By Oliver Burton
Chris Martin once proclaimed that for Coldplay; their inclusion in the NME 100 list changed it for the band – “After that it was wall to wall, every night”. Fast forward 20 years later, and the avenues to widespread discovery are shrouded in ambiguity. For some, the mention in these lists remains to mark a serious change of pace, and a ascension to the vast heights of caviar, hedonism and these days, compromise. For all too many though, these listings represent more of an online “last seen here”. For us at CLUNK, we hold perhaps some of the most faith in the following five acts. The five artists below exist currently on the precipice of success, with 2020 the year with which this frail affirmation of notoriety is put to the test. In plain post-brexit English, these are whom we believe deserve the best shot at unadulterated stardom.
Image by Bella Podpadec
London quartet Porridge Radio, have seemingly found their feet in deeper waters following their debut LP ‘Rice, Pasta and Other Fillers’. An album characterised by singular moments, it was not until they begun rolling out tracks from their upcoming second attempt that their true potential became truly apparent. Sonically, Porridge Radio is on the surface merely intelligent indie music. However once you start peeling back indie rock’s densest onion, there is so so much more to be seen.
Battling private issues, with provocative and in many cases dreamlike instrumentation, Porridge Radio are unapologetically personable. In the live environment, this closeness one feels with the band is enhanced further, the tragic nature of the performance can easily reduce a hundred or so capacity room to what feels like a one on one conversation. Having already impressed many with ‘Give / Take’, ‘Lilac’ and ‘Don’t Ask Me Twice’, the latter finding itself playlisted over at Radio 6, the forthcoming album is sure to propel them further atop the musical echelon of South London, hopefully shepherding the scene out of it’s evolving cliche chasm.
Image by Debora Goldmoon
Theo Spark and Jamie She flawlessly fuse the disparate musical worlds of Britain and Korea. Borrowing all the most interesting aspects of post-punk that all of modern post punk seems to have missed, idiosyncrasy prevails at every level of Wooze’s musical output. Wooze are a band whom feel relevant and up to date to the naked ear, though undoubtedly refreshing in their approach. After a year marked by the painstaking homogeneity of copycat acts, let us all pray that Wooze are the band to carry the likes of the post punk recycle back to the realm of individuality. Converging over several continents as a live presence, including a support slot with Metronomy, their buzz is not limited to visceral pop videos and stylistic social media aesthetics (although both things are undisputedly cool af). Perhaps if HMLTD were a little more concise on direction, we’d be somewhere around here.
Where do we start with Lynks Afrikka? A cunning critique of the zeitgeist? A spell checkers rendition of hell? Actually, both. Through the fond perspective of times previous, Lynks Afrikka creates abstract pop music, garnished with the nostalgia of 90s-centric freedom. The creative masterpiece of producer Elliot Brett, Lynks Afrikka challenges the fundamentals of modern culture. Channelling the routine expressiveness of drag culture, but supported by dance music possessing the sonic fundamentals of Devo and the lyric demeanour of Confidence Man, Lynks Afrikka is more than just socio-political rhetoric.
Working Men’s Club
Quintessentially 80s in their fragrant cocktail of post punk and nu wave, Working Men’s Club make us young guns yearn for a time we never really knew. Utterly consumed with a caustic rage, their sound is refreshing against a Manchester scene that has seldom rewarded it’s bristling scene with much outside of Britpop revival. (Exceptions include Orielles, Talk Show, non-exceptions include, the Covasettes, Satyr Play, The K’s). It’s important for the likes of wmc to come along and remind the city of Manchester the exact date and time, the hacienda is dead, city are far the superior at football, listen to Working Men’s Club.
Unlike many Bristolians consumed with their own apparent seriousness, the name Football F.C was probably assumed out of oxygen fermented with chronic boredom and lemon haze. Nevertheless the output from these seemingly precarious bunch has been anything but mockable. Hard hitting highlight ‘Big Time’ is an immediate symphony of attitude and vigour. On the preceding track ‘Aparment’, we are confronted with a little more indie on a rainy Sunday as opposed to Rovers away days. Far more introspective and self deprecating, it’s this sort of versatility which will prompt many to start making noise about this rowdy 4-aside.