Five Songs To Hear This Week - Turbowolf, Alright The Captain, Jennie Abrahamson, Red House Glory, Vessels

Five Songs To Hear This Week - Turbowolf, Alright The Captain, Jennie Abrahamson, Red House Glory, Vessels

Sorting through the week's new singles and songs that have surfaced online over the last seven days, Jamie Skey (@jamie_skey) presents five songs you need to hear this week...


Until recently, there's been a bit of an extended silence in Bristol sleaze rockers Turbowolf's camp. However, as most of their die-hard fans will attest, this riff-slinging quartet are ones to take their own sweet time when conjuring their noir-laced brand of fuzzed madness. It took them nearly four years to unleash their self-titled debut album back in 2011, so the fact their first taste from their long-awaited follow-up LP, the bouncy, irresistibly hooky Rabbits Foot, only comes a few months before its release next year is a cause for celebration.

Many people say maths is hard, boring or both. Not when post-rock derby trio Alright The Captain get hold of it and whizz it round their space-gaze blender. They may have time signatures that’d look like algebra if written down, but their tunes, as demonstrated by Ben And Barbara, are mind-flexing riff puzzles packed with fun and melodicism.

Currently on tour with ex-Genesis front man Peter Gabriel, Swedish artist Jennie Abrahamson generates a soaring sound befitting of her gigging appointment with The Prog-Father. Her latest single, The War, with its tribal drums, swelling strings and ethereal vocals, will certainly draw comparisons with the likes of Kate Bush, The Knife and Bat For Lashes.

If Noel Gallagher ever decided to down-tune his guitar and jam with Brighton riff monsters Royal Blood, the result would probably sound a lot like Red House Glory’s swaggering Living A Lie. Seriously.

Leeds-based one-time post-rock crew Vessels’ penchant for house music has always been evident in their output, but their new cut On Monos shows a complete turnaround in their sound, from widescreen-rock epics to shadowy, Jon Hopkins-echoing electronica. Post-rock’s loss is clubland’s gain.