New sounds from the alternative front
Our selection of recent albums reminds us to support the independent scene
In December 2023 the historic Moles venue in Bath closed after forty-five years of operation. At the same time, seven new arenas were being built in the UK that were set to generate huge profits. Rising operating costs and the cost of living are seriously challenging the existence of grassroots venues, the small venues on the UK independent circuit. These generated £560 million in 2025 and hosted almost 96,000 concerts, with 22 million spectators and 25,000 jobs. Yet, more than half did not make a profit. Thirty have closed and around two hundred cities have been left without regular shows. These are worrying signs, but emerging and independent music is still there: it should be sought beyond the algorithms, listened to in the places where it is really formed and supported, redeeming that feeling of excitement that Paul Morley - whose latest book 'David Bowie. Oltre lo spazio e il tempo' (Hoepli) - recounted in January 1979 in the New Musical Express with articles such as 'New Stirrings on the North-West Frontier'. To confirm this, here are already released and upcoming albums to listen to.
Sleaford Mods - "The Demise of Planet X"
The world is falling apart, but at least we can dance to it. The Nottingham-born duo softens the post-punk sound of their early days while continuing to point the finger at the crisis of humanity. Raw and profound, Sleaford Mods' thirteenth album is about a tension that won't subside until we recognise the demons that inhabit us. Thus, the opening laugh of 'The Good Life' is anything but cheerful and light-hearted.
Cribs - "Selling a Vibe"
The Jarman brothers' trio, which featured Johnny Marr in the line-up for three years, releases its ninth album, a reflection on the passing of time. If a melancholic echo has remained of the incendiary indie rock beginnings, the incisiveness has remained intact. In the geometries of 'Dark Luck', as well as in the Smiths-esque vitality of 'Never the Same'.
Westside Cowboy - "So Much Country 'Till We Get There"
The beauty of the Manchester quartet's second Ep lies in its being extemporaneous, elusive. The cover with a slingshot pulled before releasing the tension is perfect at conveying this feeling. So of course does the music, which seems to be sucked into a hallucinated ballad when a pulled track like 'Can't See' starts. Westside Cowboys are also immersed in the nostalgia for the nineties, which has been raging for a while now. I wonder if Green Day have heard 'The Wahs' yet.
Ulrika Spacek - "Expo"
A cult band that definitely deserves more attention, the British quintet has been balancing art-rock and psychedelia for a decade with an unsettling, never baroque naturalness. Tangles like 'Square Root of None' hypnotise you, striking and distorting your perception. The fourth album focuses on their fascination with the 'glitch' between electronics and the analogue world. A seduction that they know how to enact with great style on the listener.
