A New Band A Day 2008-2018

Welcome to ANBAD, which is celebrating ten years online in April 2018, and is now “resting.” (I’m still jabbering on about new bands like, oh, I dunno, The Chats, on Twitter.)

However, ANBAD also has over 1200 posts featuring about 1500 artists. Most are buried deep in the blog, rarely seen by human eyes. This seemed a bit unfair, so I randomised the posts and the ones you see below are yanked arbitrarily from the archive for you to explore.

As with anything this old on the internet, some of the music players, hyperlinks, images, formatting – and, frankly, the writing itself – are broken. But even I will begrudgingly admit that randomly looking at ten years of once-new bands is a fascinating glimpse into a very specific time capsule.

I’m as surprised as anyone that this ridiculous and utterly niche music blog has stumbled around online for a decade, surviving all of my attempts to break it, render it defunct, or let it wither on the vine. I’ll post something longer soon, probably around the Official ANBAD 10th Birthday in April; but for now, scroll down and read on – and maybe you’ll find some long-forgotten band from 2009 that you’ll love.


[Klo-do]84 – Kibbled Sounds

No, that’s not a typo up there on the headline. It’s not an auto-generated spam post title either.

It’s actually kind of a tacit admission that I’m slowly grinding any remaining ANBAD audience away with a slightly obsessive fascination with Japanese underground music.

I keep trying to love the Brooklyn bands with the smooth, smooth, ‘dreampop’ sounds, the neon bobble hats and cans of hand-temperature PBR… and I keep getting drawn back to Japanese neo-Juke-hip-hop.

Hey, at least you’re getting a new band today, right?

So while you’re considering that it’s now patently clear that ANBAD is increasingly poorly-named, also consider that [Klo-do]84  represents, at the very least, something exciting you may not have heard before.


Take Resson 1, for instance. It’s a short burst of marvellously creative, stripped-back and crunchy hip-hop, and is symptomatic of [Klo-do]84’s songs. Samples are quickly grabbed, chopped, kibbled and shuffled together. There’s a sense of freedom, lightness and quickly-made decisions – all of which seem to be a success.


 [Klo-do]84‘s name is also indicative of a peculiarly Japanese band-naming system: that is, the more obscure and unintelligable, the better. This is a scene simply made for ANBAD. Forgive me, and enjoy this wonky, joyfully basic noise-pop.

MORE: soundcloud.com/klo-do

Happy Lives: Poppadoms

Well. It’s taken me a week to pull my brain out of a jet-lag fug, but finally I’ve managed to find a Brooklyn-based band, and semi-justify my presence in New York.

OK, so Happy Lives were pretty much the very first local band I stumbled upon, but I’m going to chalk this one up to serendipity.

That’s because Happy Lives are a great band (aren’t they all?), replete with songs filled with the kind of sounds that reach out of the speaker and shake you warmly by the throat.

Slacks and Slippers is crunchier than a fresh tower of poppadoms, and more jagged than a freshly demolished tower of poppadoms.

Woeful curry-based analogies aside, here’s a song from a band that have that rarest of qualities: clarity.

Their songs may be muddy, grimy and the resonance of a bag of spanners, but they are also laser-focussed in their execution and direction. This all bodes very well. Great stuff.

MORE: happylives.bandcamp.com

Post Post – Mobius Strips Of Delicious, Pillowy Bliss

Seeing The Coral on Saturday night was a revelatory experience for me. Not the band so much – they were as warm and fulfilling as expected, a bit like getting into a bathtub filled with your favourite winter soup. No, the revelation was that it was my first – and possibly my last – all-seater gig.

I’ll say this for The Lowry in Salford Quays: the acoustics are outrageously good. The room is full of strangely-suspended baffles and oddly-angled appendages, and has clearly been designed by computer to make every spot in there the perfect listening space.

The downside is that there is no room for deviation from the plan, so everyone has to remain seated at all times.

A seated gig is a weird thing to behold, especially from my viewpoint, high up in the gods: hundreds of people, fighting against their cushioned velveteen restraints, twitching and jerking at the music, clearly wishing they were standing and dancing.

There are bands for whom a sitting gig would suit, but The Coral are not one of them. Maybe Philadelphia’s Post Post, sharp, ethereal and lithe, could pull off such an event. Certainly I was lulled into a quasi-snooze-like state with their hypnotically soft sounds, which gently loop into Mobius Strips of delicious, pillowy bliss.

Post Post // Architects

I’m not sure if the band’s name draws from some hazy insight into their influences – are they post-post-rock? – and frankly, I don’t care. Architects yearns, aches and urges, and we listeners latch on and follow suit, filling in the gaps, aligning emotions and losing thoughts by gazing into the middle distance.

Post Post have achieved the rarest of feats: an actual emotional attachment to their audience. And if that audience were penned into rows of seats before them, they might never leave of their own volition. Blissful and hypnotic.

Thanks, as always, to Peter at the always-excellent Crushing Krisis blog.

>Today’s New Band – ERRORS

>Oh, bugger it. We had the hat-trick of dinosaur-themed bands the other week, and it should be clear to you regular readers by now that we love gimmicks just about above anything else here at A New Band A Day. So, after yesterday’s super Glaswegian Scrabble-fiends* Q Without U, we’re going for broke and pumping two more Glasgow bands at you, today and tomorrow. Glasgow, similarly to issues we’ve expounded limply about Wales before, must have something special in the water (no jokes about Tennants Super, please) as the city is churning out superb bands left, right and centre at the moment.

So, Today’s New Gimmickly-Induced Band is ERRORS. If I was mildly cretinous, I’d make a poor joke about how there is nothing erroneous about their music, because it’s fantastic. Unfortunately, I am that cretinous – there is nothing erroneous about their music – they sound exciting, inventive and are so pleasingly non-Razorlight/Kooks/etc that I almost did a backflip listening to them. To be slightly glib, they sound a bit like A.N.B.A.D. favourite PixelH8 coupled with the gloriously noisy Battles. You honestly have to hear Salut France, a song with all the skippy beats, gorgeous melodies and bleepy poking you’ll ever need. Focussed and sharp, but without falling into that awful laptop featurlessness like most electro-noise bands.

You could dance to them, you could strut around town to them, and if you were pretentious, you could stroke your chin to them. Whatever you do, just listen, because they’re SUPER.

Listen to them, quick! Myspace here. More Glaswegian bands tomorrow!

*possibly true

bbbbb: Madness To His Madness

Being someone who clutches narcissism close at all times, it’s hard to turn down an opportunity to whinge about anything.

So. Picture the scene, dear reader: Sunday afternoon, rain outside, toasty warm inside, stomach sated with a fried breakfast fit for a king. One bold music blogger decides to finally clear the incoherent mass that is ANBAD’s inbox.

Well, friends, it was a distaster of monumental proportions. I think all the good new bands have hibernated for winter, or at least are spending all their time waitering to save money for SXSW 2013.

In my gloom, I typed haphazardly into Soundcloud’s search box. I discovered bbbbb. My theory that randomly reaching into the musical ether is as good a method of discovery as any was once again vindicated.


Beginning with a crash, and ending with the kind of digital de-cluttering you’d associate with the noise of crashing hard drive, K4B cuts any number of new furrows along its path. Many of them are peeped down, never to be re-visited, and some are looped, stabbed, repeated madly.

It doesn’t matter that there is only madness in bbbbb’s madness: only that the song exists at all. K4D could only exist in the chaos that is K4D’s oddly-ordered system. And the result is brilliant – although only you can decide which definition of the word suits your response best.

MORE: soundcloud.com/kool-switch-works/k4d-bbbbb

ShottenSynapse – Bad Guys and Guns

Hey, how extensive is your knowledge of Serbian wobble-glitch house?

Yes, probably about the same as mine: minimal.

Serbia and the countries surrounding it are probably best known at the moment for producing the generic bad guys in Hollywood movies like Taken, so finding out there’s a healthy music scene outside of all that running-around-waving-guns-whilst-making-threatening-phone-calls is heartening to say the least.

ShottenSynapse may mean something, or it may mean nothing.

Perhaps, like a shaven-headed enemy in The Transporter movies, motive is a lot less important than just getting on with doing something noisy.


DiminishedNonsensoryAparatus might be a bit of a silly name, but it hits all the right spots in terms of fulfilling house music’s basic and most life-affirming functions: it is relentless, mechanical and after a while, becomes so repetitive that your mind begins to find loops that simply weren’t there before.

And that’s as high a compliment one could pay to any kind of music in this sphere: this song is fascinating in its depth, layering and rhythm; and moreover, it’s got groove. Great.

MORE: soundcloud.com/infobiro

>Today’s New Band – The Tumbledryer Babies

>Returning back to the UK has been everything I expected, for good and bad. Cold winds, rain, baked beans on toast and football violence. They just don’t do those kind of things as well in continental Europe.

Proper Indie is something else that’s done better here. Wait – that’s not musical xenophobia – there’s loads of great bands abroad, it’s just that Britain seems to lead when it comes to that brand of songs recorded in bedrooms, by bands with unusual names, made up of pasty young men.

Let’s shoehorn Today’s New Band into that category, too. In all honesty, I’m not sure if The Tumbledryer Babies are actually pasty white youths, but it’s a reasonable gamble to assume so. Their songs are pitch-perfect Bedroom Indie – lo-fi and lo-budget; hi-invention and hi-fun. A song that snipes at the unfairly popular trendies: Predictable Teens. A song that celebrates the status of the uncool: Now The Geeks Have A Union.

Tell Me What To Do swivels an ironic eye to the past, nicking an old rock ‘n’ roll bassline, some ‘shoop-shoop’ backing vocals, and a twist on a traditional line – “He hit me and it didn’t really feel like a kiss”. But it’s no dumb pastiche – the song is either a wry glance at bands who slavishly follow a defined path to stardom, or a cute love song – I’m not sure which. I hope it’s the former, but would happily settle for the latter.

Evan Dando’s The Outdoor Type nicely apes and reverses the Lemonheads’ song – “I can’t go away with you on a rock-climbing weekend/What if something’s on TV that’s never on again?” The desire for a lazy, stay-at-home-and-play-records-and-videogames life is shared by plenty. The Tumbledryer Babies have a market to meet their songs, and they deserve to be heard outside of darkened bedrooms across the land. They make simple, natty songs about their simple, natty lives. Listen here!

>Today’s New Band – Ten Tigers

>I like surprises. Well, to a point – those, “darling, I’m pregnant,” shocks don’t get easier even the 14th time around – but as a rule, happy accidents and unexpected pleasures are the best bits of life.

Bands that spring a tasty surprise make me want to hunt them down and smother them to death with hugs, such is the prevalence of charmless, bland bands. So, usher in quietly Today’s New Band, Ten Tigers from Southend, whose songs veer from spazzy-punk to contemplative-campfire singing, and don’t give a monkey’s what you think.

For example: their song Superlucky is a simple, crunchy, yelpy, sharply-female buzzfest that sounds like it’d be a great song to open a gig with. It’d set out the stall, to use football manager’s parlance, and everyone would know exactly what to expect. Except their other songs aren’t even like it at all, or even like each other. Possessing the shortest attention span in pop, song ’82 has a verse that’s a bold attempt to rescue the Wah-Wah pedal from Blaxploitatio-clichés, before strolling into a lovely, heavy, yomping chorus of “Everyone was gay in 1982”. It goes without saying that Runaway and Sunny Shades are altogether different again (a summertime lilt and the aforementioned campfire sunset sing-song respectively).

They’re hit-and-miss, but that’s a given – it seems an ingrained part of Ten Tigers’ nature. So what if you only like half of their songs? It’s better than having middling feelings towards a band that treads a carefully safe route. A sensation of swinging between love and hate makes you feel alive, dagnammit, so ponder their songs here!

Black Daniel, and Finally: The Inevitable BBC 6 Music Post

So, I’ve finally sent a slightly embarrassing and uptight email to the BBC complaining about the bizarre (and I suspect, politically motivated) decision to axe of BBC 6Music.

If, like me, you’re a listener (and can put aside the temptation to let it disappear just so Lauren Laverne’s show will vanish as well) and value the station’s admirable adherence to playing something different, why not email them too?

That idea of playing something different is key: it is why you’re reading this blog, why your idea of hell is a U2 concert, and it’s what separates us from them. It’s also why closing BBC 6Music is bizarre: offering less choice is not what the BBC is supposed to do.

BBC 6Music exists to give bands like Black Daniel a break, and an exposure to a much wider audience than the usual Blogospherical constraints.

Black Daniel are an enigma too: a band who are in it for the fun of it, yet make songs like ILoveYouButDon’tTouchMeCosYou’reSick that are too good to be merely a show-off’s cast-offs.

Black Daniel // ILoveYouButDon’tTouchMeCosYou’reSick

The song is a strange hybrid of the nihilism of Mudhoney‘s Touch Me I’m Sick and the tune of The VaselinesJesus Wants Me For A Sunbeam, which is as good a starting point as any.

Appropriately, the song is a scorcher: essentially one long celebration of its own excellent chorus. And for a band that appears to revel in their own reckless, gauche abandon, it’s quite affecting, lovely and even cute. A surprising pleasure.


Ghost Loft; Hooky, Rhianna and Golden

There’s a fascinating article over at The New Yorker about the process behind writing Rhianna‘s smash hits.

It seems deceptively simple: “You’ve got to have a hook in the intro, a hook in the pre-chorus, a hook in the chorus, and a hook in the bridge.” 

So that’s why Rhianna’s songs get lodged in your head for days at a time: she has more hooks than a fly fisherman’s bait box.

It does raise the question: if the key to success is so simple, why aren’t more people cramming their songs with hooky melodies, providing an itch that listeners just cant help but scratch?

Let’s investigate, using Ghost Loft‘s Blow as a guinea-pig: where is the hook, and does it draw you in for a second listen?


Yes, yes, this is an unfair comparison: how can you compare determinedly ultra low-tempo sex-music with a raunchy pop princess’ bump ‘n’ grind pop?

Well – just listen harder: those all important hooks are here, too – just spread out a little further and played out a little slower, in a song that is intoxicating and woozy.

From the tweaked female ‘mmm-mmm‘ samples to the groaning, slurring organ sounds, those little audio niblets are there, tempting us all to bite.

Ghost Loft may not score acres of international radio play, but that’s hardly the point: a bunch of you clicked ‘play’ again when the song finished, and that’s achievement enough.