This is a rather bittersweet post I’m afraid. Operation Guillotine is/was a blues rock band from Coventry, England who described themselves as “five lovable rogues from the Midlands that just aim to bring good vibes” but, alas, they are no more. They had a great run since forming in 2016, releasing a number of excellent, hard-hitting singles, but after experiencing the loss of their drummer and bassist, they’ve decided to officially put an end to Operation Guillotine. However, fear not, because surviving members Alice Clarke (vocals), Rhys Scott (guitar, backing vocals) and Ben “Fogal” Ollis (lead guitar) will soon be forming an entirely new band with a new direction and sound.
I reviewed their previous single, the stonking “No Victory”, just before Christmas 2018. They just dropped their final single “Good Times” on June 28, and it’s a fitting swan song. Even though it was actually one of the first songs they wrote as a band, it perfectly encapsulates their music legacy with the lyric “We’re here for a good time, not for a long time.” They really go out with a bang, delivering explosive riffs of distorted, reverb-drenched guitars and pounding drumbeats.
Alice is a fantastic singer, skillfully matching the intensity of the instrumentals note for note with vocals that range from fiery passion to a sensual purr. Though we may be upset that Operation Guillotine is done, she admonishes us to keep a stiff upper lip: “So turn it around, bring your frown upside down, ’cause baby it’s a good time we made.” And so they have.
I’ve been revisiting a lot of artists and bands that I’ve previously featured on this blog, as so many of them are putting out new music and wanting my thoughts on it. The latest is by Somehow, the indie-pop project of Erwan Pépiot, a singer-songwriter and multi-instrumentalist from Paris, France. His pleasing sound hovers somewhere between Joy Division and Belle & Sebastian, with a vocal styling reminiscent of Morrissey or Ian Curtis. He writes, performs, records, produces and mixes all his music in his own home studio, with his only assistance coming from his long-time collaborator Aurélie Tremblay, who provides backing vocals and some fine cello work.
Somehow released his debut album The Desert of Wasted Time in 2016, receiving many positive reviews. This was followed a year later by his beautiful album Hidden Memories, released via Toolong Records, which also earned wide acclaim both in Europe and the U.S. In October 2017 I reviewed “Someday”, one of the wonderful tracks from that album. He now returns with a terrific new song, “Shut Your Eyes and See” the first single from his forthcoming album Low Tide, due for release this coming October.
It’s another enchanting track, featuring Somehow’s signature rich, multi-instrumental stew that gives his songs their incredibly sublime soundscapes. A beautifully-strummed bass line provides a splendid foundation for the song, over which are layered some lovely guitar, keyboards, melodica, cello and gentle percussion. Erwan’s vibrant vocals are as pleasing as his music, singing the verses with a comforting urgency while Aurélie provides delightful backing harmonies.
The lyrics seem somewhat ambiguous, but I think they’re about someone who’s breaking out from under self-doubt that’s plagued them, allowing them to live their life to its full potential, yet still remaining insecure.
It seems you’re getting somewhere after all You finally found your way out Through your silent eyes All things looked hollow Now candles and stars Sparkle in daylight
It seems you’re getting somewhere after all You finally found your way out At the sound of the horn You’ll run away then die Over and over For a thousand times
You will speak You will fly You will speed up the tide You’ll be lauded and praised by hundreds of strangers
Hide from yourself Shut your eyes and see
The charming video shows a young man, skateboard in tow, flying to London to see a young woman who’s an old friend or girlfriend. They then set off on a sightseeing adventure, taking in both the beautiful and not-so-beautiful kaleidoscope of life in the teeming city on the Thames. The video was produced by Julien Bengel, and stars Paco and Marina as the young couple.
1. ESCAPE – Ships Have Sailed (3)
2. DARK PLACES – The Frontier (1)
3. I SEE YOU – MISSIO (7)
4. BAD GUY – Billie Eilish (5)
5. MISSED CONNECTION – The Head and the Heart (6)
6. FEAR THE FUTURE – IAMWARFACE (2)
7. HURT – Oliver Tree (4)
8. ALLIGATOR – Of Monsters and Men (12)
9. STILL FEEL. – half alive (8)
10. I’LL BE AROUND – Morning Fuzz (13)
11. OLD MAN’S WAR – Roadkeeper (14)
12. SAW LIGHTNING – Beck (15)
13. BURY A FRIEND – Billie Eilish (9)
14. BELOVED – Mumford & Sons (10)
15. PATIENCE – Tame Impala (11)
16. ROOM TO BREATHE – Made of Eyes (20)
17. MAYBE, I’M AFRAID – lovelytheband (19)
18. FALLING WITH STYLE – Heist at Five (23)
19. COMING UP FOR AIR – Mars Motel (24)
20. ECHOES – Ignite the Fire (25)
21. RUBBING SHOULDERS WITH THE DEVIL – Revolvers (26)
22. DISAPPEAR – Western Jaguar (16) 22nd week on chart
23. CHLORINE – twenty one pilots (17)
24. LONGSHOT – Catfish and the Bottlemen (18) 22nd week on chart
25. STRANGE KIND – Blair Dollery (28)
26. UNDER THE COLD LIGHT OF THE MOON – Crystal Cities (29)
27. HERE WE GO – Ben Priory and Charlie Pereira (30)
28. WHEN AM I GONNA LOSE YOU – Local Natives (N)
29. LOVE CRAZY – Karolina Rose (21)
30. DOIN’ TIME – Lana Del Rey (N)
I’ve been following the young singer-songwriter and composer Brett Grant for a long while, and am thrilled to finally have the opportunity to feature him on this blog. The Chicago-based artist goes by the moniker brett.grant.5, and drops his second EP disqui.etude today. Brett’s been involved in music for many years, both as a solo artist and in several bands. He plays guitars & synths and sings for A Million Rich Daughters, and previously pounded drums in Sleep For Dinner and TOOFUNCHILD. He released his first solo EP digital dirge in 2016, and in addition to his work with the aforementioned bands, managed to earn a B.A. Degree in Music, graduating just last month.
Brett’s fascinating and eclectic sound draws from a wide range of musical sources and genres, ranging from 1920’s jazz and classical to video game music and experimental progressive rock. He wrote all the songs and played all the music on disqui.etude, as well as recorded, performed, mixed, and mastered the entire project himself.
The EP opens with the eerily beautiful title track “disqui.etude“, an apt name as it’s essentially a disquieting etude. The song’s an instrumental, consisting of only a haunting piano riff, accompanied by rather menacing synths that build as the track progresses. It would make a great soundtrack for a horror film, and in fact reminds me of the music from the film Eyes Wide Shut. Brett states it and the album title are intended to represent the anxieties and unease he’s dealt with in his own life, which are expressed in the lyrics of the songs on the EP.
Next up is “Truth Be Told“, a moody track with spacey industrial synths set to a bouncy, stop-start bass-drum beat. Brett has an unusual but pleasant singing voice that’s strongly emotive as he sings of the misery and guilt he feels over the death of a loved one:
Truth be told, I never thought that you’d be dead Truth be told, I just can’t get you out o’my head Truth be told, I’ve been obsessing for so long I’d give anything to write a different song Truth be told, I should have been the one to go Truth be told, this burden’s getting hard to hold
The poignant “Empty Bottles” features a beautiful but melancholy piano-driven melody, backed by delicate, sparkling synths. Brett’s vocals, which range from a low croon that seems to emanate from deep within his core, to just below a falsetto, are nicely displayed on this song. He sings of destructive and futile attempts to drown one’s troubles in alcohol: “You’ll see in the end this was the old me. And all my insincere apologies, like lobotomies, came off the top of me. Apostles of endless empty bottles. As we both drive full throttle to the bottom of my problems.”
Brett dives deep into electronica on “New Goner“, employing a rich mix of glittery and otherworldly droning synths to create a spellbinding track. On the apocalyptic, synth-driven “Might Make My Way“, he speaks to the downsides of the internet and social media, and the thought control we’ve allowed ourselves to become imprisoned by: “Alien intruder, watching from a computer. Alias abuser, flying fear producer./ The sci-fi officers playing cops and robbers. Have nothing to offer and keep us in coffers. You can’t run, you can’t scream, it’s all part of their dream. Bright lights and loud noises, foreign distorted voices. If they transport me safely, might make my way back maybe.”
The final track “Hitting Backspace“, which Brett released as a single in February (on Valentine’s Day), is the darkest and most intense track on the EP. The song starts off with an ominous throbbing synth, then 10 seconds in a loud piercing synth enters, sounding a bit like a slowed-down version of the shrieking music heard in the famous shower scene in the film Psycho. He wanted to create a similar disturbing backdrop for his gloomy lyrics about feeling like being buried alive by the weight of his problems: “It wasn’t like I anticipated facing all this in the time since yesterday. Sands keep falling. Feels like I’m slipping away… And trapped hitting backspace./ It wasn’t like I could keep up pacing, keep up pacing through the sands of yesterday.” At the end of the first verse, the music intensifies with deeper synths and heavier percussion that continue until fading out at the of the song.
disqui.etude is a marvelous work that beautifully showcases brett.grant.5’s singularly unique songwriting, composing and production talents. One of the things I especially like about it is how every track sounds totally different, which makes for an interesting and surprising listening experience. If you like music that’s innovative and unlike anything else you’ve heard before, you’ll enjoy this brilliant EP.
British alternative rock band The Only Route (also known as TOR) play some of the finest, most aggressive guitar-driven rock of any indie act around today. Slicing through the airwaves with wicked riffs, explosive percussion and addictive melodies, their hard-hitting songs never fail to deliver an electrifying listening experience. The Lowestoft, England four-piece consists of Ryan Redwood (vocals, guitar), Robby Hodgey (lead guitar), Andy Kirk (bass) and Matty Larkman (drums).
Since early 2017, they’ve released a series of terrific singles, including the blistering semi-autobiographical “Made” in January 2018, and the fantastic kiss-off “Not Worth It” this past March (a real ripper of a song which has spent the past nine weeks on my Weekly Top 30). I reviewed both of those singles, the links to which you can find under “Related” at the bottom of this page. They’re now back with a new banger of a single “Secrets“, which drops today.
As expected, TOR demonstrate yet again their talent for composing arresting melodies and penning straightforward lyrics based on their real-life experiences, and bringing them to life with their outstanding musicianship. The guitar work is fantastic as always, and Robby’s guitar solo in the bridge is absolute fire. Andy and Matty keep a tight rhythm while Ryan denounces a friend that cheated on his wife, who then left him and ran away from their town, but he kept it a secret. She eventually returns, but is like a stranger to everyone, with a completely different personality: “I looked out your window and saw that she was back. And you’ve got some secrets and they’re really bad./ Why doesn’t she look the same? She said she had changed her name.”
Ryan has a wonderful, commanding voice that’s perfectly suited to their style of hard-driving rock, and is one of the many positive attributes of TOR’s music. Plus I’m a sucker for a good strong British accent that comes through in the vocals. I love this band!
Agency Panic is an Irish rock band who, over the past year, have been establishing themselves as one of the more exciting and innovative acts in the progressive metal scene. They seem to prefer maintaining a low profile, however, as the few photos they have on their social media accounts are dark, with their faces in shadow, and I know them only by their first names: J.D.K. on vocals, Tubs on guitars, Lee on bass, and Revsy on drums. My sense is that they want their music to speak for itself, rather than the focus be on them personally.
In July 2018, they released their monumental debut single “Panic” (which I reviewed) as the first installment from what they’re calling their ‘drip feed’ EP, which is being released one song at a time. The incredibly intense song set a very high bar for the band, with face-melting riffs, explosive percussion and fierce, chill-inducing vocals. I loved it so much it ended up on my Top 100 Songs of 2018 list.
They followed up that October with their second single “Lie”, a darkly beautiful banger featuring more of their signature scorching riffs and thunderous percussion. Now they’ve returned with their third installment “The Middle“, which dropped June 14. It’s another winning single, serving to further bolster Agency Panic’s flawless resume for putting out stellar progressive metal songs that challenge the listener. Unlike a typical song with a catchy melody that quickly bores into our brain, progressive metal (or any progressive form of other music genres for that matter) often requires a closer and/or repeated listens to fully absorb and appreciate the nuance of the unusual melodies, song structures, lyrics and instrumentals, all of which “The Middle” has in spades.
In keeping with their penchant for maintaining a bit of mystery, the poetic lyrics are somewhat abstract and open to interpretation. When I asked J.D.K. of the meaning of the song, all he would tell me is that “it all took place in the middle of Amsterdam.” The song opens with a twangy electric guitar riff and a whisper of ominous synth, then a somber drumbeat kicks in as J.D.K. speaks in a rather unsettling echoed voice about what seems to be a dream or possible acid trip:
Blinding blinding flicker Sparks of light Creeping dilations Pupils rise Abstract thoughts Deceptively distort, shadows crawl to the sirens song As it all dissolves the show has just begun. Through to black Beyond the veil The oceans of chaos were about to sail…
The guitar suddenly explodes into gnarly riffs of shredded distortion as deep bass and heavier percussion are added, and J.D.K.’s vocals turn more impassioned as he sings:
Invasive influence Hooked direct to the mainline. Re con struct self Time has melted design Illusion slowly reveal Spilling right into the dream… Ahhhhhhhhhh Ahhhhhhhhhhhh In the loop again In the loop again In the loop again
By the third verse, everything ramps up to near-frenzy, with screaming guitars and speaker-blowing drums as he fervently wails the lyrics that seem to speak of being reborn into a new reality:
Erasing what you think is real Ego peels Stripped down to bone to which you’ll find One mind’s eye Seductively it reels us in Hooks through the skin Past present future on a plain Reincarnate Walking through the void Entrance to the other side Take take fear…
Step from the darkness into the light As movement slowed and we bent time
The song closes with a fadeout of reverb, leaving me awestruck by its magnificence. Agency Panic are proving themselves to be phenomenal songwriters and musicians worthy of notice, and I’m thrilled to be following them on their musical journey as they continue to release more songs.
I heard something on the radio today about how the defiant – and now iconic – anthem of female empowerment “You Don’t Own Me“, which was a big hit for young pop singer Lesley Gore, was actually written by two men, John Madara and David White. It reminded me of how much I’ve always loved this song.
Gore possessed a remarkable voice with a maturity beyond her young age, and had a string of hits while still in high school. She recorded her first breakout single “It’s My Party” when she was only 16 (the song went on to become a #1 hit), and followed in quick succession with “Judy’s Turn to Cry”, “She’s a Fool” and “You Don’t Own Me”, which she recorded at the age of 17. For a brief time period, she was one of the most popular female singers in the U.S.
As good as Gore’s vocals were, the song’s greatness must partly be attributed to the flawless production by a young Quincy Jones, who also produced her other hits. He used lush, sweeping orchestration to great effect, enhancing the drama of the mesmerizing melody. “You Don’t Own Me” peaked at #2 on the Billboard Hot 100 in February-March 1964, where it spent three weeks, held down by the Beatles’ “I Want to Hold Your Hand”, which spent seven weeks at #1.
Despite her youth, Gore’s commanding vocals make her sound totally credible when she sings the lyrics telling a lover that they do not own her, that they can’t tell her what to do or say, and that they are not to put her on display.
You don’t own me, I’m not just one of your many toys You don’t own me, don’t say I can’t go with other boys
And don’t tell me what to do And don’t tell me what to say And please when I go out with you Don’t put me on display, ’cause You don’t own me, don’t try to change me in any way You don’t own me, don’t tie me down ’cause I’d never stay
Oh, I don’t tell you what to say I don’t tell you what to do So just let me be myself That’s all I ask of you I’m young and I love to be young I’m free and I love to be free To live my life the way I want To say and do whatever I please
And don’t tell me what to do Oh… don’t tell me what to say And please, when I go out with you Don’t put me on display
I don’t tell you what to say Oh-h-h-h don’t tell you what to do So just let me be myself That’s all I ask of you I’m young and I love to be young I’m free and I love to be free To live my life the way I want To say and do whatever I please
The song has been covered many times, most notably by Dusty Springfield, Joan Jett, the Blow Monkeys and, more recently, in a darker and interesting version by Australian singer/songwriter Grace, featuring American rapper G-Eazy. The song was also a highlight of the 1996 film The First Wives Club, where in a delightfully gratifying scene at the end of the film, Bette Midler, Diane Keaton and Goldie Hawn perform the song as they leave the building.
I first featured British alternative indie-rock band Harroland this past February upon the release of their single “Home” (read my review here), the first in a series of releases planned for 2019. The single received airplay on BBC Radio’s Introducing program, and the band is quickly gaining a large following, already being dubbed the ‘Best New Band’ in the Reading area. They’re now back with a wonderful new single “Brothers“, which officially dropped on June 21st.
Based in Reading, England, Harroland is comprised of siblings Michael (vocals, rhythm guitar) and Kate Kennedy (synths, keyboards, backing vocals), Steve Tabor (lead guitar), and drummer Stu Roberts, who joined the band in March. “Brothers” is the band’s first release under the current lineup. They express their social and political consciousness through compelling, relevant lyrics, and package them with gorgeous soundscapes that make for a pleasing listening experience.
Whereas “Home” addressed those intent on holding onto their own power while disregarding the hopes and dreams of others, “Brothers” explores the concept of people choosing to live their lives under invisible power structures that offer a false sense of freedom. Michael Kennedy explains: “It’s this idea that maybe we forgo our own desires for the safety of working within a corporate environment – that we are unlikely to take risks or take command of our own lives. What would happen if we did the opposite? Is such a life, for the average person, sustainable, or even possible?”
“Brothers” is a stunning track, with an irresistibly catchy tempo and glorious instrumentals. The band plays as a tight unit, each member performing their part with perfection to create a song of exceptional quality. Steve’s guitar work is fantastic, and Stu does a stellar job pounding out the captivating beat. Kate’s dreamy keyboards are a thing of beauty, and I love how they interplay with Steve’s chiming guitar. Michael deftly keeps the rhythm with his strummed guitar, but a highlight for me are his distinctive vocals, which I find utterly enchanting. I love this song, and have listened to it at least 20 times already!
We can fantasize about everything we do Take it back, take it back right now Don’t tell me it ain’t true And hold it straight Line it up and let it loose Lap it up, lap it up right now There’s nothing else to choose
We can compromise Change our jobs and trade our lives No matter what I think, someone’s in charge of mine I can calculate That even if I was to leave I’d have a freedom That lacks security
Maybe we’re like brothers rolling across this land or Maybe we’re like someone else in somebody else’s hands
The video for the song is a live performance by Harroland at Pyramid Studios in Reading, which they won in a competition run by the studio. It was filmed by local photographer Victoria Holt and edited by Kate Kennedy. The track was mixed and mastered by sound engineer Jack Twiner, who’s a co-owner of Pyramid Studios.
Saboteurs is a rock band from Lincoln, England who (in their own words) “play trans-genre songs about badgers, constellations and other things which creep into our lives during the night.” Fusing elements of alt-rock, grunge, post-punk, metal and folk, they create hard-hitting music that thrills and surprises our ears and minds. Like many a band, they’ve experienced some personnel changes since forming, and now consist of Ben Ellis (lead vocals/guitar), Rick Whitehead (lead guitar/vocals), Kirsty Marlog (backing vocals), Geoff Standeven (bass), and Pete Botterill (drums), although for the album Dance With the Hunted, drums and percussion were performed by Hamish Dickinson, who also handled production, mixing and mastering.
The band released their self-titled debut EP Saboteurs in 2018, immediately attracting a growing base of fans and recognition by BBC Introducing, as well as being named Richer Sound’s Artist of the Week and finalists in Radio Wigwam’s Rock Act of the Year. But shoulder surgery for lead guitarist Whitehead led to unrest in the band and, ultimately, a violent split with the rhythm section. This caused the band’s songwriters Ellis and Whitehead to sink into a dark place, which actually provided them with needed impetus for an explosion of new material that would become their first full album Dance With the Hunted, which dropped on May 4th.
The opening track “Splintered” reveals the intensity of their feelings while writing the songs for the album. The biting lyrics speak to a bitter breakup of a relationship, delivered by Ellis’ fiery vocals: “The pain – I dedicate our loss to you. The shame will never end but I’m coping on my own. The ones I left behind – they just fade out. If I fall down, I won’t stay down. If you fall down, you will stay down.” The roiling riffs of grungy guitars, pulsating bass and thunderous drums are fantastic.
Next up is “Over and Doubt“, a moody but gorgeous track that leaves no doubt that these guys know a thing or two about crafting superb songs with the power to inspire and move the listener. And I’ll state right here how much I love Ellis’ vocals, which in addition to his and Whitehead’s spectacular guitar work, are one of the strong points of Saboteurs’ overall sound. He’s one of the best rock vocalists around today, in my opinion, with an incredible tone and range that give him the ability to comfort us one moment, then chill us to the bone the next. When he plaintively wails “Please stay with me, over and over again!“, we really believe him. On this track he sounds a lot like Steve Kilbey of The Church. Musically, the song features a complex, ever-changing melody that keeps us enthralled from start to finish, and the guitar work is outstanding. It’s one of my favorite tracks on the album.
The dark and moody vibe continues with “Believe Nothing Hurts“, but presented here with an exhilarating fast-paced rhythm and chugging riffs of gnarly guitars. Ellis angrily snarls the searing lyrics condemning someone for their duplicity: “This time, believe nothing hurts. Oh, your lies. As they come in they’re drowning now in your own sweet precious melody of lies.” “Break Down” is a lovely, incredibly melodic song with a 1990s vibe that, to my ears, calls to mind songs by the Goo Goo Dolls, Gin Blossoms and Deep Blue Something. The strummed guitar is a great addition, providing a wonderful added texture of sound. The backing vocal choruses by Miles Kent and Kirsty Marlog are especially nice.
“Marooned” is a big, arena-worthy track, with lush, layered guitars and a torrent of bombastic percussion. But it’s the deep, pulsating bass that plays a starring role here, giving the song a massive U2 vibe. In fact, Ellis’ vocals sound a bit like Bono on this and a few other tracks. He passionately sings of emotional hurt that can never be undone: “Broken red skies are endless. The reason I guess why you left me here. They look like the old wounds you can’t suture. They are the scars of time.” On the poignant, hard-rocking “I Think My Face Hates Me“, Ellis sings of his feelings of hopelessness: “I’ve been lying on the floor just eating time. Pretending there’s no light behind my eyes. I’m going home or I’m going down. Every day I am reborn in the skin I’ve had before.”
The guys keep delivering compelling lyrics and killer riffs with “One Track Mind“. The protagonist acknowledges his need to change his ways: “What would it take to be the better man? To say, ‘Yes, I can – I’ll never let you down’. Constant mistakes – pathetic apologies. Want to effect a change and make it alright.” But then he bitterly resigns himself to the fact that while he’s the one who must change “I kill the doubt inside and learn to play your game.“, others will not: “You all stay the same.”
The title track “Dance With the Hunted” is about a rock star whose fame has not brought the happiness and contentment he’d hoped for. Instead, he lives a miserable, self-destructive life: “The spotlight I always craved keeps pulling me back but there’s no light behind these eyes./ Is art ever worth the pain? To watch you die on centre stage for fifteen minutes of shame.The disappointment never ends.”
“Traces” is one the darkest tracks on the album, with trace elements (no pun intended) of metal, giving it a heavier vibe. The song opens with a mesmerizing guitar riff, then expands with a powerful melange of intricate guitars, throbbing bass and hammering drums. The lyrics speak of someone tortured by their past and possible mental illness, desperate to escape their surroundings in the hope of starting over fresh: “There are traces of the old times. Like battle scars in my mind. Only the world to me. Turn the lights out – leave this home. Wherever the white lines take us.” Backing metalcore growls by guest vocalist Jamie Armstrong add an extra layer of gritty texture to Ellis’ raw vocals, to great effect.
The final track “Willows” closes out the album on a gloomy note, speaking of a couple whose relationship is so damaged by hurt and pain, it may be beyond salvation. In vocals that really seem to channel Bono, Ellis passionately wails “Skin so thin, so thin it bleeds right through you. And we blame ourselves, don’t you blame yourself too? Walking wounded – in a black wind. Take me to the place where the willows grow. Write down everything that hurt us so. Everything we never said.” As always, the instrumentals are hard-hitting, with furious riffs, crushing bass and tumultuous drums.
Dance With the Hunted is a heavy, emotionally-wrought album to be sure – there are no upbeat love songs here! But it’s a beautifully-crafted work, with deeply compelling, heartfelt lyrics, gorgeous rock melodies, and magnificent instrumentals. Every track is superb, with no filler or throwaways. If you like some of the aforementioned bands I discussed, you will enjoy the music of Saboteurs.
The beautiful original album artwork was designed by Anita Inverarity.
1. DARK PLACES – The Frontier (2)
2. FEAR THE FUTURE – IAMWARFACE (1)
3. ESCAPE – Ships Have Sailed (3)
4. HURT – Oliver Tree (5)
5. BAD GUY – Billie Eilish (6)
6. MISSED CONNECTION – The Head and the Heart (7)
7. I SEE YOU – MISSIO (14)
8. STILL FEEL. – half alive (8)
9. BURY A FRIEND – Billie Eilish (4)
10. BELOVED – Mumford & Sons (11)
11. PATIENCE – Tame Impala (12)
12. ALLIGATOR – Of Monsters and Men (20)
13. I’LL BE AROUND – Morning Fuzz (15)
14. OLD MAN’S WAR – Roadkeeper (16)
15. SAW LIGHTNING – Beck (19)
16. DISAPPEAR – Western Jaguar (9) 21st week on chart
17. CHLORINE – twenty one pilots (10)
18. LONGSHOT – Catfish and the Bottlemen (13) 21st week on chart
19. MAYBE, I’M AFRAID – lovelytheband (22)
20. ROOM TO BREATHE – Made of Eyes (23)
21. LOVE CRAZY – Karolina Rose (17)
22. TIME – Morosity (18)
23. FALLING WITH STYLE – Heist At Five (27)
24. COMING UP FOR AIR – Mars Motel (28)
25. ECHOES – Ignite the Fire (29)
26. RUBBING SHOULDERS WITH THE DEVIL – Revolvers (30)
27. NOT WORTH IT – The Only Route (21)
28. STRANGE KIND – Blair Dollery (N)
29. UNDER THE COLD LIGHT OF THE MOON – Crystal Cities (N)
30. HERE WE GO – Ben Priory & Charlie Pereira (N)