I’m fairly sure there are very few Irish, Togolese and Zimbabwean trios making music today, and while there’s a lot more to Rusangano Family than their nationalities, it sure is a fascinating starting point.

Rapper MuRli, MC God Knows and producer mynameisjOhn are creating some of the most arresting and direct music around. Think of Sleaford Mods’ minimalism and ear for tasty loops, minus the bilious world-view, and you’re halfway into what makes their sound so great.

The other two parts of Rusangano Family’s secret recipe is their enthusastic live show – they are essentially a band with three hype-men, and crowds react accordingly – and their fascinating, important, excitable songs.

New song Heathrow is timely, describing the feelings of arriving migrants in Western Europe. It’s powerful where in other hands it could be pious. It’s thoughtful but rollicking fun.

It’s hard to be fun and important at the same time – these are notoriously uneasy bedfellows. But Rusangano Family know all about squeezing seemingly conflicting styles, stories and backgrounds together – it’s pretty much their raison d’etre – so of course they can pull it off with panache.

Awesome. Watch out for them.

STRAW BEAR – All You Need Is An Electric Guitar



Just like the recently rejuvenated Youthless, Straw Bear are a band for whom a slight return is actually a doubling-down of their brilliant abilities, and confirmation of their rare talent.

In many ways, Straw Bear couldn’t be more different. Where Youthless’ M.O. is to plunge head-first into life, Straw Bear explore the world with rapt curiosity — and yet both bands produce deeply life-affirming pop songs of love and beauty.

Their last LP of songs, the fragile and lovely Black Bank, grabbed them a slew of hugely influential fans at the BBC – in Tom Robinson, Bob Harris, Huw Stephens and Cerys Matthews – scoring not only a BBC 6 Music session, but also being selected to play the BBC Introducing stage at The Great Escape.

So how do you follow that? Well, you disappear and return with another bunch of lovely songs, of course. Easy.

All You Need Is An Electric Guitar drags the slightly woozy quality of Straw Bear’s songwriting to the fore. The result is a song which weaves folksy tunefulness with a hazy chorus that repeats and repeats and repeats – just because it’s so simple and good.

Choruses that burst into life with such oomph and such purity are the most difficult thing to write. It’s been spinning around my head since I first heard it.

Their new album follows soon, and live London dates. Sound familiar? They’re the anti-Youthless, in the best possible way. Wonderful.


YOUTHLESS – Attention



How wonderful is it to have Youthless back in our lives? Answer: very wonderful, and frankly, it’s all that they deserve.

Youthless were ANBAD’s band of the year in 2010, after the duo won me over at the In The City music expo with their acid-soaked pop songs, white-heat basslines and all-round goofy charm. And then they vanished, just at the moment their breakthrough seemed assured.

But 2010 is an almost comical distance in the past in music biz terms — so what happened?

Rank misfortune and debilitating injury, that’s what. Singer Alex damaged his back so badly that he and bandmate Sab were forced into hiatus for years, while urgent surgery and years of rehab gobbled up time.

Time heals, and time changes, and for Youthless, both of these have resulted in a raft of new music which continues where they left off, but benefits from the reflection and pain.

And? And their new single, Attention, is fucking amazing; snagging ears as readily as any of their golden, fried pop songs that preceded it.

The song is gently pensive and furiously grateful at the same time: it’s stuffed with lust for life and beautiful harmonies. It’s as fresh as a strong sea breeze: salty, sandy, cold, alive.

And? And things are truly looking up: Line of Best Fit debuted the new single as Song of the Day, a gorgeous video is to follow and they’re working closely with new music champions CLUB.THE.MAMMOTH.

Gigs in London and support slots with Unknown Mortal Orchestra are approaching fast. The new LP is a focussed, mind-melting clutch of psyche-pop hits. The world is their oyster once again.

I couldn’t be happier for them. Into the future!

Youthless dates:
24th November – The Forum, London (supporting Sticky Fingers)
13th Nov – Armazem F, Lisbon (supporting Unknown Mortal Orchestra)
14th Nov – Hard Club, Porto (supporting Unknown Mortal Orchestra)



Can you imagine how hard it is to convince a bunch of 19 year olds to jump up and down to songs they’ve never heard before, in a style they’ve never really considered feasible?

In one way, I don’t envy Rusangano Family in this regard: at this stage in their career, this is what they have to do at every gig. In every other way, I envy them with every fibre, because they have that ability to get The Kids moving. It’s the rarest of skills, and the surest sign that they’re doing something very, very right.

Rusangano Family’s live show is entirely energetic, and utterly engaging. The crowd of kids who came to watch them, either out of interest or accident, were won over almost immediately.

I assumed that the crowd were their local fanbase (I saw them at the excellent Hard Working Class Heroes music festival/conference in Dublin) but I chatted to the band afterwards and it turns out they hail from the other side of the island. The crowd were just swept up by their presence.

I imagine they don’t see too many artists who blends so many styles. The guttural thrust of hip-hop, stabs of sub-Saharan African music, old-school house chops, and the build-and-release of the most effectively brutal dance music all combine to create a platform for the thrilling lyricism of the band’s dual MCs, who clamber all over the stage, taking the idea of “owning the space” to a near-logical conclusion.

I can’t remember the last time I was so enthused and energised by a performance – the music is brilliant, fresh and simple; the songs sharp and fascinating; the performance cutting and dazzling. Rusangano Family are so obviously the real deal it hurts.


Unknown-3Sometimes I listen to songs and just sort of gaze off into the  distance, wondering how they were made.

Un Jour Avec Yusef is one of those songs.

I’m almost certain that it was a lot more simple to make this song than I’m imagining, bit in my febrile mind at least, there was many hours of careful sonic tweaking, corralling of obscure musicians and overdubbing of unusual sounds to create this most verdant sounding song.


It’s probably just one person and a keyboard, of course.

Either way, this song blindsided me and is damn gorgeous: sparse enough to get a grip on and lush enough to get lost in. There’s jazzy flute in it! There’s tubular bells in it! There’s watery ‘plop’ sounds in it!

Wonderful. A real unexpected treat.




What a state the world is in. It’s 2015, and new guitar music still arrives burdened with thick swirls of philosophical innuendo over its very existence.

But maybe we’re making progress. The debate has abated a bit, perhaps because all the hand-wringers are distracted by bright young things in identical n*ormc*re garb nodding and making clicky noises come out of their MacBooks.

Is asking if guitar music is dead dead? Is the concept of “guitar music” even a thing any more? Are we post-genre? In a world where the playlist is king, does it matter if your niche post-2-step banger shlubs up next to some polyrhythmic guitar noodling?


Maybe that’s an unnecessary introduction for Cavalry, a Liverpool band that are making “guitar music”, but really should be simply credited as making “music”.

Cavalry are the first guitar band to really catch my ear for a long time, and while that could just as easily be my fault, there is a suggestion of something silvery and transcendent in their supple songs.

An Understanding has heart, soul and meaning: all those words that mean so much and get devalued when they’re attached to pious, serious and “authentic” guitar music.

But Cavalry’s songs seem to have them woven into their being. Maybe it’s the warm weather we’re having right now, but you know — these songs sound just right.


Ata Kak
Well, all pretence of blogging regularly appears to have gone out of the window now, let alone the now remote and frankly hilarious idea of a new band appearing every single day here on ANBAD.

However, while this month’s excuse is the blog-silencing classic of “I’ve been distracted by a new job,” this month’s contribution to the bottomless-pit-of-bands on ANBAD is truly a 100% solid-gold addition.

It’s old gold, actually, and the rediscovery and re-release of Ata Kak‘s outrageously perfect Ghanaian hip-house music that dates from 1994 is a story that is worth #longread status.

I would call Awesome Tapes From Africa a “fellow music blogger”, but that would imply that ANBAD is somewhere vaguely in the same league as this wonderful music resource, which of course it is not.

Ata Kak’s re-emergence is the work of the amazing ATFA – and Obaa Sima is just about the best thing I’ve heard since Oh Jesus I Don’t Even Know When.

Obama Sima is so bouncy and fun it should be illegal. It’s so unlike anything else I’ve ever heard anywhere near this genre of freako-house music that I strongly suspect it has been sent to an increasingly ambivalent world by a concerned God to prove their mere existence, kindness and generosity.

It’s this simple – if you’re not moved to at least nod your head to the above song, don’t bother to call a doctor: you’re already dead.



I only really blog now when I’m frothing at the mouth about something, so please believe me when I tell you that my heart did backflips when I heard 100, the new song from Dean Blunt.

Here’s the video (because I can’t find it on Soundcloud.)

Yes, that Dean Blunt, who was one half of the amazing and amazingly mysterious Hype Williams.

The same Dean Blunt who thoroughly pranked an oblivious NME when he won an NME award — and then didn’t tell them that the man he’d sent in his place wasn’t, in fact, him.

That Dean Blunt. He’s just released the best song he’s ever written (or its video at least). 100 is almost too gorgeous to bear. It’s like slowly lowering your body into molten chocolate, but better.

Simple, sweet, husky and weirdly intimate, this is simply dripping with nonchalent brilliance. It sounds like a song that someone would write for Roy Orbison, if he was still alive.

PS – If you care about “beef”, the video starts with a half-negative quote from Idris Elba, who’s going to be the next James Bond but it seems that we have to wait for a number of people to come to terms with his skin colour first.

Maybe Idris should send Dean in his place.



A good friend sent me an email frothing wildly about Lusts. These are always — always — the best, most accurate recommendations.

In the Music Blog World™, clicking on a new band’s Soundcloud link is almost always a trepidatious affair, but this time, the click was deep-fried GOLD.


You can figure out their musical touchstones within a minute, and that’s fine, because Lusts sound like all those bands which you love that you’ve somehow forgotten about, or thought would never be heard of again, or thought no-one would ever care about again.

If you ever hear anyone moaning about the dearth of Guitar Bands These Days, wordlessly point them at Lusts and observe their joy.

And those guitars! There are amazing, spidery guitars, huge, whooshing guitars, and guitar noises that sound like they have gone through a magical FX pedal that doubles mellifluousness.

Brilliant. So happy.

PS: According to Facebook, the band are signed to 1965 Records, which kind-of makes sense, because owner James Endeacott signed a bunch of great bands, and also kind-of doesn’t make sense, because Wikipedia says 1965 Records are “defunct,” and their website looks that way too.

I guess it all sorts of makes *actual* sense, in context.



Let’s cut to the chase: of course you want to play at Glastonbury Festival. It’s Glastonbury Festival. You want to play there because you are a human being with eyes, a heart and a brain.

So: enter the Glastonbury Emerging Talent Competition now. Go on. You only have a few days left, so hop to it, sunshine.

Entering it gives you not only the chance to play at Glastonbury, but a big hefty wedge of #cash #money via the PRS for Music Foundation Talent Development prize.

Also, I’m one of the judges, so if you enter a song with a pun in the title and/or a reference to 90s pop-house chart hits, you’re in with a chance.

It’s given a hefty leg-up to some of the best bands about, too: old ANBAD faves Bridie Jackson and the Arbour were hugely deserved winners a couple of years ago.


Glastonbury’s Emily Eavis regards the Emerging Talent competition as a hugely important part of Glastonbury’s remit, saying: “The Emerging Talent Competition is always an incredible way for us to find fresh talent from across the musical spectrum.

In fact, eight of the acts that entered in 2014 ended up with slots at Glastonbury 2014. I can’t wait to hear who we discover this year.”

Hey, what more encouragement do you need? Enter here, the deadline is Monday the 26th January!