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Show of the week: The Wallbirds

Doncaster ‘radio dancers’ The Wallbirds are heading back onto the road just days after their conquering 40-odd date tour with label buddies The Pigeon Detectives. They’re a break from the indie music norm and have so far gained massive support across the country with their own intermingling of rockabilly blues and grass-roots folk influenced Libertine-isms. With a new single in tow, the contagious and hastily blowing ‘The Avenue’, their dates this week are sure to be a welcomed match in anybody’s pre-Christmas calendar. Trust us when we say you won’t have seen such an authentic rock ‘n’ roll show as this in quite a while.

This week, the band will be headlining Stockton’s KU Bar on the 21st December and Wakefield’s Escobar the following night.

Single of the week: Mum ‘Marmalade Fires’ (Pias Recordings)

Not so much shoe-gazing as it is stargazing, the band most likely to take the urbane reigns of music exquisiteness from Sigur Ros, these Icelandic instrumentalists release their new single from long player ‘Go Go Smear The Poison Ivy’ this week under the Maps-like lustre of ‘Marmalade Fires’. It’s a climbing amniotic tale of cold winter night strings and heartening melodies that draw attention to the dexterity to which the song has been delightfully crafted, the becoming of simplistic acoustics and nu-electronica that tunefully battle.

Band of the week: The Pan I Am

Anybody familiar with the wondrous world of Larrikin Love will no doubt have been in tears by their fall earlier this year, but with new band The Pan I Am, Edward Larrikin looks to assemble a new sound from the ashes of his former incarnation. Is the new project any good? It’s a simple enough question and, all critique aside, it’s by far the most imperative at this point. The answer is so inescapably yes. The whimsical charm of Larrikin Love, that floating transcendence of beauty within folk, has latched onto a hard-edged punk sensibility that pushes, even for Ed Larrikin, the ideals of eccentricness within the conformity of an affirming melody. He recently unveiled The Pan I Am at The Lyric theatre in Hammersmith and as we sat watching this new sound unfold before us with Simon Amstell and Patrick Wolf open mouthed in the wings, the sense of occasion was limitless in our expenditure of devotion to this new, breathing façade. The lyrics are there, the guitars are more than appreciative, and the arrangements are larking beyond the means of any former manifestation, the assembly of which confronts you with music so familiar yet so imaginative the palms of your hands bleed with sweat from a frustrated satisfaction.

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