Basht.

Basht. (Polocho)

Having steadily built a reputation as one of Ireland’s most exciting emerging guitar bands, Basht. have spent the past few years turning heads through relentless touring, festival appearances and a growing catalogue of emotionally charged, sonically adventurous releases. Following the dark atmospherics of previous single Perfume, Keira Knightley offers another compelling glimpse into the band’s debut full-length while showcasing a different side of their evolving sound.

Driven by tense guitars, brooding dynamics and an undercurrent of emotional urgency, Keira Knightley explores the desperation that can emerge when a relationship begins to unravel. The title references the iconic romantic gesture from Love Actually, but rather than celebrating grand declarations of love, Basht. use the image to examine the lengths people will go to in an attempt to salvage something already slipping away.

Frontman Jack Leavey’s vocal performance balances vulnerability and frustration throughout, while the band’s trademark ability to transform deeply personal subject matter into expansive, cathartic post-punk remains front and centre.

Speaking about the track, Leavey explains that the song charts the decline of a once-thriving relationship, documenting the gradual shift from excitement and affection into jealousy, resentment and emotional exhaustion. Musically, the band were keen to push beyond the boundaries of their previous releases and offer listeners a fresh perspective on what Basht. are capable of.

The track arrives ahead of Poor Advice, an ambitious concept album that tackles themes deeply rooted in Ireland’s social and political history. Across ten songs, the record examines the long-lasting influence of institutional power, particularly the historic relationship between church and state, and how systems of authority continue to shape personal freedoms and collective experiences today.

Produced by acclaimed producer Ali Chant, whose previous work includes collaborations with some of alternative music’s most distinctive voices, Poor Advice promises to be a bold and thought-provoking debut. Basht.’s ability to pair sharp social commentary with emotionally resonant songwriting has already earned them a devoted following, and the album looks set to establish them as one of the most vital new voices emerging from Ireland’s thriving alternative scene.

Their rise has been fuelled by a formidable live reputation, with support slots alongside the likes of DEADLETTER, Everything Everything and Wunderhorse helping to introduce the band to wider audiences across the UK and Europe. Festival appearances at The Great Escape, Liverpool Sound City, Dot To Dot, Live At Leeds and Other Voices have further cemented their status as a band on the verge of a breakthrough moment.

Basht.

Basht. (Polocho)

With Keira Knightley delivering another captivating chapter in the story of Poor Advice, Basht. are proving they possess both the ambition and songwriting depth to become one of the standout new guitar bands of 2026.

Upcoming UK & Ireland Tour Dates:

JUNE
20th – Glasgow, TRNSMT Festival

JULY
11th – Southampton, Papillon
30th – London, Amersham Arms (War Child Fundraiser)
31st – Dover, The Booking Hall

AUGUST
1st – Oxford, Wilderness Festival
9th – Newquay, Boardmasters Festival
29th – Sheffield, Rock N Roll Circus
30th – Leeds Festival, Leeds

OCTOBER
27th – Nottingham, Rescue Rooms
28th – Glasgow, Art School
29th – Manchester, Gorilla
30th – London, KOKO

NOVEMBER
7th – Dublin, Button Factory

Wunderhorse Are Champions Of The 1865

TV Priest

TV Priest (Charles Gall)

Following the release of their acclaimed albums Uppers and My Other People, the band emerge from their recording silence with a track that pushes their sound into even more uncompromising territory. Combining elements of post-punk, drum and bass, electronic textures and spoken-word intensity, The Mud Never Dries feels like a deliberate attempt to dismantle expectations while retaining the sharp social and personal observations that have defined the band since their debut.

Opening with a restless, propulsive bassline, the track quickly spirals into a barrage of abrasive rhythms, fractured electronics and mounting tension. It’s a song that never sits still, constantly shifting shape while reflecting on themes of history, memory and repetition. Beneath its confrontational exterior lies a meditation on the way personal experiences and collective political histories continue to shape the present, whether we acknowledge them or not.

Vocalist Charlie Drinkwater describes the song as the most abrasive material the band have created to date, inspired by the idea of history accumulating like layers of sediment beneath our feet. The result is a track that wrestles with the notion that the past never truly disappears, instead resurfacing in new forms as individuals and societies continue to repeat familiar mistakes.

The accompanying video, directed by long-time collaborator Charles Gall, mirrors the song’s themes of unease and psychological unrest. Set within a deserted office space, the visual follows Drinkwater as he gradually sheds restraint, delivering a raw and increasingly unhinged performance that feels both intensely personal and unsettlingly universal. The stark setting amplifies the song’s exploration of confinement, repetition and the struggle to escape inherited patterns of behaviour.

The release marks an intriguing new chapter for TV Priest. Since emerging as one of the UK’s most compelling voices in modern post-punk, the quartet have consistently balanced intellectual depth with visceral energy. The Mud Never Dries suggests a band willing to evolve further, embracing harsher sonic experimentation while continuing to interrogate the social and existential concerns at the heart of their work.

With this return, TV Priest remind listeners why they remain one of the most distinctive and thought-provoking acts in contemporary alternative music. If The Mud Never Dries is any indication, their next chapter promises to be their most adventurous yet.

Cancer Bats Bring The Shillelagh To Marshall Records’ Tenth Anniversary

Borderline

Borderline (Press)

Set for release on 26th June via EMPIRE, the self-titled record represents a significant milestone for the Auckland four-piece, who have spent the last few years steadily building an international following through a string of infectious singles, relentless touring and an undeniable chemistry forged through lifelong friendship.

The announcement arrives fresh from the band’s recent North American tour, which saw them complete a 14-date run across the United States and Canada, further cementing their reputation as one of the most exciting young acts emerging from New Zealand’s flourishing music scene.

At the centre of the album campaign is That Girl, a track that sees Borderline fully embracing their love of classic 1980s pop, funk and rock influences. Driven by shimmering vintage synths, infectious grooves and soaring vocal hooks, the single showcases a band unafraid to wear their influences proudly while crafting a sound that feels fresh and contemporary.

The band’s affection for artists such as Michael Jackson and Prince can be heard throughout the track, with glossy production and dynamic musicianship combining to create one of their most ambitious releases to date. According to the band, That Girl emerged from a desire to simply let loose creatively, allowing their skills as instrumentalists to take centre stage while embracing the joy of making music without limitations.

That same spirit runs throughout the forthcoming album. Recorded across home studios before being refined at Auckland’s renowned Roundhead Studios, the record finds Borderline drawing from every corner of their collective musical upbringing. The result is a collection that blends pop immediacy, rock energy and funk-infused grooves into a cohesive statement of intent from a band still only at the beginning of their journey.

The accompanying video for That Girl matches the song’s playful energy. Directed by Tom Grut, the clip follows the band through a spooky abandoned asylum transformed into a haunted house adventure. Inspired by the colourful aesthetic and playful mystery-solving antics of Scooby-Doo, the visual finds Borderline leaning fully into the fun side of their personalities while delivering their most ambitious music video yet.

What makes Borderline’s rise particularly impressive is the band’s age. Still only 20 and 21 years old, the four-piece have already earned significant recognition at home, including nominations for Breakthrough Artist of the Year and Best Pop Artist at New Zealand’s prestigious Aotearoa Music Awards. Sharing a nomination category with globally renowned artists is further evidence that Borderline’s momentum continues to grow at an impressive pace.

Borderline

Borderline (Tom Grut)

Comprised of Ben Glanfield (guitar, vocals, keys), Jackson Boswell (drums, vocals), Matthew McFadden (lead guitar) and Max Harries (bass, saxophone), Borderline have built their reputation on a combination of undeniable musicianship and youthful exuberance. Their songs effortlessly blend polished pop songwriting with the energy of a live band, something that shines particularly brightly on That Girl.

With their debut album finally on the horizon, Borderline appear poised to take another major step forward. If That Girl is any indication, Borderline promises to be a confident introduction to a band rapidly establishing themselves as one of the most exciting new names in modern indie-pop.

Wolf Alice Turn Cornwall’s Eden Sessions Into Their Own Cathedral Of Sound

Blossoms

Blossoms (Press)

A decade on from their Mercury Prize-nominated debut, Blossoms continue to evolve while retaining the melodic charm and sharp songwriting that have made them one of Britain’s most consistent modern guitar bands. Frontman Tom Ogden, alongside Charlie Salt, Josh Dewhurst, Joe Donovan and Myles Kellock, appear determined to push their sound into new territory while embracing the influences that have always simmered beneath the surface of their music.

The newly released Meet Me In Love follows recent single Joke About Divorce and offers another glimpse into the world of Songs From The Wedding Cake. Built around an irresistible disco groove, the track leans heavily into romance rather than relationship friction, pairing shimmering melodies with a dancefloor-ready rhythm. Adding further intrigue, fellow songwriter Declan McKenna contributes backing vocals to the track.

According to Ogden, the song emerged during a songwriting retreat in the Lake District with Natalie Findlay and Jules Apollinaire. What began as a simple two-chord jam quickly transformed into one of the standout moments on the album, eventually being completed with producer Shawn Lee at Tilehouse Studios.

The accompanying video sees broadcaster and presenter Maya Jama starring alongside actor Callum Scott Howells in a cinematic visual directed by Ogden himself. Filmed at Chad’s Theatre in Stockport on 16mm film, the clip continues the visual narrative introduced in Joke About Divorce, drawing inspiration from classic Hollywood glamour, 1970s disco aesthetics and vintage television performances.

The album’s title is rooted in local history and personal significance. “The Wedding Cake” is a long-standing nickname for Stockport’s iconic Victorian Town Hall, where Ogden was married. That connection helps frame a record centred on elevating life’s everyday experiences into something larger and more cinematic.

Musically, Songs From The Wedding Cake promises to be one of Blossoms‘ most adventurous releases yet. Recorded live to tape at Tilehouse Studios with producer Shawn Lee – best known as one half of Young Gun Silver Fox – the album embraces warmth, spontaneity and a rich palette of influences. From ’70s funk and disco to the band’s trademark indie-pop songwriting, early indications suggest a collection packed with groove-heavy rhythms, emotional storytelling and infectious hooks.

Blossoms for Teenage Cancer Trust 2024

Blossoms for Teenage Cancer Trust 2024 (John Stead)

Lee’s collaborative approach appears to have encouraged the band to lean further into their funkier instincts, allowing tracks to develop organically while retaining the polished songwriting that has become a hallmark of the Blossoms catalogue.

The announcement also arrives as the band prepare for a significant new chapter on the live front. Having already graduated from theatres to arenas over recent years, Blossoms are now stepping into their most ambitious headline tour yet. Support across all dates comes from rising Welsh indie outfit The Royston Club.

With Songs From The Wedding Cake, Blossoms look set to celebrate ten years of chart success by embracing both nostalgia and reinvention. If Meet Me In Love is any indication, the band’s next era could be their most vibrant yet.

Upcoming UK Tour Dates:

NOVEMBER
26th – Cardiff, Utilita Arena
27th – London, Alexandra Palace
28th – Manchester, Co-op Live

DECEMBER
4th – Birmingham, Utilita Arena
5th – Glasgow, OVO Hydro

Wolf Alice Turn Cornwall’s Eden Sessions Into Their Own Cathedral Of Sound

Daydream Plus

Daydream Plus (Andrew Blair)

While Tomb Mold have built a reputation on crushing riffs and progressive death metal intensity, Daydream Plus occupy an entirely different sonic universe. The Toronto trio channel shimmering city pop, intricate math rock, jazz fusion and video game soundtrack nostalgia into a sound that feels tailor-made for long summer evenings and wistful memories.

New single More Time Alone perfectly captures that atmosphere. Built around bright melodies, intricate musicianship and a warm, laid-back groove, the track leans heavily into the band’s city pop influences. A standout saxophone performance from Joseph Shabason adds another layer of sophistication, elevating the song into a breezy yet emotionally resonant soundtrack for the fading days of summer.

Led by Tomb Mold guitarist Payson Power alongside bandmates Max Klebanoff and Kevin Sia, Daydream Plus began life in 2020 as a creative outlet far removed from the aggression of their main project. Across a pair of EP releases, the trio steadily refined a unique blend of melodic instrumental music, drawing influence from anime soundtracks, Japanese city pop, jazz, progressive rock and classic video game scores.

That evolution reaches its fullest expression on Second Last Day Of Summer. Recorded with engineer Darren McGill and mixed and mastered by renowned producer Arthur Rizk, the album expands the project’s colourful musical palette while maintaining the technical precision fans might expect from its creators. Rather than using virtuosity to overwhelm, however, Daydream Plus employ their impressive musicianship in service of melody, atmosphere and storytelling.

Power describes the album as a celebration of a very specific feeling: the freedom and possibility found on the second-to-last day of summer before reality inevitably returns. That bittersweet theme runs throughout the record’s twelve tracks, which flow together like chapters in an imagined world, complete with cinematic interludes that feel inspired by classic RPG cutscenes and retro gaming adventures.

The album also boasts an impressive cast of collaborators, including Steve Lamos of American Football, Joseph Shabason and Japanese jazz pianist Ryo Kishimoto, further enriching the record’s lush and detailed sonic landscape.

In keeping with the band’s deep love of gaming culture, Daydream Plus have also created an alternate chiptune version of the album titled Extended Forecast. Produced in collaboration with Batlab Electronics, the release will be available on a limited-edition NES-compatible cartridge, offering fans a fully playable retro gaming-inspired companion to the album.

With More Time Alone, Daydream Plus continue to prove that this is far more than a side project. It is a fully realised creative world of its own—one that trades death metal’s darkness for sun-soaked nostalgia, while retaining the ambition and attention to detail that has made its members such respected musicians.

Friday In Photos At Download Festival XXIII