The Matinee ’22 v. 142, which is the first half of our Friday doubleheader, is full of drama, which is reflected in the vast musical styles and the clever stories told by the seven featured artists and bands. Following on Volume 141, the twinbill organizes the musicians from which side of the Pond they reside.

For part 2 or Volume 143 that is focused on American and Canadian artists, click here

The Songs of October playlist includes all 14 songs showcased today. Find it on Spotify and SoundCloud.


Slaney Bay – “LS6” (London, England)

RIYL: No Vacation, Blush, Lush

Slaney Bay have become a fast favorite of ours. They’re a band with an ever-expanding sound that encapsulates much of what we love to hear in our music. Just from their two recent singles, the whirlwind ride of  “Take Your Time” and the energetic dream rocker “I Could Love You Better”, there’s no denying the trio of Caitlin Whitley (vocals, guitar), William Nicola-Thompson (guitar), and Joel Martin (bass).

Slaney Bay add even more layers to their sound on their latest single, “LS6”. Just in the opening moments, some synth comes in quietly, joined by some faraway drums. It’s perfect groundwork for Whitley’s voice. The band eventually emerges, but they quickly fade out albeit briefly. “LS6” has sound that’s easy to get lost in, but Slaney Bay won’t quite let you lose yourself. Instead, they take the listener from quiet and faraway lows to soaring heights. The ending of the song is just stellar, highlighted by Whitley’s most powerful vocal performance yet. The song gets its title from the postal code for Leeds, where Whitley attended university, and it radiates with the nostalgic longing of those younger days.

“The home that felt our kicks and scrapes
Pure love and shame
Tears, thrill and rage
The friends you’ve loved

Gone separate ways
From a street, to a train, to a thought away
Bright eyes, your name, I’m lost on the way
To write a life worth living
Or just a page”

Slaney Bay’s debut’s EP, A Life Worth Living, will be released November 11th.

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Sam Fender – “Wild Grey Ocean” (North Shields, England)

RIYL: Alfie Templeman, Hozier, Dan Mangan

A year ago, Sam Fender released his personal and revealing album, Seventeen Going Under. The LP was pure emotion, as Fender reflected on his youth and his mother’s struggles as a single parent. Despite his relative youth (only 29), he has lived many lifetimes already. As such, he has many more stories to tell, which he will share on Seventeen Going Under – Live Deluxe Edition, which will be released December 9 via Geffen Records. One of the two new songs from the LP is “Wild Grey Ocean”.

For an artist as popular as Fender, he continues to resist the temptation of standard pop and rock, choosing instead to continue to wade through indie waters. On his latest number, the arrangement is widescreen yet remains intimate. There are no big, boisterous elements nor a massive finale. Rather, the instrumentation is restrained with a tapping percussion and soft keys guiding the track at the start. Fender’s baritone, meanwhile, booms, and it is full of emotion. His songwriting always has been his strongest characteristic, and it shines again. He recounts growing up in a tough neighborhood and how he almost lost his family.  

“I seldom see our old gang round town
I call them good time friends
‘Cause they’re never there when shit goes down
Like when my brother got jumped and they hurt him real bad
I thought I’d lost him, he is all I have”

Pre-orders for Seventeen Going Under – Live Deluxe Edition are available at these links. Fender is a talent to cherish. 

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My Life As A Moth – “Drama” (London, England via Sweden)

RIYL: Kate Bush, Fiona Apple, Elle King

While My Life As A Moth‘s career has been relatively short to date, her music has a substantial degree of drama. Previously released singles, “Chest Of Dress Up” and “Electro Junction”, revealed the Swedish artist’s immense imagination and her knack for creating cinematic numbers. She once again takes us to another place on her newest single, although the destination may surprise.

Get dressed for an evening into the underworld as this is the setting for the aptly-titled “Drama”. A seductive yet sinister tone emanates from Moth’s voice, and it is magnetic. She is like the star standing on the stage, and all eyes are on here. From this vantage point, she looks down on the patrons and delivers a tale of individuals trying to make their way out of the darkness. Her words could actually be directed at the very people who watch in adoration.

“Fancy feeling feral on the intercom
And I can see the sparkle of the yellow brick road
Brick by brick we’re making our way to the throne
Just a little witty never got you wrong”

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Kraków Loves Adana – “When The Storm Comes” (feat. Ruth Radelet & Adam Miller) (Hamburg, Germany)

RIYL: Chromatics, Hunter As A Horse, Nation of Language

We’ve said this a few times: Kraków Loves Adana are one of the most overlooked bands of the 21st Century. For sixteen years, Deniz Cicek and Robert Heitmann have brought the music of the ’70s and ’80s – namely darkwave, krautrock, synth-pop, and Goth-pop – to the present. Like the bands from that era, they rely on old-fashion methods to get their music heard, specifically people spreading the word and stations playing their songs. While this approach may not lead to global dominance, it will lead to a loyal following, which includes several thousand fans and ourselves. Maybe their popularity will get a boost after people hear their newest single and who sings with them.

On “When The Storm Comes”, the Hamburg-based duo team up with former Chromatics’ members, Ruth Radelet and Adam Miller. Collectively, they deliver a stunning piece of Gothic dream-pop. The light, gauzy guitar and the thumping percussion form the foundation of the chest-swelling soundscape. Cicek’s and Radelet’s voices, meanwhile, respectively add desperation and angelic qualities. The two were made to sing together, captivating our minds throughout the song’s approximate 4.5-minute duration. Their message about persevering through the storm, too, will captivate, making us believe that we overcome what’s on the horizon. 

“Running through the cold with a dark prediction on hold
Forgot all the right words
And the wrong ones now unfold
A reversal of becoming is hanging in the air tonight
Loneliness is fillable with anything
But please take care”

The duo’s new album, Oceanflower, is out January 16th, 2023. Pre-order it on Bandcamp.

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Midnight Rodeo – “The Big Melt” (Nottingham, England)

RIYL: Still Corners, Juanita Stein, La Luz

Sure, Midnight Rodeo are a “super-group”, comprised of members from local bands (specifically, Sancho Panza, Cherry Hex And The Dream Church, Jiminil, The Hijinks and Orton). They still are one of our favorite discoveries of the year thanks to their combination 0f psychedelic desert-pop and their creative storytelling. As “Now You’re Gone” and “Shootout Sunday” showed, the sextet’s songs could form the basis of film screenplays. The band get on their horses once again and head to arid lands on “The Big Melt”.

Swirling, psychedelic guitars swirl alongside buzzing keys and a bustling rhythm section. The hazy approach sounds like it was born in the time of technicolor with each instrument fuzzed out like the grainy VHS footage of the ’80s. Like a great film, the track never stays stagnate, but it whips and whirls, blusters and breezes at various points. While we are left spinning in circles, front-woman Maddy Chamberlain keeps us strapped to our steads with her lush and soothing vocal. She tells us our opportunity has come, and it, therefore, is time to ride. 

“Dreaming Big and coming down
Floating on our last chance now
Wearing your mask that grins and lies
Aching through this

Falling back in their lines
Feeling things between lies
Holding out for hope between time
Shielding eyes from outside
Cursing strangers under moonlight”

Another awesome tune for an awesome band.

Midnight Rodeo are: Maddy Chamberlain (vocals, tambourine), James McBride (guitar, vocals), William Crumpton (guitar, vocals), Harry Taylor (bass), Ferg Moran (drums), and Sam Potts (keys, synths).

The single is out now on FatCat Records. Fingers crossed for an album in 2023.

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Khartoum – “Whatever Helps You Sleep” (London, England)

RIYL: Them Crooked Vultures, Kasabian, late-90s Stone Temple Pilots

We are not sure what Khartoum‘s plans are in terms of the music they wish to release, but they sure seem to be circling the wide expanse that is rock. They’ve done a psych jam (“Some Days”), blistered with alternative (“Vultures”), released euphoric but intelligent pop-rock (“Benny”), and dabbled in stark post-punk (“Chromosomes”). So where do they go now? Why not stadium rock? 

Cam Gallaher (vocal, guitar), Scarlett Alexander (drums), and Jake Tulley (bass) unfurl a rollicking anthem with “Whatever Helps You Sleep”. This number is meant to rattle every concrete pillar and patron in the building, as guitars wail, the bass throbs, and the drums rain down hammering rhythms. As the track intensifies, we can envision a massive wave of hair flinging back and forth as folks feverishly bang their heads. While the tune may be fit for radio, Gallaher stays true to his indie roots with a David-vs.-Goliath tale and how the underdog will never give up. Kind of like Khartoum.

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Charlotte Spiral – “Roots” (London, England)

RIYL: Weyes Blood, Marissa Nadler, Julie Byrne

Charlotte Spiral share their name with a figure skating pose. It’s a fitting point of influence for the duo of Amy Spencer and Avi Barath because heir music is very much like a figure skating routine: beautiful, cinematic, spellbinding, and always with a potential for heartbreak. It’s what easily scored them a spot as one of our Favorite Hidden Gems of last year. However after they shared “All This Time, Asleep” in September, it feels like that the secret’s about to be out.

“Roots” has that distinctive Charlotte Spiral sound. Haunting from the moment it hits the ears, Spencer’s voice eerily soars over bright piano. Guitar cuts through the stillness with just a hint of percussion. The song builds brilliantly. Those sharp guitar moments become atmospheric and crystalline. The haunting voice becomes lush and enchanting. The percussion becomes layered. It’s a lot like the subject of the song: the family tree and the intricate system of roots that lay underneath.

“The light of the morning, shines on my window
Whilst you take your chances, on a world you don’t know
The beautiful flowers, you held in your hands
As time passes by, you let them grow out
You’re softly spoken, with a rage like the wind
Blossom hasn’t woken yet, you’ve got much more to give”

Spiral’s new EP, All This Time, Asleep, is out November 17th. Pre-order it on Bandcamp

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