabbit holes or it may lead to me deleting Amazon music from my computers so that I can never try anything so stupid again.

Last week we all went to an incredible Big Beat Party that saw us (probably) bouncing around our respective lounges, kitchens, sheds to tracks with huge beats and tweaking synths and stuff. It was incredible. This week, we are celebrating one of grand fathers of independent labels as Amazon take us to playlist called ‘The Sound of Rough Trade’.

So, let’s press shuffle and hope that the mob from Manchester don’t turn up.

Streets of New York – Cerys Matthews (2006, Rough Trade Records, Taken from ‘Never Said Goodbye’)

I’ve never really explored the solo work of Cerys Matthews as much as perhaps I should have. I gave 2003’s ‘Cockahoop’ a few listens but I think I was put off its follow up ‘Never Said Goodbye’ by a couple of average reviews – one of which was from the Guardian that said it was “awkward and clumsy”. That said, ‘Streets of New York’ which comes from that second album, is far from that, is a tremendous blast of clattering drums and Cerys’ distinctive vocal which on this track sound excellent.

c.r.e.e.p – The Fall (1984, Rough Trade Records, Taken from ‘The Wonderful and Frightening World of The Fall’ – the expanded version)

‘The Wonderful and Frightening World…’ is (I think) the seventh album from Mark E Smith and his ever changing band of friends. It’s the first that features Brix Smith as well and personally, I think, it’s one of their most pop centred records. In 2010, the album was reissued with an additional 16 tracks which included the singles ‘c.r.e.e.p’ and ‘Oh! Brother’. ‘c.r.e.e.p’ is a fine example of just how pop orientated The Fall were in 1984 (or when they recorded this). It has girl band style interludes and a hugely radio friendly feel to it. It’s also rather ace, but I think we already knew that.

Best of Friends – Palma Violets (2012, Rough Trade Records, Taken from ‘180’)

Back in the early parts of the decade that no one calls ‘The Teenies’, indie guitar music felt like it was decline. Then along came a band called Palma Violets who were according to at least one weekly newspaper going to kick some life into guitar music. Palma Violets for about six months felt, looked and sounded like the real deal and when they released ‘Best Friends’ is did feel like the kick up the arse that guitar music needed, because it feels like the sort of song that would soundtrack a bar brawl and they are nearly always great. The writers over at the NME, who like to occasionally overuse the hyperbole named it the best track of 2012 and remarked that it was “the best guitar track in years”. It isn’t quite that.

Shoegaze – Alabama Shakes (2015, Rough Trade Records, Taken from ‘Sound & Color’)

I saw Alabama Shakes lives about ten years ago, at a festival in a park in London. They were incredible, largely because of the voice of Brittany Howard. She walked on stage, strapped a guitar to her waist, waited for the drummer to thump one his drums and then just started to sing. I don’t remember her strumming a single note on that guitar (but she almost certainly did) because of the soulful gutsy blues voice that was in front of it.

Two more, I think, first up this slab of psychedelic indie pop,

Candylion – Gruff Rhys (2007, Rough Trade Records, Taken from ‘Candylion’)

‘Candylion’ is the second solo album by Gruff Rhys and it is pretty close to a Super Furries record as you can get without it actually being one. In that it is a mostly playful affair that occasionally branches off into the absurd and the experimental but, it never fails to be anything short of pretty marvellous.

Today we end with some twee pop

Funny Little Frog – Belle and Sebastian (2006, Rough Trade Records, Taken from ‘The Life Pursuit’)

I can’t think of anything more Sunday morning than Stuart Murdoch giving us a twee little indie folk pop song about a funny little frog. It may be slightly daft and it may be so twee that its wearing hair clips and a second hand blazer, but its also really lovely and if Mark E Smith hadn’t swallow some pop Weetabix for breakfast back in 1984, you’d be looking at the best song of the day.

The Sound of Rough Trade is a great playlist and one that makes me kind of want to do an entire series on records released on Rough Trade.

Nearly Perfect Albums – #192

Fear Fear – Working Mens Club (2022, Heavenly Records)

The equally nearly perfect first Working Men’s Club album was a record that saw icy post punk tunes walk hand in hand with some urgent synth pop riffs across a rain soaked dancefloor. It worked because it also dealt with agitated claustrophobia of their enigmatic singer Sydney Minsky Sargent. Its release saw them standing staring on the very edge of superstardom. And then Covid turned up and every one went inside for weeks on end.

Whilst stuck inside their houses Working Mens Club wrote an album, one that channelled isolation instead of claustrophobia and the results are songs that possess a starkness that are so brutal that they are almost beautiful. Its also one where that icy post punk has stopped walking hand in hand with that urgent synth pop and is now openly canoodling with it in the middle of the streets, not caring a single jot what the neighbours might be thinking. Some would even say that the electronica is brazenly interfering with the post punk. The lead single from ‘Fear Fear’, the excellent ‘Widow’ is a prime example of this, because as Syd’s deep vocals deliver lyrics about loss, a playful synth riff cascades around a fuzzy bassline marvellously, when it has no right to be anywhere near it.

Widow – Working Mens Club (2022, Heavenly Records)

Musically, New Order are the close comparisons to Working Mens Club. ‘Ploys’ for instance see Syd give us a vocal that is eerily reminiscent of Barney Sumner, but elsewhere on this album, you’ll recognise nods in the direction of Depeche Mode and Japan. Those post punk tunes better be careful because the synth riffs have got their eyes on the New Romantics that hang around in the local park by the looks of it.

Ploys – Working Mens Club (2022, Heavenly Records)

Luckily the guitars aren’t completely abandoned. In fact on the albums more angry moments they take control of the songs. In ‘Cut’ for instance the guitar rage whilst punchy bassline and Horrors like synths take turns to compete.

Cut – Working Mens Club (2022, Heavenly Records)

The bouncy title track is an album highlight as the band makes brilliant use of an air raid siren before Sydney snarls lyrics about “piss filled guns” at us as the synths head off in a lofi techno direction.

Fear Fear – Working Mens Club (2022, Heavenly Records)

‘Fear Fear’ is a riveting listen, one that you are never exactly sure what you are going to get next and one that is a brilliant if not slightly chaotic listen.

The No Badger 26 for 26 (Number 1)

Folks, if you decide to only explore one new band this year, you should almost certainly make it the one that tops the inaugural No Badger Musical Recommendations Countdown.

1.Makeshift Art Bar

From: Belfast

For Fans Of: Sonic Youth, The Birthday Party, Gilla Band

Why: Do you want to know how good Makeshift Art Bar are? Well, after hearing their five track debut EP ‘Lackluster Writing Makes Fundamental Reading’, I argued with myself as to whether or not I could change the rules of the Nearly Perfect Album series so that I could include it. They are that good and the fact that they top the inaugural No Badger Recommendations Countdown will come as no real surprise to regular readers of this so called music blog.

Musically they are mixed bag, because some of you will describe their music as post punk, and there is a lot of that in their music. Some of you will swipe that suggestion away and claim it to be new (old) grunge music, and again you’d have a point. Still though, people would argue, because clearly Makeshift Art Bar are a noise rock band and that faint electronical sound you can hear means that they might even be an industrial rock band. Christ, some of you will even call it sludge metal.

None of you would be wrong.

What is clear is that right now, Makeshift Art Bar are just plain brilliant. They make a sound that, whilst (slightly) raw, possesses more energetic and abrasive greatness that most bands will ever achieve. There are times on that debut EP where the guitars sound so fragile that you fear for them, and I should be clear here, I don’t mind fragile as in the tragic lovelorn and delicate way, I mean in the teetering on the chaotic side of nihilistic way. There are also times when the vocals are visceral and rage in a way that we haven’t heard in such a long time. Shove all that together and you get a complete sensory overload and its nothing short of breathtaking.

Readers, I like to see this blog and my way of perhaps suggesting to you all in a subtle pleasant kind of way as to what you might like to listen to – if you want to – today I’m going to rip that pleasantness up and tell you that you should switch off what you are listening to right now or change what you are planning to listen to it and you should replace it with Makeshift Art Bar, because without question it will be better.

Listen to:

Bedwetter (2025, MAB Records, Taken from ‘Lackluster Writing Makes Fundamental Reading’ EP )

Birthday Party (2024, MAB Records, Single)

Notice Me (2025, MAB Records, taken from ‘Lackluster Writing Makes Fundamental Reading’ EP)

The No Badger 26 for 26 (Numbers 3 and 2)

If this blog, or this series, was a TV talent show, we would by now be in the very final stages of the competition. The acts would have all performed, and the votes phoned in by the public would as we speak be in the process of being counted in the back rooms – or at least they are pretending to count them, because the producers, judges, acts and entire world know which acts are going to win this thing long before it even reaches the final section of the show, regardless of what the public tells them, because they know best.

Welcome then to the final three. The three bands and acts that I think will before the end of the year make some of the most important, exciting and relevant music of the year. We start with some blistering synths and thundering guitars from Belfast.

3. Chalk

From: Belfast

For Fans Of: Working Mens Club, Squarepusher

Why: There is a song by Chalk on their second EP ‘Conditions II’ called ‘Claw’ that has this bassline rumbling through it that is so heavy that your floorboards or carpets or whatever you have under your feet in the room where you do most of your listening, will start to shake. Its rather brilliant in an intense sort of way.

Chalk, like many of the bands who have appeared in this list are hard to pigeonhole. Its dance music, but its also punk rock, or post punk rock or the sound of an electronic band having a panic attack or it’s the sound of all hell breaking loose whilst an illegal rave in a grimy disused warehouse on an underused industrial estate rages all around you.

Which is what makes so Chalk so intriguing and as it happens, so brilliant. The adrenaline, the energy, the bursts of static, the sudden squall of electronica, the distorted guitar, the clatter of beats fighting each other. It all leads to one hell of marvellous racket.

Listen to:

Claw (2024, Nice Swan Records, taken from ‘Conditions II’ EP)

Pool Scene (2025, Nice Swan Records, taken from ‘Conditions III’ EP)

Talking of marvellous rackets….

2. SILVERWINGKILLER

From: Manchester

For Fans Of: Justice, Aphex Twin

Why: Manchester’s SILVERWINGKILLER (note the capitals folks) merge the chaos of punk rock with the precision of electronica. At the same time they fuse Chinese mythology with pure adrenaline which gives their music a drive that hasn’t been since Richard James took a drill in his studio.

The debut EP of SILVERWINGKILLER is called ‘Triad Funded’ – there is no real evidence to suggest it actually was – and the lead track from it, is a brain meltingly brilliant track called ‘Hold Up (All Firearms in the United Kingdom)’ which (or tries at least) to reintroduce Gabba Techno to a whole new audience and generation. The whole EP is stunning, the beats are hard and intense which gives the music a degree of chaotic splendour.

Listen to:

Hold Up (All Firearms in the United Kingdom) (2025, 1000% Triad Funded Records, taken from ‘Triad Funded’ EP)

Jing’An Temple (2025, 1000% Triad Funded Records, taken from ‘Triad Funded’ EP)

The No Badger 26 for 26 (Numbers 5 and 4)

Some of you may remember the eighties. They were pretty horrible to be fair, there was way too much Thatcher, way too much heroin and way too much war – a bit like today really, only you can substitute Thatcher for Farage. Anyway, in the eighties, Weetabix, the popular bran and wheat biscuity cereal launched a series of adverts in which they introduced us to The Weetabix Gang, they were basically some Weetabix who wore clothes, had names and did various things that involved the popular bran wheat biscuity things.

Anyway, the only one of those characters I can properly remember is Crunch. He was the tough one and you knew he was tough because he wore braces and bovver boots and talked with a slightly menacing Cockney accent, his catchphrase was “If You Know What’s Good For You…”.

Which is where the bands in todays post come in. If You Know What’s Good For You, you will check them both out as soon as possible.

5.Florence Road

From: Bray, County Wicklow

For Fans Of: The Last Dinner Party Wolf Alice, Olivia Rodrigo

Why: Florence Road are another band that have recommended by my daughter. Well, actually they’ve been recommended by a friend of hers, after she saw them supporting Olivia Rodrigo as some ginormous festival in London last summer – but don’t let that put you off, because Florence Road are far better than you will expect them to be.

Musically they straddle that line between pop and noise, they have the swagger of Wolf Alice, the drama of The Last Dinner Party and the pop brilliance of Olivia Rodrigo, but they kind of do all of that at the same time – and by the way if you are put off by the words “Olivia Rodrigo” then you shouldn’t be.

Last year the band released their first album, the really rather good ‘Fall Back’, which musically I’m going to describe as glitter grunge, full in the knowledge, that I probably shouldn’t. But, I will because of the way that the guitar rages and the drums crash is very reminiscent of that grunge sound, but underpinning all that is the way that everything has shiny pop edge and instantly appeal to a wider audience than this blog.

Florence Road will be huge by summer and you may as well get used to it.

Listen to:

Figure It Out (2025, Warner Brothers Records, taken from ‘Fall Back’)

Caterpillar (2025,Warner Brothers Records, taken from ‘Fall Back’)

4.Formal Sppeedwear

From: Stoke On Trent

For Fans Of: Talking Heads, Bloc Party, MGMT

Why: The only remotely new thing about Formal Sppeedwear (apart from the perhaps the way they spell ‘Speedwear’) is the wave that they attach to their musical genre of choice. The only problem is that they exist in a world where new wave has become distinctly old wave and so those in the press have coined phrases like post post punk to describe new bands making old new wave music. If that make sense.

If you listen to last years ‘Hit N Run’ you will immediately draw your only conclusions, that bassline sounds like something that A Certain Ratio might have come up with, the guitars vibrate with the same sort of friction that they did on The Fall’s ‘Hex Enduction Hour’ and the vocals are very similar to Lord David Byrne’s, and in fact the whole track sounds like something from ‘Fear of Music’.

None of that is a bad thing, far from it in fact. In fact, I go as far as to its superb. The rest of their music tread a similar path. The guitars sound fantastic, they sort of stab and swoop at the same time, the drums clatter almost mechanically and the synths are angular and choppy. Despite all that retro naval gazing, Formal Sppeedwear right now sound as fresh as they come.

Listen to:

Hit N Run (2025, Melodic Records, taken from ‘Single’)

Bunto (2024, Melodic Records, taken from ‘Formal Sppeedwear’ EP)

The No Badger 26 for 26 (Numbers 8 – 6)

You see that boat over there? Well todays tunes will float it. Especially if it belongs to you.

8.Crimewave

From: Manchester

For Fans Of: Crystal Castles, The Longcut

Why: : ‘Scenes’ the debut album from Crimewave is quite extraordinary. It’s also quite unbelievable – because it is apparently an electronica album that has been recorded using only guitars and drums, and when you listen to it for the first time (and I recommend you do that, because its all kinds of excellent) you’ll sit there, scratch your head and wonder how on earth it can be true.

Because it all sounds like dance music, there are beats, loops, samples, euphoric sentiments, everything that you would expect, but it isn’t dance music at all – the guitars are fuzzy, fractured and mutilated beyond all recognition with the layers of effects, the drums are live and sampled at the same time, the vocals are whispered and echoey like a shoegaze record and when all that is merged together, its utterly incredible and already a contender for the No Badger 2026 Album of the Year (despite it being released in late November 2025).

Listen to:

Instrumentals (2025, Fool’s Gold Records, taken from ‘Scenes’)

Haemoglobin (2025, Fool’s Gold Records, taken from ‘Scenes’)

7.Zach Thompson

From: Yorkshire (now London)

For Fans Of: Young Bob Dylan, Bert Jansch, John Martyn

Why: It was barely four weeks ago that ‘Titled’ the brilliant folk poem that ends Zach’s Thompson’s debut EP, ‘Algebra Parable’ was declared the fifth best track of 2025 on this very blog. That should be enough to convince you all that you should explore Zach’s music – because ‘Titled’ is glorious, a sprawling six minute blast of folky guitars, strings and brass and Zach’s wonderfully distinct voice.

But, if that isn’t enough then you should give your attention to October’s follow up EP, the equally impressive ‘On Platt’s Eyot’ which judging by the references to London it contains is all about how Zach has transferred his life from Yorkshire to London. The lead track from that is a song called ‘On Shardeloes Road’ which might just be the greatest song written about watching the sun rise in New Cross ever.

Listen to:

Titled (2025, Breakfast Records, taken from ‘Algebra Parable’ EP)

On Shardeloes Road (2025, Breakfast Records, taken from ‘On Platt’s Eyot’ EP)

6.Lemondaze

From: North London via Cambridge

For Fans Of: Lush, Slowdive

Why: You can add North London trio Lemondaze to a growing list of bands who seemed to have formed a band after hearing Slowdive’s ‘Souvlaki’ album. So, if you love your music to be all dreamy and hazy then they will be right up your street. Lemondaze are the sort of band that you would listen to if you took a spring walk through a meadow with a loved one.

Last year saw the release of the ‘Subtext’ EP, the bands first EP for four years which heavily draws from the shoegaze sound of the early nineties, think Slowdive and ‘Gala’ era Lush and you are definitely in the right place. The guitars swirl amidst gallons of reverb, the bass in solemn, the vocals are all whispery. It is genuinely excellent stuff.

Listen to:

(o)type (2025, Venn Records, taken from ‘Subtext’ EP)

gravemind (2025, Venn Records, taken from ‘Subtext’ EP)

The No Badger 26 for 26 (Numbers 11 – 9)

Welcome to the second and final week of this series that sees this blog trying to predict the winners of next years Brit Awards. We start this week with a band that you should take care with when Googling.

11.Fcukers

From: Manhattan, New York City

For Fans Of: Saint Etienne, Ladytron

Why: Fcukers are cool. Way cooler than you ever will be. As long as you remember that and accept it, Fcukers should be your new favourite band by the time spring comes around. Their music is pretty simple stuff, distorted vocals, a rolling bass, hi hats, bleeps, tweeks and synth sounds lifted from the UK garage scene.

Whilst it sounds simple, it’s the way it is delivered that makes Fcukers (oh its pronounced FC Uk-ers, just in case you were wondering) so captivating. Last years single ‘I Like It Like That’ took all the best bits from late nineties Saint Etienne and mashed them with house beats and dancehall sounds. They followed that with ‘Play Me’, which is sounds like what Ladytron would have sounded like if they moved to New York.

Listen to:

I Like It Like That (2025, Ninja Tune Records, Single)

Play Me (2025, Ninja Tune Records, Single)

10.Radio Free Alice

From: Melbourne, Australia

For Fans Of: Go-Betweens, Clap Your Hands Say Yeah

Why: Radio Free Alice are the latest in a long line of devastatingly good bands to have come out of the Melbourne area (see No Badger favourites Bel Air Lip Bombs and HighSchool if you need a guide to some of the others). Radio Free Alice are all sorts of terrific, think twinkling melodic guitars that hark back to the indie scene of the late eighties and you are very close.

Last years single ‘Toyota Camry’ is your starting point, the immediacy in that wiry guitar, the way the drums propel the song skywards and singer Noah Learmonth’s wonderfully angular vocals, that sound all restless and urgent. When you’ve finished that you can stick on the bands latest single ‘Rule 31’ which was according to the band written during spontaneously during a soundcheck. Stunning stuff.

Listen to:

Toyota Camry (2025, Double Drummer Records, Single)

Rule 31 (2025, Double Drummer Records, Single)

9.Mumble Tide

From: Bristol

For Fans Of: Beach House, Boygenius, Soccer Mummy

Why: Bristol’s Mumble Tide are a very lovely thing. Their music is a hazy, dreamy pop that deserves to be listened to as you walk through a wood in the early autumn as the leaves flutter to the ground. The vocals (courtesy of Gina Leonard) are lush and that fit perfectly with the gentle squall of electronic and the occasional wail of a countrified acoustic guitar

Last year saw the band release their debut album ‘Might As Well Play Another One’ (released on the increasingly excellent Breakfast Records) which is an album that flows beautifully. It’s creative and should be a must for anyone out there who are fans of the gushing dream pop of ‘Bloom’ era Beach House. File under very very good folks.

Listen to:

The Rails (2025, Breakfast Records, taken from ‘Might As Well Play Another One’)

Pea Soup (2025, Breakfast Records, Single)

Algorithm Is A Chancer – #5 ‘The Best of Big Beat’

Welcome to part five of this now not so new series, where I explore the many playlists that Amazon and Spotify have left lying around on my accounts. What normally happens is that I choose a playlist at random, press shuffle and post around 30 minutes of music from it.

Sometimes we may find ourselves going down a couple of new band rabbit holes or it may lead to me deleting Amazon music from my computers so that I can never try anything so stupid again.

Last week was all about the songs that made up what Amazon called ‘Dystopian Vibes’ that took us on a journey of false dawns and doom filled chasms. It was alright to be honest, but this week we are given something altogether more thrilling as we explore a playlist that Amazon confidently predicted contains,

“Amyl House, Brit-hop, baggy beat and big beats…”

So, let’s press shuffle and get this Big Beat party going….

La Roc Rocs (edit) – Cut La Roc (1999, Skint Records, taken from ‘La Roc Rocs’)

If I was compiling a series all about the Best of Big Beat, and let’s face it, that may happen, then I would probably start on the fringes on Skint Records and work my way to the centre. Somewhere near the centre would be where Cut La Roc come into things. Cut La Roc is the work of Lee Potter and he is considered to be one of the pioneers of the Big Beat scene. Cut La Roc had minor chart successes but were very popular in the clubs and festivals. If you want or need an over the top description of what Cut La Roc’s music sounds like then, I can refer you to this review from those gibbons at the NME who said,

“Cut La Roc sound like what the Beatles would have sounded like if they invented jungle”. Just to clarify, none of that last sentence is correct in anyway.

Ooh La La – Wiseguys (1998, Wall of Sound Records, Taken from ‘The Antidote’)

Ooh, novelty hit alert!!!

Back in 1998, a previously relatively unknown electronic duo jumped onto the Big Beat bandwagon. They took an irritatingly repetitive trumpet sample, looped some frankly huge beats over the top it and then added a ridiculously catchy chorus and sent the song hurtling into the Top Three of the Uk Charts (helped I think as well by Budweiser using the song on a commercial). Ooh La La indeed.

Talking of novelty acts…

Take California – Propellerheads (1998, Wall of Sound Records, Taken from ‘Decksanddrumsandrockandroll’)

Actually it might be unfair to call The Propellerheads a novelty act, they certainly didn’t start out as that, but they kind of ended up that way (they recorded a Big Beat Version of the Pick of the Pops Theme for instance). When they started out they made some excellent records, like ‘Take California’ and their link up with Shirley Bassey (which dialled down the beats for the radio but upped them considerably for the dancefloor), ‘History Repeating’.

Higher States of Consciousness (Tweekin Acid Funk Mix) – Josh Winx (1996, Strictly Rhythm Records, Single)

Far be it from me to question the robots at Amazon who compiled this playlist but I’m not sure ‘Higher States of Consciousness’ is a Big Beat track – but then again when it first came out it was one of the signature tunes that spearheaded the short lived ‘Amyl House’ scene and that sort of turned into Big Beat – so what do I know – what I do know is that the 303 mangling Tweekin Acid Funk Mix of this track is easily the best song you will hear on this blog today (but only just).

Dirt – Death In Vegas (1996, Deconstruction Records, taken from ‘Dead Elvis’)

The one thing this playlist has made me do is revisit the first album by Death in Vegas, because ‘Dirt’ is a tremendous track. It takes a sample from Woodstock shoves a load of huge filthy sounding beats over it. Not content with that the band then add a hefty Roxanne Shante sample in for good measure and then sits back and watch as the thing explodes. ‘Dead Elvis’ album that followed continued all that in a similar vein, marvellous stuff.

Poison – The Prodigy (1994, XL Records, taken from ‘Music for the Jilted Generation’)

Actually, this playlist is pretty good to be honest, we’ve had six decent tracks (well five, I’m still unconvinced by The Wiseguys) and we’ve not even really touched the sides of Big Beat. ‘Poison’ by The Prodigy is brilliant, we probably all know that, but even now, thirty years after it’s release, it still sounds vibrant, energetic and completely fresh. Saying that, I’m unconvinced that The Prodigy were a Big Beat band.

Nearly Perfect Albums- #191

Doolittle – Pixies (1989, 4AD Records)

When I was 11, my maternal grandmother thought it would be a good idea to take me to Sunday School. My dad, the least religious man I have ever known, told me I could go if I wanted to – but I would find it utterly boring if I did– Grandma, being quite a resourceful old dear promised me cake if I went – I think she wanted someone to go with her, to be honest, and so never one to turn down cake, I went. Dad was right, obviously.

At Sunday School I did an hours Bible study after the main service. It was by and large rubbish and I lasted three weeks, and was asked not to go back because I said the word “bollocks” in the class. I wouldn’t have minded but I wasn’t even talking about the Bible at the time, I was giving my opinion on the new Gillingham left back with my new friend Colin (who I’m pretty sure grassed me up).

Here Comes Your Man – Pixies (1989, 4AD Records)

Anyway, I think Frank Black probably went to Bible Study classes as well because there are a lot of references to the Bible, The Old Testament bit of it to be specific, in ‘Doolittle’. ‘Dead’ for example, is the story of David and Bethsheba set to music – King takes a fancy to his mates wife, does the dirty with her, wife finds herself pregnant and then a load of really nasty stuff happens, that results in a load of (innocent) people dying until King David says sorry.

Dead – Pixies (1989, 4AD Records)

‘Gouge Away’ is another one, that one is about Samson (long hair, strong arms) having his eyes poked out by a servant who is also cutting off his hair at the time – his hair being long and luscious and the source of all his power. The servant was acting on behalf of Deliah, Samson’s supposed girlfriend, and she then hands him over to some nasty people, who almost certainly don’t give Samson cake and award him the freedom of the Land of Galilee.

Gouge Away – Pixies (1989, 4AD Records)

Its not just about religion though, luckily, because I doubt we’d be here if it was, because beyond all that ‘Doolittle’ is a ground breaking record. It’s also very nearly absolutely perfect. It screams in all the right places, it wails in all the right places, the guitar howl when then should do, the drums thud and pound when they should do and it also happens to feature two, no, three of the best songs ever made. Like this one,

Debaser – Pixies (1989, 4AD Records)

It also contains a masterclass in excellence from Kim Deal, and in some ways, it is her bass guitar and her backing vocals that are key to some of the reasons that make ‘Doolittle’ so essential. Her song ‘Silver’ is, as it happens the second in that list of three of the greatest songs ever recorded. ‘Silver’ is, according to the notes surrounding the album, the only song that Frank allowed Kim to write for the album and that was largely to blame for the split a few years later – obviously Kim channelled all that creativity into ‘Pod’ regardless.

Silver – Pixies (1989, 4AD Records)

The third song in that list is ‘Monkey Gone To Heaven’ for which we must return to God, well sort of because Frank Black insists that line “If man is five, the devil is six, then God is seven.” was only written because “Seven” rhymes with “heaven”.

Monkey Gone To Heaven – Pixies (1989, 4AD Records)

A masterpiece.

The No Badger 26 for 26 (Numbers 14 – 12)

Part five of this short series in which this blog tries to predict next years Glastonbury headliners starts with a band who possibly spent their pocket money on black jeans and effects pedals

14.Midding

From: Cardiff

For Fans Of: The Jesus and Mary Chain, Velvet Underground (obviously)

Why: I’m not sure if matters hugely, but I really like Midding, largely because they have a Jesus and Mary Chain fixation that is almost as obsessional as mine. Midding, you see own precisely two records. These are, almost certainly by the Velvet Underground and by the Jesus and Mary Chain. Both records have been listened to, probably in a darkened room, on repeat for at least ten hours a day for the last five years until every detail, every nook and cranny of those records have been explored.

In the times between listens, Midding have detuned their guitars, bought some very dark sunglasses, a smoke machine, plugged in a sort of tinny synth and proceeded to make a noise that sounds exactly like the noise you would get if you played both records at the same time and that makes them rather wonderful if you ask me.

Listen to:

All For You (2026, Tough Love Records, Taken from ‘.44’ EP)

Clem’s Crime (2025, Tough Love Records, Taken from ‘Nowhere Near Today’ EP)

13.Cardinals

From: Cork

For Fans Of: Echo and the Bunnymen, Yo La Tengo

Why: Cardinals are not exactly a new band and what’s more they are no strangers to hype and expectation. Two years ago for example, the Irish broadcaster RTE stated that they were “The best new band in Ireland”. That was largely based around the release of the bands self titled six tracked debut EP, which gave us bouncy indie pop in the form of the lead track ‘Unreal’ to the more brooding and menacing psych rock of ‘Amphetamines’.

Cardinals are in some ways a band built in the mould of other Irish bands like Fontaines DC, (and before them the much missed Cork band Schtum). They write songs about their home city (Cork), and draw on the poetry, the back streets, the favourite haunts and the history that they have grown up around. Late last year Cardinals returned with details of their debut album ‘Masquerade’ – and on a first listen the first few tracks that have been made available suggests that it is going to be very good indeed.

Listen to:

Unreal (2024, So Young Records, Taken from ‘Cardinals’ EP)

Big Empty Heart (2025, So Young Records, Taken from ‘Masquerade’)

12. Big Long Sun

From: Brighton via the East Midlands

For Fans Of: Flaming Lips, Pixies

Why: Big Long Sun is essentially the work of one Jamie Broughton (although live the band are expanded). He describes the music he makes as being perfect for people with short attention spans and being driven by feeling and not meaning. He also writes, records and produces it all in his bedroom. Its only when you listen to the music that you realise just what an achievement that is.

Because musically, Big Long Sun defy genres, the music is dense with rhythms, colours, and sounds. The songs are fast, fierce, often funny and laced with chaos. They are nearly always great as well. For instance, last years debut album ‘Whatever (whatever)’ is a wonderfully oddball and engaging listen and the single ‘fast like i like my money’ captures the very essence of what the band are all about, plus there appears to be a hatred of capital letters, which is always intriguing.

Listen to:

fast like i like my money (2025, Miohmi Records, Taken from ‘Whatever (whatever)’)

fun tonite (2025, Miohmi Records, Taken from ‘i can hardly see a thing’ EP)