East London street poet Murkage Dave’s dulcet tones introduce us to the newest instalment of The Flower Hour. On “RNA” he is reflective, pensive and introspective as always but with an added outward glance at the world around him and how it’s shaped him. With analysis on subjects ranging from his Dad to content creators, he assesses these influences with trademark, quietly spunky, acerbic wit and instantly iconic, quintessentially Dave lyrics that run the gamut from the poignant -“can you imagine if I’d been born a rich kid? Probably do the same shit with a full fridge and a paid off mortgage” - to the preposterous - “if you could, would you add another inch to your dick? Probably do the same shit with a bigger dick“. With lyrical nods to Burial, Ray J, Craig David, Amy Winehouse, Michael Jackson and more - but with music that has more in common with a combination of Richard Hawley and The Last Skeptik - this is another vital addition to the Murkage Dave cultural canon. Look out for the new album “Brut Thoughts” coming on March 1st and an interview with us in the new year!
We’ve been bumping “Elevate” for some time now as it came out all the way back in May (where does the time go!?!) It begins with false start, the beat sputtering and . Over the course of the song the instrumentation doesn’t change at all. It sticks with what brought it to the dance - big beats, woozy production and subtle guitar garnishes. It doesn’t need much - such is the strength of the foundation on which it is built. The flow is incredible and the wordplay wonderful - the delivery confident and self-assured - some lyrical highlights include “give it all ‘til my mass critical / til I hit the pinnacle / fuck it if you’re cynical / fuck, I feel invisible / fuck, I feel good / natural vibes that are typical”, “different type of snack, I am inedible”, “life is movie and every day’s an anime / planned a nice getaway but ended up a castaway” and “Sir, this a Wendy’s” (LOL). There’s also a shout out to Anakin Skywalker and being the Star Wars nerds that we are, this instantly bought some extra brownie points. With a unique twist on the modern hip-hop sound, Swabski stands alone.
Romy Madley-Croft of the ever-wonderful, world-conquering, UK indie/electronica trio The xx is up next. Recording and releasing solo work under the mononym Romy, she has been at it since 2020 and her newest tune - “Love Who You Love” - is a shuffley heartfelt anthem for lovers everywhere. It joyfully celebrates the ties that bind us, our ability to see the best in each other and encourages us to embrace our adoration. Specifically centred around the LGBTQ+ experience, this is a positive, uplifting tune that was made as much for your hearts, souls and minds as it was the dancefloor. Produced - quite excellently - by Kansas City prodigy BloodPop®, Love Who You Love feels like it could’ve been pulled from 90s London nightclubs. Evoking the spirit of acts like Soul II Soul, Snap! and Deee-Lite, there’s a rave in Romy’s heart and everyone’s invited.
The new Mannequin Flowers tune - Collision Course - is up next. A song about two friends and unspoken, much stronger, feelings it continues in the same vein as the songs they put out before. Beautifully produced, wonderful instrumentation, perfect hooks and soaring stratospheric vocals courtesy of front woman, the iconic, enigmatic, Isadora Ferreira. With it's shimmery indie guitars, dark undertones and themes of romantic torture it seems to channel the work of The Smiths, The Cranberries, The Cure and The National all at one. Relinquishing the hold that shoegaze has on their prior output, this is a bonafide dreampop masterpiece - all distant chords, swimming in reverb and sentiment full of hope and despair in equal measure. The quality of the output of this band is strikingly consistent and, frankly, second to none. Catch them live at the Start Track International Fun(d)raiser Festival next month - a benefit concert for our favourite music blog/indie cassette label and organised by our friends at Black Rainbow Collective. Tickets are pay what you can, get in there!
Like a blend of the fantastic band that proceeded them here, Start Track’s own Swiss Portrait and rock n roll boss babe St. Vincent, the new tune from New Zealand-based musician and producer Annemarie Duff - professionally known as T.G. Shand - is a shoegaze/dreampop indie soundscape. Mostly. It's also peppered with stylish, pulsating electronics, pounding percussion and walls of effects-laden guitars. As well as the aforementioned subgenres there are touches of post-punk, new wave, goth, electronica and alternative rock. Coming across a bit like Picture Of You by The Cure filtered through a hazy, gazey lens, Levitating The Knife feels like a well kept secret but also like a powderkeg that's ready to blow. Or, in the words of the musician "both cinematic and intimate". We couldn't have put it better ourselves.
London three-piece Hazy Waters have been on fire this maiden year. Putting out banger after banger, the new tune “anything” is no exception. It starts gently with a persistent drum beat running through the verses that recall the work of Bloc Party. It slinks its way along full of tension and intrigue and as waves of different flavours of guitars permeate and probe throughout, it grows and grows. By the time we reach the chorus, anything feels like the poppiest moment the band have had so far. “You're acting kind of anxious, you're acting somehow of blue, has anyone mentioned a smile looks good on you?” Agnes speak/sings in the pre-chorus and this seems to embody the dichotomous joy/sadness feeling of the overall vibe of this tune. The synths sing, the guitars chime and those drums keep pounding, it's really well put together and a great example of how to blend familiar elements to make something new and fresh feeling.
We had the pleasure of seeing adults live in the flesh a few months ago supporting the also quite magnificent Fortitude Valley. We had no knowledge of the band going into the gig but we knew we'd never forget them afterwards. Scratchy, characterful guitar tones, a tight rhythm section and catchy lyrics make “going round the houses” an instant fave. Full of Los Campesinos!-esque anxiety-infused twee indie and overflowing enthusiasm, they are a truly infectious and captivating bunch. Special mention must be made to the bands notable moral compass and voracious activism - they were handing out free copies of The Anarchist Library zines at their gig which were really insightful and we would recommend that you pick some up if you go to see them live. Which you definitely should do.
Ziggy by UK indie mainstays Maze is up next. Reminding us of a blend of The Stone Roses, Oasis, The Courteeners and The Beatles as well as more recent acts like the woozy Scottish duo Mapped By A Forest and jaunty South London good-time guys n’ gals The Mooches. It's a classic indie song from a classic indie quintet and the sound is unequivocally British. Jangly guitars intermingle with a adventurous bassline, luscious backing vocals, chorusey chime and a steady, ever-ready backbeat. Add an anthemic, sing-a-long chorus to the mix and you're absolutely laughing. There are limited quantities of a 7” double a-side single available directly from the band. See their Instagram for more information.
“Burning Streets Of Rome” by The Smittens is an old tune but a recent discovery to us. We happened upon Fika Recordings “Cheap Stuff & Merch” Bandcamp section and based on the strength of the offering, felt compelled to take a punt on various releases. One of which was Burlington, Vermont sextet The Smittens. Part Belle & Sebastian, part Allo Darlin’, it's a different kind of twee to the aforementioned adults (who also happen to be on the same label). More indie, less rock. Burning Streets Of Rome is a anxious, romantic, retro-inspired indie pop song about young love and, as such, is full of a delicate blend of dread and excitement. It's executed with a smooth, suave, panache that you might not associate with the genre on the whole, but prepare to be surprised!
“Hurricanes” by Swedish-Colombian duo Samson For President is up next and is a kind of folk-pop/indie/hip-hop/blues mash up. As mind-boggling as that sounds on paper (or on screen!), it makes perfect sense when you hear it, trust us. It's a bit Gorillaz in it's chameleon-like shapeshifty quality and the accompanying big, soulful, rootsy vocal - reminiscent of Rag ‘N’ Bone Man, Hozier or Maverick Sabre - further compounds this. The minimal arrangement is extremely catchy and very memorable - an impressive feat considering how little the song is actually made up of. The band have existed for almost 20 years but are brand new to us and we're very grateful for stumbling across them. Everyday's a school day kids!
One of the standout releases of the year was In Airports from Start Track’s resident renaissance man Orchid Mantis. Based in Atlanta, the hardest working man in bedroom indie has had a busy 2025, releasing not one, not two, but three albums (admittedly one was only 15 minutes long - but still!). All are fantastic but the new one reaches a plane that the others didn't quite manage. Glimmering dreampop blends with indie tones to make a sound that is basically a how-to-guide to bedroom pop. Orchid Mantis has been in the game for over 10 years now and that experience shows in the expert execution here. In Airports is available on CD and cassette tape from the Orchid Mantis Bandcamp. For further listening be sure to check out the work of label mates Swiss Portrait, Julian Wa and porch kiss.
Another Start Track stalwart, Rapt (aka Brighton-based singer/songwriter Jacob Ware) is the gift that keeps on giving. Like a troubadour transported from another time to bless our modern ears with his sweet sweet sounds, his new tune “White Sage” is another page in his superlative story. Releasing his current work as a “series” of songs released on their own in sequence - individually, but as part of a set - as opposed to a traditional album - White Sage is the second installment and follows the also very lovely Ocean Lay Straight. Get it down you. Rapt is also playing the BRC’s Start Track International Fun(d)raiser Festival in January - yet another excellent reason to buy some tickets!
Speaking of releasing songs individually that are part of a larger hole, Toronto's theCrates recently released “Only One” (no, not a Kanye West cover) - the final song that comprises their debut album. Yet to be released as one full “thing” but ostensibly out in the ether via the dribs and drabs that have appeared over the course of the year, theCrates debut album is a thing of rare, brutal, raw honesty. Only One is a shining example of that ethos. It’s heart on sleeve, knot in the stomach stuff. Mikes vocals flit between silky smooth and sandpaper screams as the band do their thing, sounding - at times - bigger than any three-piece band reasonably should. Another ridiculously-talented member of the ever expanding Black Rainbow Collective, there seems to be nothing that lot can't do. next years gonna be interesting…
Wednesday are a modern day phenomenon. They are one of those bands that seem to be everywhere now and we can't even remember how we first became aware of them. Maybe it was the Dead Oceans connection, a playlist find or a rare algorithm pull… Regardless, they are an irrefutable force. As is “Elderberry Wine”. A country-indie/alt-folk ballad that belies the rather harrowing album cover imagery. Cut from the same cloth as modern acts like Ryan Adams, The Weepies and Cassadaga-era Bright Eyes, this is a rootsy, traditional number that feels like it also could have come from somewhere in the 1970s. Americana at it's very finest, this is an absolute joy for the ears. The glorious pedal steel is the cherry on the top of this especially delicious audible cake - gobble it up.
Former Rolemodel frontman Jordan Allen has recently begun recording and releasing music on his own under the name More Like Shadows. A Toronto-based songwriter, multi-instrumentalist and visual artist. His debut album Vacation Mode kicks off with “Campaign Trail”, which has a rocky lo-fi garage charm akin to cult favourite UK band The Cribs and maybe even a smidgen of early The Strokes or even solo Albert Hammond Jr. – or perhaps more pertinently – the bands who inspired them. There are touches of bands like Pixies and early R.E.M. too – the prominent bass, the scratchy guitars and the perfectly proportioned pop sensibilities all blend together beautifully, and at only two minutes and eighteen seconds, it’s in no danger of outstaying its welcome. It does its job effectively, efficiently and excellently. The whole album is recommended listening. We wrote about it for the Start Track blog and you can read that here.
With a sound reminiscent of The White Stripes at their visceral best (and, coincidentally, recorded in Detroit) or perhaps early Band Of Skulls or UK duo The Pearl Hearts, Fearless And The Pure by Elizabeth Pixley-Fink is next up. With unbridled fervour, sugary-sweet tongue-in-cheek delivery and artistic assuredness, the Michigan-native has made a repetitive, meditative garage punk piece that feels more like a mantra than a song. Undeniably catchy, incredibly simple but infinitely endearing Fearless And The Pure is a right romp. It’s taken from her third album Heartskin, available on vinyl and CD from her Bandcamp. Perhaps a performance at the Cass Corridor Third Man site might be a good idea?
The Hazy Janes are another band we caught live without knowing anything about. A bluesy rock trio from Halifax, they blew us away at Signature Brew in Walthamstow, East London, supporting the also spectacular Cam Cole. “Too Dead (To Die Again)” is the opening track to their 2024 eponymous debut album and is full of fire and fury. There's a comforting familiarity to it (the chord progression in the verses, we think, is very similar to that of Jack White & Alicia Keys’ Another Way To Die Bond theme) but also an avid adventurousness that we can't help but admire. The backing vocals towards the end, the slide guitar solo, the way the cymbals are utilised, the sheer heaviness of the opening bars - it's got plenty going for it.
With a ferocious, frenetic energy and tempo but with a tone and texture that seems to contradict itself, the new tune from Manchester trio The Empty Page - “When We Gonna Run?” - is quite the paradox. Musically, sheets of hazy, sludgy mbv style guitars share space with Interpol-esque basslines, Bloc Party/The Cribs style riffage and persistent, driving rhythms. All this is topped off with a snarling, riot grrr vocal courtesy of singer and bassist Kel Page. Her delivery oscillates between punky and alt-rock vibes but is always full of conviction and authority. Special mention must be made to the overlapping vocals in the closing coda - the addition of the "are you gonna break my heart?" backing vocal is *chefs kiss* and is a fitting end to an epic odyssey of a song.
And that’s your lot for this month. We hope you have enjoyed this collection of songs and if something here has touched you, please, let the artists know! It’s great to #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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