The Flower Hour 16
As is becoming tradition, this month's edition of The Flower Hour kicks off with rock royalty. Los Campesinos! are the embodiment of DIY. They literally do everything themselves. And they have an avid army of advocates behind them. At this stage, they feel like a band that can't fail; the way they have garnered the support from a community of fans that they now lean on over the course of almost two decades is nothing short of admirable, inspiring and incredible. They are indie music goals. This track is taken from their most recent album, last years All Hell and is the lead song from their new live album So Close To Heaven (Live At Troxy). We were lucky enough to be there that magical night in East London and we remember "A Psychic Wound" feeling like the beginning of something truly beautiful, exciting and new. With the release of this recording the All Hell era recently came to an end but the future is brighter than ever for LC!
Ryan Gecko is Black Rainbow Collective's modular music maestro but he is also - evidently - a bit of a beast on the production desk. His remix of Very Many Horses 2-part drama I Won't Fall Far From Your Tree is even more epic than the original. It's not just cinematic. It's not just widescreen. It's flippin' IMAX. Glitchy electronic parts intertwine with fuzzy feedback, sparkling synths and glimmering guitars swirl around each other, all backed by pounding, thunderous drums. All the while Greg Hancock's original vocal remains unobscured and as tender and vulnerable as it was on the original, unforgettable, track. "I Won't Fall Far From Your Tree (Ryan Gecko Remix)" is the sort of song that stops you in your tracks. This is not music, this is sound design and Ryan has _really_ outdone himself. Here's hoping for more from him sooner rather than later.
"30 Sixty Eight B.C.E." is an instrumental blues-rock juggernaut from Louisiana multi-instrumentalist, producer and author E.P. Grillette. The album it's taken from - Big Ol' Red Caterpillar - is full of the same - there's riffage for absolute days. This track in particular is a lurching, swampy beast of a track. So heavy that at times it almost verges on metal, it sounds like something that Metallica and Jack White might make if they got together, turned everything up to 11 and no one sang. Recalling the work of artists like Cam Cole, John J Presley and James Snelling but with a swagger that feels very much specific to him, 30 Sixty Eight B.C.E. is a rifftastic behemoth of a track. It absolutely commands your attention - and for instrumentals that can sometimes be a difficult prospect.
“TV” sees young Liverpool-based upstart Todd Modern get a little bit slicker in his stylistic execution and choices. Elements of the slacker charm that was evident on the two excellent previous singles - yyours and Break The Glass <333 - are still here but somehow everything just feels a bit more considered and shiny. There's still the palpable influence of legacy acts like Pavement and maybe The Velvet Underground, but also a bit of modern indie in the form of bands like Babyshambles and The Strokes. Lyrically the song is centred around very modern concerns. The chorus lyric of “who wouldʼve thought I needed someone just to watch TV with.” particularly resonated with us. In this age of hyper-connectivity sometimes it's the simple things that are the most fulfilling and gratifying. Be sure to check out the video too.
Up next is a bonafide Jekyll & Hyde of a song. “Bouncing In Blue” by Pile begins as a tender, exposed lament. A solitary synth sound starts the song before being joined by a delicate vocal. It feels similar to a Radiohead song in it's combination of soft tones, vocal vulnerability and wry lyricsm. Eventually these are joined by additional components and it gets more and more beautiful which each passing couplet. Almost orchestral, the song grows and becomes increasingly grand sounding. And then, it drops. But it doesn't just drop. It explodes. It combusts. Bursts, blooms and blossoms into a cacophonous wall of unadulterated noise. It feels, amongst other things, celebratory, chaotic and cathartic - and that's just listening to it. Imagine how it felt to write and how it would feel to perform. Like a hybrid of TV On The Radio and Low, Bouncing In Blue is adventurous, unabashed and incredibly impressive.
Imbued with an energy that we haven’t yet encountered across the three singles that preceded its release, “Six Words” begins with a bang. The Johnny Marr-esque guitar riff is crunchy and clear, with the drums building up quickly behind it, and the full Mannequin Flowers tapestry of sound swiftly enveloping everything. By the time the chorus kicks in, we’re in comfortably familiar territory, where the likes of Lush and The Cocteau Twins rub shoulders with prime U2 and peak New Order. The song seems to ebb and flow, oscillating between urgent and dreamy. The guitars range from spiky to sparkly, from dry to wet, and the tones and textures created throughout by these combinations are unequivocally delicious. Black Rainbow Collective’s newest recruits have been on top form since the release of their debut single just over a year ago. Here’s hoping for more from this formidable four-piece sooner rather than later.
Once the frontman of cult indie band Red Light Company, Richard Frenneaux is back. Releasing new music again after a five year hiatus (during which, he wrote a book about the music industry in the digital age called, ahem, "The Music Industry In The Digital Age") "Strange Weather" is the first track taken from his upcoming album Nothing Happens, Everything Changes. It's an infectious soaring, energetic piece of work that feels retro-leaning and somewhat futuristic, all at the same time. It's undoubtedly indebted to the 1980s with the distinct combination of (what sound like) motorik electronic drums and spongy shimmering synths leading the way for the duration. The driving, anthemic chorus is the centrepiece and feels rather like a moment of triumphant declaration for this singer/songwriter and producer who also moonlights as Assistant Professor of International Communications at China’s UNNC. A man of many talents, indeed.
Up next is “Focal Point” by South West London-based sextet The Sportsman which is a dreamy, evocative piece. At only 1 minute and 47 seconds long it doesn't outstay it's welcome, but in the short time it spends with us it comes across as a blend of Radiohead, Anthony Szmerick and Chet Baker. It's warm, inventive, intimate and admirably earnest. Lyrics like “hold me in your soft arms and tell em you love me” and “kiss my forehead, tell em you're proud of me” are delivered in such a way you feel like a fly on the wall of the inside of the anonymous frontman’s mind. As the song concludes he seems to become a blend of Paul McCartney and Mark E. Smith. A relatively mysterious bunch, this loft of lads blends indie, jazz and psychedelia to make a glorious noise.
With a decidedly Celtic twist on the tried and tested UK indie rock formula, Mên An Tol have crafted an eminently catchy, endlessly endearing tune in the form of newest single "Not Ideal". Produced by Fontaine's DC's guitarist Carlos O'Connell the lead track from their forthcoming EP This Land (out Sept 26th) sounds how it might've sounded had The La's and The Waterboys collaborated on a cover of a Courteeners song. With layers of acoustic guitar and mandolin and a rhythm section that perfectly serves the song, this is a chimey slice of rootsy indie with a chorus that's as memorable as anything we've heard since the Britpop heydays. After recent shows supporting Miles Kane and The Libertines and an appearance at Glastonbury, we'd wager that you'll be seeing a lot more of Mên An Tol very soon. The sky's the limit for these boys.
Manchester-based band Getner's newest single "Natives" is up next and is a multi-faceted, interdimensional indie/folk/rock instant classic. Starting with a pace that's methodical and considered and backing vocals that are deep and haunting, it almost feels like the soundtrack to some kind of pagan ritual. In the intro, the song conjures a claustrophobic feeling of anticipation and dread. Soon however, it picks up, exploding with layers of jangly guitars, ambitious basslines, rolling drums and fiery spirit. Instrumentally this recalls the work of acts like Arctic Monkeys, The Smiths and Led Zeppelin - all rolled into one. There is also more than a touch of Neil Young (about the vocal specifically) and Ryan Adams (in the melody). As the song nears its end we dip back into the eerie atmosphere that enveloped us at the beginning and we've come full circle.
“Cats Eyes” by Nothing Rhymes With Orange feel like it came out about 13 years too late. Or maybe it's a sign that a classic modern British indie revival is on the horizon? Whatever the case, it's a banger. It's anthemic, catchy and perfectly out together. The combination of excellent production, wall of sound guitars, tight drums, explorative basslines and a vocal style that feels desperate and honest recalls the work of well-known indie bands like The Killers, We Are Scientists and Bloc Party but also more modern acts like Keyside, Wunderhorse and The Clockworks.
Black Rainbow Collective's resident roots rock renegades theCrates are back with a jaunty new tune. "Things We've Done" hops, skips and glides along on its harmonious combination of lovely melody and laid-back rhythm. The vocals are gritty in places but also sweet, with them occasionally breaking and sometimes seeming like they’re on the verge of falling apart completely. It's this mixture of vulnerability and conviction that makes theCrates so compelling. On the one hand, a good time group of guys who just wanna play rock n roll. On the other, existential dread and questions so large you actually don't want to know the answers to them. Special mention to the backing vocals on this one. There's the male call-and-response section, what sounds like a female backing on the chorus and then a country choir acapella part - all of which work wonderfully and compliment the tune exponentially.
“Wallflower” by Charlie Hues is a charmingly introverted piece centred around a delicate vocal and a plucked acoustic guitar. It's an exceptionally modest-feeling song (although perhaps this is a predisposition based on the songs title) yet it is executed with conviction and what feels remarkably like confidence. “Conversation is hard for me / words to speak, don't come easily” Charlie sings. Clearly that's not the case for lyrics and melodies. He's also supported by some extremely subtle backing vocals courtesy of cellist, songwriter and producer Asha McCarthy. The first song released from a forthcoming project that has been in the works for three years, if the rest of it sounds anything like Wallflower then we're in for a treat.
Düsseldorf’s The Radio Field’s new tune is 96 seconds of unadulterated fun. It’s a nostalgic, retro-leaning indie pop tune. It’s jangly, catchy and extremely easy to love. Instrumentally, “A Mess” is dominated by clean lead guitar lines, a steady rhythm section and a chorusy guitar working overtime subtly in the background. It's part Belle & Sebastian, part-The Concretes and part-The Hold Steady, all filtered through a 60s-esque psych pop lense. And as if that wasn’t enough, there’s a Tijuana Brass-style outro accompanied by what sounds like a harpsichord. It’s a glorious melange of imagination and sound and it will leave you thirsty for more. Luckily their new album - Air & Sunlight - is due out on September 19th.
“Zzyzx” (good luck pronouncing that) by INTO/NARU/MORI is an eerie, atmospheric electronic alt-pop banger that evolves from something underrated and ethereal to overblown and almost ostentatious in the blink of an eye. Part Purity Ring, part Crystal Castles, part Daughter - it feels like a bit of a sleeping giant. Once it wakes, shit gets real - it almost sounds like what you imagine it might sound like if Sonic Youth made an electronica record. It's dark, fuzzy, buzzy and most importantly, incredibly fun. The band is a duo - made up of Suz and Phil. Phil has a history spent in Los Angeles underground clubs and Suz is originally from Italy. They have combined to make something special and unique. We'll definitely be listening to the rest of their debut album The Things We Lost in due course.
The new film by Darren Aronofsky - Caught Stealing - has a soundtrack by composer Rob Simonsen & IDLES. The Bristol quintet are reason enough to make us want to see said film. However, we haven't yet gotten around to it, so the verdict on the movie is still out. BUT the soundtrack is fantastic. A throbbing, living, breathing beast of an album, it feels - due to its unfettered adventurous expressionism - a bit like an extension or companion piece to their career-defining last LP - 2024’S Tangk. Cut from a similar cloth to album standout and memorable single Pop Pop Pop, “Coper” is built around an electronic beat and minimal instrumentation. What is utilised here is used to great effect and works extremely well with the use of what sounds like some kind of woodwind instrument taking centre stage. (Anyone know what it is? Let us know, win a prize. Maybe.)
“Owe Me One” is a collaboration with a bunch of grime scene heavy hitters (Frisco, Flowdan & JME) as well as an appearance from a much more modern prospect - the returning JayaHadADream. It's an instant classic with the trademark post-UKG grime energy prevalent throughout. Vocally, the contrast between Flowdan’s distinctive baritone on his verse and Jaya’s laidback, almost lethargic, chorus steals the show. Released via Frisco's The Den Records, you may have caught their star-studded crew shows at events like Skepta’s Big Smoke Festival which is basically a revolving door of grime royalty. We can't help but think Mange Saint Hilare would've been the cherry on top of this one had he been able to get on the track. Would've been nice. Remix maybe?
Over multiple drops as both J Williams and Yesh Yoko, Black Rainbow Collective's sonic samurai Joshua Williams has had a prolific 2025 thus far. “Wav.form” is a two track single and the title track is a super stylish minimal fusion of trip-hop, trap and abstract electronica. Drenched in his trademark world-building sound, like everything he does, Wav.form is clearly crafted with care and expertise. He wears his influences on his sleeve - whilst also channeling them into something distinct and new - and we admire that about him. Williams’ art is ever-evolving and forever fascinating and we can't wait to see where it takes him next.
And that concludes this month's collection. We hope you love it and as always, if you do, #GiveThemTheirFlowers.
Submissions for consideration for inclusion in future instalments of The Flower Hour are always open.
Get in touch by email (kindagrizzly@gmail.com), here on Substack or via social media for consideration for inclusion.
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