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.


Sweeney Straddles The Sun: Psyched Out By Language

There are a few questions that people often ask me. Doesn’t writing about a new band every day make you go a bit crazy? Doesn’t sifting through the bad bands cause Skittles-coloured-vomit migranes? Just where do you find the time/patience/sanity to do it?

The answer to all those questions is the same: Pass me the own-brand gin, hombre, because my head feels like replicating the surprisingly explosive bit in Scanners. (Or you can help out in a less cheap booze-related way, here)

Anyway, a question I would like the answer to is: why does the Welsh language lend itself so well to psychedelic music? The records of two recent Welsh bands – Gorky’s Zygotic Munki, Super Furry Animals – lends a lot of credence to this idea. And remember Welsh Psyche-Hip-Hoppers Genod Droog? It just seems to… work.

Perhaps having a glut of words with an inherently beautiful and intrinsically kooky sound helps. It certainly does, in its own small way, for Sweeney Straddles The Sun, a Glaswegian artist who nabs some lovely Welsh prose in Bwyda Fi Agwedd, then manacles it the chorus of a swift song whose natty melody will bug you to death.

Sweeney Straddles The Sun – Bwyda Fi Agwedd

In some ways Bwyda Fi Agwedd is soft psychedlic poppy-rock, which sounds like the tag you’d see attached to a Creedence Clearwater Revival CD in a small record shop, but it fits. Note to concerned: Sweeney Straddles The Sun doesn’t sound like Creedence. Or, at least, his songs don’t come on 8-Track.

D/R/U/G/S – Fame, Hype, Responsibility. And Bono.

ANBAD has gone In The City CRAZY, and for the next week or so until the festival/conference/new band orgy begins, bands appearing at the festival will be featured. This is a Good Thing, because while the usual suspects will be getting the attention in the press, there will be some genuinely excellent and genuinely unknown bands jostling for attention there. Though, frankly, today’s probably isn’t one of the latter.

DRUGS – Love Lust (darkmixx) by ITCManchester

Hype is my new band Kryptonite. Its presence instantly renders any new band tainted by it wholly unpalatable and saps my will to live. This is my snobbish quirk, yes, but one that drove me to create ANBAD, which is either a good or bad thing, dependent on your point of view.

D/R/U/G/S have been hyped beyond the stars by some people, and are almost a tick-box example of the kind of band I would normally dodge with the same vehemence as Bono would avoid a room without mirrors.

Punctuated name – tick. Remix-friendly laptop-twiddlers – tick. Mysterious online profile (see photo) – tick. And most agonisingly of all – the hype.

And yet here is a good band who justifies high praise: a band who are making music so warm and – dare I say it – thoughtful that they almost demand that you mentally prepare the statement, ‘But of course, I liked them before they were famous’.

D/R/U/G/S don’t shirk responsibility even whilst bobbing along on the deceptive buoyancy of their own hype. They are ploughing on, creating new music that sticks to the original plan – have a good time together, bathing in the chaos of their own music. Excellent.

And all that without mentioning a certain hype-referencing Public Enemy song. Small victories.


D/R/U/G/S are playing on Wednesday night at In The City // More Info + Tickets



ANBAD has, as you may well have noticed, been pushing the grammatical-correctness of its moniker in the latter half of last year.

There’s a full post here, but in short, the whittling-down of regular posts has been due to work constraints (boring/inevitable) and the fact that the new music dam has well and truly burst (a wider problem), and sifting through the vast amount of actually new stuff has become more time consuming than ever.

The inevitable thinkpiece on The Future Of ANBAD is to follow shortly – and – SPOILER – it’ll probably be me musing on the creeping feeling that music blogging and/or the music industry needs to change to keep moving forwards.

If the liberating democracy of the internet has open the floodgates, well, great – but the danger is that this vast increase in noise is frightening off bloggers/radio producers/’tastemakers’/etc because the size of the gate-keeping task is so great.

My fear is that this overload means these grass-roots filters find it impossible to resist the temptation of drifting back to the safe simplicity of the old industry; where a quasi-old boy network chooses bands, packages them, informs tastemakers that they are the Next Big Thing, and waits for these apparently independant, ‘new industry’ tastmakers to give them their seal of approval.

This would be bad for a few reasons: it would erase some of the progress of the new independent/DIY music industry model and hand some power back to the old music industry model for one final hurrah; and it would shackle the influence of the people at the new grassroots, who try to highlight new musicians free of external influence.

After all, what is the point of an open and liberated music business model if the people who are writing about new music are effectively just doing as they are told by the old business model?

How does this help showcase artists that are looking to the future, doing it for themselves and ploughing their own furrow? We will all lose – big – if these voices are snuffed out, or restricted to niche coverage.

Maybe now that we’re reaching the inevitable input/output overload of music tastemakers, the Hype Machine is about to cement its position as the only independent, online new-music resource of real use.

Maybe now is the time that the indexing, aggregation and smart sorting of that individual human filtration becomes essential as opposed to merely really useful. (NB: Insert standard ‘I am affiliated with hypem.com disclaimer here.)

My wish for 2014 is that the music business pendulum keeps swinging in the beneficial direction of the independant, the individual and the intruiged. In the meantime – happy new year, pop-pickers.

Brand New Blog Ahoy: BAD COVER VERSIONS!

A New Band A Day celebrates creativity, daring and cunning.

Rock, however, doesn’t do a lot of cunning, and even less creativity.

What it does do is a lot of is stupid, as demonstrated by the truly dreadful decisions made when bands start to cover other band’s songs.

Evidence? Take Duran Duran, surely one of the more feeble bands to ever attain worldwide adoration – and consider: would you ever recommend to Le Bon and co that covering Public Enemy‘s 911 Is A Joke was a good idea?

No, neither would I – however, thankfully, someone did – and as such we can now revel in the video footage of what must be the most ridiculous cover version of all time.

Stupidity of this magnitude would arouse anyone’s curiosity, and so here is the result: www.badcoverversions.com. It’s a blog that wholeheartedly celebrates the stupid, the misguided and the rankly moronic in rock, and acts as a handy repository of videos of the dumbest covers ever whelped.

Dip in, and luxuriate in other such mind-boggling covers as Sting turning a two-minute Jimi Hendrix song into a ten-minute atrocity, rap-frat-idiots Limp Bizkit making George Michael’s Faith even worse than it already was, and – coming very soon – a country and western version of Fight For Your Right To Party, an 80’s teen idol performing a jazz-funk cover of Love Will Tear Us Apart, and much, much worse.

Share and enjoy!

Joe // www.badcoverversions.com



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.

Mad Colours, Uncertainty and Eventual Satisfaction

Occasionally a band plops into the ANBAD email inbox that I’m just not sure about.

It’s taken a while, but I’ve learnt that this is not necessarily a Bad Thing – remembering that I just wasn’t sure about Exile On Main Street the first time I heard it (oh, the shame).

Thus, usually, it’s the case that these bands causing such inner turmoil are either actually rather good, or that my radar has gone completely skew-whiff.

With that dubious caveat in mind, here’s Mad Colours, a band brave enough to pick an Anglicised band name that probably won’t show up in American Google searches. Hey, that market is probably not ready for them anyway.

I think any song called Hot Wet Sticky Flowers deserves attention, simply because it conjures a mental image that is both gross and alluring all at once. The band nurtures this inner confusion throughout the song: a blizzard of firmly-struck noises, rousing choruses (plural) and a sense of adventure that would leave most bands breathless.

As stated numerous times on these pages, there’s little merit in consistency. Mad Colours may have just that quality baked-in.

So: excellent stuff. Right? Right.

MORE: soundcloud.com/m-a-d-c-o-l-o-u-r-s

Breton: Indecisive, Massive, Attack

Name changes really affect a band, don’t they? Just ask Viva Brother (or whatever band they’re all in now). Breton – now there’s a decent band name, and all the better after their decision to change from BretonLABS, which made them sound like a denim manufacturer. All the same, you’re not likely to find them popping up on the Radio 1 A playlist, or lurking on too many iPods, but it’s a start.

If Massive Attack decided to make indie-films, produce videos for other bands and replace the hey-who-turned-off-the-lights vocals, you’d be left with something that vaguely resembles Breton.

Thus Breton are more than just a band – they’re more of an Andy Warhol’s Factory collective. After forming in -where else? – south-east London last year, Breton dropped the ‘LABS’ from their name. It paid off.

Breton haven’t been resting on their laurels in the past year either, having already produced a trilogy of EPs; titled Practical, Counter Balance, and Sharing Notes.

It says a lot about them that the early copies of these EPs came mounted on a handmade circuit board, alongside a list of components and instructions which allows you to create a fully working synth.

The band very rarely step out of their BretonLABS HQ, living lives of seclusion we’ve come to expect from this artistic breed of musician. You’re probably not going to spy them buying chipolata sausages or picking up pink fuzzy iPod accessories in Tesco.

On the few occasions that they do leave the LABS, it’s to perform secret shows shrouded in black hoods. Breton’s eerie sound, awash with dubstep-scented basslines and chopped rhythms, is pretty gripping.

Their debut album won’t be available until February 2012. Fine. In the meantime their latest single, The Commission, is available now as a free download.

MORE: bretonbretonbreton.blogspot.com

Sea Glasses: Every-day Pleasure

After taking a rare dip into the murky waters of  Music Debate And Controversy yesterday, it’s a soothing pleasure to return to the day-to-day grind of simply finding new bands.

I say grind, but of course it’s nothing of the sort – I find the same kind of pleasure in rooting out new bands as Bob Ross takes from washing his brush. Simple pleasures, simply done, friends.

And anyway, Sea Glasses are about as frenetic and disorientating as slipping into a hot bubble bath. Their music is beamed directly from childhood dreams: pink-hued, soporific and wildly happy.

When We Left is the aural recounting of a treasured memory – drenched in reverb, lazily rebounding sounds off itself and featuring the same wide-eyed euphoria previously heard in the latter few tracks from Screamadelica.

At the end, the track dissolves into blissful dissonance, and all its listeners’ heart rates will have slowed by 10%. If nothing else, here’s a song that could have serious repercussions on our collective blood pressure.

MORE: seaglasses.bandcamp.com

>Today’s New Band – Like a Fox

>Simian-theme band names are like all the rage in rock music. The Arctic Monkeys, the Monkeys, Gorrillaz, Simian, and even last Friday’s New Band of the Day, The Cruiser Chimps.

So here’s to today’s new band, Like A Fox, for shunning the temptation of crowbarring a monkey theme into their name. Foxes are crafty animals, all sly and sneaky, which augurs well for a rock band’s image. Like a Monkey would just conjure up images of the band scratching purple bottoms and scaring zoo-bound school parties by throwing their own excrement at them.

Unusual faeces imagery aside (though if that’s your thing, see one of last week’s bands, Coprophagia, here), Like A Fox are a lovely loping mix of Mercury Rev and Grandaddy. They’re another one of those slightly gleeful American bands – the type that seem to drift out of the USA every once in a while – and are a happy antidote to the mentalist urgency of most rock on the radio at the moment.

Frankly, if their song A Little doesn’t make you feel just a bit joyfully wistful, you may not be wholly human. Hear it on their Myspace page – and check out Heavy Soothing too- and see if time doesn’t just float by.

– – A big thanks to Andy Woods from the fabulous Smile night at the Star and Garter in Manchester for introducing me to Like a Fox- –

You Need The BRIT Awards. The BRIT Awards Need You. You do the math.

**This is a Sponsored Post**

Whoah. It’s almost Christmas. No really, it is. Check the calendar. Go ahead, I’ll wait.

See? Crazy isn’t it. And just when the season of moderate goodwill has swept by, do you know what’ll whip around just as fast? The Brit Awards.

Yep, the massive UK music jamboree, habitually sponsored by MasterCard, will zoom back into all of our lives, and bombard us with the usual flurry of award-scattering, tales of drunken behaviour, and endless reminiscances of that time when Jarvis Cocker waved his bottom towards Michael Jackson.

If you dare, cast your mind back to last year when musical luminaries like small-town haulage-company sound-a-likes Mumford and Sons clashed on stage with hip-hop wünderkind Tiny ‘Tony’ Tempah, roly-poly songstress Adele and everyone’s favourite rambunctious redhead, Rhiannah.

Well, trash that memory right now, because The BRITS 2012 is going to be at least  a thousand times more exciting – and Mastercard holders can make sure they’re there at the giant musical event to end all gaint musical events by buying BRIT Awards 2012 tickets right nowmonths before anyone else!

Tot up the glut of goodness that’ll be taking place: not only will you be snuggled comfortably in London’s most fabulous music venue, the O2, but you’ll have laugh-a-minute funnyman James Corden pumping comedic gas in your direction in between announcing every single amazing pop act.

Moreover, and possibly most amazingly, Sir Peter Blake is designing the statue. (NB: Peter Blake is not related to James Blake – but just imagine how good the album artwork would be if they were). And who’s going to be clutching these tastefully-designed awards? Probably not Wu Lyf, but who knows?

Mastercard holders don’t only have the chace to book these tickets straight away – their Priceless Cities service means that you’ll be able to slip straight into the Big Smoke like a local and take full advantage of Europe’s most idiosyncratic city.

So what are you waiting for? Let’s face it – there’ll be no better way to spend your Feburary next year. 

Viral video by ebuzzing