MacGyver Knife - Sewing Legend: Well crafted garage rock

An indie rock outfit from Cape Town, MacGyver Knife makes my happy place that much happier. Less pop and more garage rock, MacGyver Knife has not fallen prey to the horrifying electro trend that seems to be creeping into supposed rock bands' tracks. This glorious denial of trend following spells one thing to me: sustainability.

MacGyver Knife is true to their own vision, and are quick to reject tracks that are too familiar, according to the band. This is clear. Their debut album, Sewing Legend, is well crafted, original and gritty.

MacGyver Knife has deftly built a bridge between 90s garage rock and a more modern sound that reminds me of Float On stage Modest Mouse. While we're on that topic, MacGyver Knife could easily share a stage with Modest Mouse and the Shins and hold their own. I do not doubt this for a second.

Sewing Legend, released on 25 May 2011, is a well-balanced mix of swaying melodies, deft guitar work, and catchy beats. Now We're Even is easily one of my favourites, and Wake Up the Morning actually caused me to sit back, close my eyes and listen. A feat not many SA bands have managed.

I can't wait until this band gets gigging in Gauteng. A live show simply has to be in my future. With an MK Awards nomination already under the belt, MacGyver Knife most certainly is in yours. 

For more info visit: www.macgyverknife.com

Death Cab For Cutie - Codes and Keys: Ethereal, Adventurous, Charming, Bittersweet

Like everyone else in South Africa I really only took notice of Death Cab for Cutie when their 5th album, Plans, was released in 2005. The super EMO I Will Follow You Into the Dark rocketed them briefly into the SA limelight. Watery and badly aimed as it is.

To this day, Plans remains one of my favourite albums to chill to, and Death Cab's masterpiece.

Codes and Keys, released today, comes very close to dethroning Plans from its place in my heart. It is well crafted, bittersweet and searching. The boys have always been philosophical in their approach to lyrics and Codes and Keys is no different.

As always, each track is well structured and the harmonies are effortless. The drama and the steady swell as each track builds to a crescendo will draw anyone in. Codes and Keys, while not quite up to the standards of Plans, is remarkable nonetheless. It has a quirkiness and an adventurous nature that we haven't seen before. They have even managed to do what many bands have not in this age of electro-invasion – incorporate a bit of 80s keyboard without losing their own vision.

The title track is a joyful ditty that puts me in mind of a stereotypical American 60s school dance. You Are a Tourist is catchy with a bounce you can't help but tap your feet to. The guitar riff gets into your head and has you bopping all day (or week). Monday Monday demonstrates the weird uncertain optimism that is evident in many a Death Cab track. Stay Young, Go Dancing - the final track on the album - is also the biggest surprise. It is boundlessly cheerful. And simply so. No strings attached.

Codes and Keys tells a fantastic story and draws you in. Great company for the cold winter months. So hop onto Amazon or iTunes and get it. Get it now.

You can preview the album here: http://n.pr/kuNLl0

Visit www.deathcabforcutie.com for more on the band.

The Kills - Blood Pressures: Be still, my beating heart

On first listen Blood Pressures by The Kills was f*cking my mind, man. Good and proper.

With my somewhat limited knowledge of the Atlantic-spanning band that was doing what the Ting Tings do long before they were and that much better, the solid, sexy, raw rockness of Blood Pressures took me a while to wrap my head around. And just as I thought I understood what was happening, along comes The Last Goodbye, straight from a Chicago blues club. Eish, mara wena. It is sultry, it is classy, it is velvety and delicious.

But no, that was not the last surprise. Straight after that comes Damned If She Do - a track that would have been just as comfortable on 2005's No Wow. Having had a brief love affair with The Good Ones – an enthralling single off that album – this was more along the lines of what I was expecting. 

Like any girl that has been thoroughly messed around and left exhausted and confused, I am in love. This time it's for keeps.

The Kills have always been worth a listen, and the rock edge has always been there. It's just that much stronger now than ever before. Their choons are carefully crafted and fit together like Inca brickwork. No gaps here, gazi. Vocalist Alison Mosshart's voice is deep and strong, and is clearly comfortable doing anything. There's a rougher edge to it, a touch of husk, that draws you in. There's something of interest to every song, from a visit to melancholy with Wild Charms, to the aggression of Nail In My Coffin. The album would work just as well accompanying your drive to work as it would during a workout.

Now, if you'll excuse me, I need to be alone with my album.

For more on The Kills visit www.thekills.tv

The Black Keys - Brothers: A glass of crisp wine soothing down a Myprodol

Picture yourself in a smoky lounge. Large, comfortable couches are scattered haphazardly around the darkened room. A raised dais stands against a wall, lit by a single spotlight – the only bright light in the room. You are only dimly aware of the other patrons, all as focused on the band on stage as you are. There is barely a rustle from the room. Glasses are refilled, unnoticed, as the band plays.

This, my friends, is the picture that Grammy winning sixth album, Brothers, by the Black Keys paints in your mind. The unbridled cool of this band is simply undeniable. It makes you want to start talking in beatnik slang.

From beginning to end, Brothers is a work of art. It glides smoothly from one track to another, taking you on a blissful journey through your own passive mind. The first track, Everlasting Light, gets you in the perfect mood for what's to come – relaxed, at peace, the knowledge of good things in the future settling comfortably in your mind.

I know I'm pushing it a bit here, but Brothers really is like a crisp glass of wine soothing down a Myprodol or two. The happy is all-encompassing.

Tracks like Ten Cent Pistol and Unknown Brother drag you out of your happy stupor into a more Claptonesque area. Still undoubtedly cool, but of a darker kind. The joy, the joy.

The Black Keys are by far not a new thing, having put out six albums since 2002. Brothers, however, is the only album to make much of a stir. That isn't stopping me from plotting a retrospective purchase of everything this blues-rock duo has ever done. Bring on the blues.

For more on the Black Keys visit: www.theblackkeys.com or visit their myspace page at www.myspace.com/theblackkeys

Travis Barker - Give the Drummer Some: No no no

Why in the name of Zeus' butthole would anyone let Travis Barker do ANYTHING unsupervised? Never mind brush his teeth or put his trousers on the right way around. Now he's made a (supposed) Hip Hop album? What is wrong with the world?

Blink 182 is not exactly the most hardcore of bands. Hell, they're not even the most hardcore of little-boy-punk-wannabe bands. They're a joke. At least when they started out they knew this. Now they want to be taken seriously and are off on their own missions, so we're stuck with the drummer in some sort of dream world where he's gangsta. Tattoos do not make you a gangsta. I have plenty, and I'm a lady.

Barker's tragic attempt (entitled Give the Drummer Some) is only marginally better than K-Fed's train wreck. It's embarrassing for everyone involved, since the man has managed to lure some pretty big names in Hip Hop to deliver lyrics for the tracks. 

Perhaps most tragic of all is the fact that he can't seem to shake the fact that he's a drummer, bringing it into lyrics, song titles and the title of the album. A departure this is not. It should be ignored, hidden, burned. But certainly not mar one's iPod playlist.

Rise Against - Engame: Teeny angst and rockin' choons

Rise Against has hit album six and is going strong. Endgame, released on 15 March 2011, holds everything we have learned to expect from Rise Against. Heartfelt, angsty lyrics, heavy guitars and a lot to jump up and down to.

I've personally always felt that it's only Tim McIlrith's softer voice that has prevented Rise Against from entering the Hard Rock arena and left them relegated to Punk. Not that Punk is a problem.

True their Punk label, Rise Against is not afraid to show their political leanings, making a stand against homophobia in Make It Stop (September's Children) – a song written specifically in memory of the tragic suicides of homosexual teenagers in the US last year. Being a big supporter of the LGBT community myself, I can only respect this move. Especially considering that Rise Against is categorised in a genre of music that is not often lauded for its tolerance.

Politics aside, Endgame is a cracking album. It's a difficult task to pick out shining tracks, because they all shine. It's one long list of glittering nzimaness. Of course Make It Stop (September's Children) is close to my heart. Disparity by Design and This is Letting Go really get your blood pumping and your moshing feet jumping.

Endgame is another fantastic offering in a long line of genius, and one can only hope that there will be more of the same in the future.

For more on Rise Against, visit www.riseagainst.com.

What Did You Expect From the Vaccines? - Joyous, fun, Ra Ra Ra!

I just can't get What Did You Expect From the Vaccines? out of my head. And this is a good thing.

The Vaccines are an old school Indie Britpop outfit that rather missed their period – having only formed in 2010. They would've fit right in with The Clash and The Ramones.

The debut album, What Did You Expect From the Vaccines? channels the post-colonial “WTF now?” mentality that is such a strong part of modern UK culture and makes me ache to get back to Reading for some dirty-rocker festival going.

Even though their sound is strongly derivative, it is still fresh and even soothing in spots.

The Vaccines have been through the wringer in the UK press, first lauded as the new coming, then hit with a massive backlash against their “priveleged” background, even before the album's release on 14 March 2011. Happily, here in SA, we missed the hype and can experience the album with fresh ears. I can't help but love it.

If You Wanna is a cheerful, energetic and cocky come-on; Wetsuit carries an element of nostalgia and hope and builds on itself well; while Norgaard speaks of rejection in an offhand, “next-please” kind of way. Even the 1 minute and 21 second first single Wreckin' Ball (Ra Ra Ra) tickles me to death.

If UK culture and Britpop is your thing (and it should be) you have to add this album to your collection.

For more on the Vaccines visit http://www.thevaccines.co.uk/za/home/

Dead Alphabet: Bringing 70s American Punk into the new millennium

Dead Alphabet already has me thinking 'cool' with their name. It is strongly reminiscent of 70s American Punk and I love it. Awesome name ticked, Dead Alphabet's next step is to put together a downright impressive EP, The Kill.

The controlled but aggressive vocals of Adam Edwards remind me strongly of those of Joshua Homme. The accompaniment does not follow the jerky strains of Queens of the Stone Age, however. Dead Alphabet is more melodic, while still being well grungy and in-your-face.

The Kill, the first track on the EP is incredibly sexy, with fantastic guitar riffs that bring in the 70s rock once again. Eat you Alive, is energetic and angry. A fantastic moshy tune. I can't state with certainty that the 70s are an influence in Dead Alphabets life, but this era of raw, sincere and in-your-face rock comes through in Dead Alphabet tunes and I can only respect them for it. Of course their sound has been brought bang into the new century – no loserish throwback tracks for these boys.

I'm afraid that I promised the boys a visit to their gig last night, but missed it due to a rather heavy weekend and a desperate need of full-body hangover relief, but I don't doubt for a second that they are awesome. I didn't want to wait anymore to post this review, because the word must be spread – Dead Alphabet is the shiznizz. I can't wait to catch a gig when I'm not a zombie.

You can follow Dead Alphabet on Twitter for all the latest news (@DeadAlphabet), or join their Facebook page http://www.facebook.com/DEADALPHABET?sk=info where you will find a link to the EP, The Kill. Do yourself a favour.

A new The View review: Yayness!

I still reach for The View's debut album, Hats off to the Buskers, when I need a bit of cheering up. Their special brand of pep and oddity never fails to lift my spirits. And they have brought it quite successfully to their third album, Bread and Circuses. (We do not speak of their second album, Which Bitch, which made almost no impact on the music scene at all.)

The band has matured a little since their first album, and this brings a new air of restraint to their choons, but the same old quirky joy is still there, as the energetic track Tragic Magic makes apparent. Blondie displays that quirk of lyric that comes so easily to The View. Who else would write, “I bring the tea to the table, but my cooking's always slow”?

Bread and Circuses doesn't veer much from the Hats off to the Buskers, formula, but I have no problem with that since the formula works so well.

Despite sticking to tried and tested principles, this album sounds more Americana than Britpop, as is most effectively demonstrated by Sunday – an oddly triumphant tune that would do nicely in the closing scene of a teen movie.

Bread and Circuses is more melodic, calmer and a little more melodramatic than The View's previous offerings, but it is executed perfectly. While Hats off to the Buskers was steeped in situations unique to British culture, Bread and Circuses deals with more universal issues.

I have to admit that I still prefer the exuberance of Hats off to the Buskers, but Bread and Circuses is an encouraging return to good old The View awesomeness.

Fulka The Mystery of the Seven Stars album launch at Tings: Fun folks and fun folk

It was Wednesday and it was fun, fun, fun.

Fulka are just cool. From giving cupcakes to those buying their merch, hiding present packets with suckers and free cd downloads throughout the venue to lead singer Ola Kobak’s doll-like dance moves and the fact that the majority of the band can play the banjo, they exude awesome. However, it is not only this intrinsic charm that will see them – and has seen them – gaining massive popularity. Damn are the folks of Fulka talented!

Bubbly and sassy, Ola sings sweetly while a fusion of the folk and electronic sounds of the band surround her. Soon it’s time for the first instrument swop, one of many these multi-skilled kids pull off. Pretty, while at the same time punchy, Fulka’s songs are full of melody and melodramatics, with a hint of mystery. Simple yet distinctive and multifaceted, their sound is quiet but penetrating. Their album is beautifully produced and world class. It’s available for listening and download here: http://fulka.bandcamp.com/.

The only criticism I have is the lack of smoothness in their act. There were a couple of times where swopping instruments and tuning and microphone issues jarred the sleekness of their performance, but I have no doubt that this will soon be sorted, leaving a playful performance with credibility and class.

The equally talented Isochronous opened for Fulka, playing a tight acoustic set to an attentive and eager crowd which soaked in their polished progressive synth-rock sound gone raw while sitting cross-legged on the floor. Isochronous never disappoint, and when acoustic they add depth and flavour to their already well-rounded sound.

The Strokes - Angles: A random electric mishmash of kakness

I can describe the new Strokes album, Angles, in one word: Waaaaaaah!

Man, was I happy that a new album is out. So excited. Really. And then I'm hit with some random electric mishmash of severe kakness. WTF? And, surprisingly considering the sudden high regard for electro choons, the vocal distortion that made The Strokes The Strokes, and Julian Casablancas one sexy bugger comes and goes like someone was accidentally leaning on the button and they couldn't be bothered to fix it. It must be said, that without the distortion, Casablancas kinda sounds like a 16-year-old. NOT hot.

I feel like I'm in some sort of 80s time trap. The depressing drivel on this album could come straight out of some coke-driven, psychedelic lycra-wearing, big-haired producer's wet dream. Bleh, I tell you. Bleh!

I'm all for band development and growth. Artists should try new things. But falling into Boy George's basement is not the way.

There are a few moments of sanity on Angles, where some of the band's previous genius filters through. Under Cover of Darkness – the first single – while nowhere near an accurate representation of the rest of the album, contains the usual seamless drum and guitar agreement, the energetic beats and the deep satisfaction that comes with it. You just wanna sing along. Taken For a Fool is more melancholic, and melodic. It takes a gentle walk down your spine. Gratisfaction seems to be channeling Abbey Road, to great success.

I can't, however, in good conscience recommend buying this album. Download singles as and when they become available. But Angles cannot be described as anything other than a write-off. 

If you desperately wish to assault your ears visit http://new.thestrokes.com/ where, thankfully, the album is streaming. No one has to waste precious cents on this tripe. 

The City is The Desert (In Disguise): Balls to the wall!

You can't help but admire the balls of The City is the Desert. It's one thing for Radiohead to stick an album up on the Interwebs for download 'by donation' – it hardly matters to them if people stiff them and don't pay. But for a virtually unknown band to do the same takes a serious amount of guts and integrity.

The City is the Desert (In Disguise) was self-recorded and is now being self-released. It's an interesting mix-match of genres, which makes it rather disjointed and downright weird (in a nzima way). There are definitely tracks I skipped over after a minute or so of deliberation. There are also tracks that hit my sweet spot dead centre.

The awesome thing about this album, is that there's something to appeal to everyone. At least everyone with taste. If your favourite artist is Lady Gaga, you'll probably be disappointed. But you don't have to download the whole thing. Listen through it, download what you like and make a donation accordingly. But make a donation. Bands like this, that veer from the norm and stand behind their principles, need our support.

My personal favourites are WinterCone (which reminds me of Nancy Boy era Placebo) and The Compass Factory (an energetic 'rip it up' type choon). There are plenty of other interesting moments, ranging from spacey electro weirdness to balls out nihilistic roars.

Check it out at http://bribe.desertdisguise.com/album/in-disguise.

Alan! Let's Move On - We Now Dream In Colour: A fascinating journey of electro rock (?!)

We at BlindBlimp have been keeping an eye on Alan! Let's Move On since they opened for Lucky Fonz III at Tings an Times in August 2010. Impressed by their energy and skill, and tickled by their name, we knew tabs had to be kept.

To be perfectly honest I was fully prepared to be horribly disappointed by the album, as SA bands often fall flat when recorded, no matter how good live.

I am overjoyed to report my trepidation was for nothing. We Now Dream In Colour, released on 2 March, is a fantastic, cohesive album. It flows effortlessly from track to track, drawing along a fascinating journey growing in strength and power as you travel along. Hell, Woods (track no 9) is downright hardcore. The band has a clear perspective and a crisp, finished sound. I absolutely love it.

The vocals of Louis and Daniel Knoetz harmonise beautifully, and their husky buttery voices are wonderfully juxtaposed with the electro pep that brings that extra oomph to the band. The lyrics are interestingly introspective, seeming to seek a little redemption.

Choons to look out for are Witchita (available for free download at http://alanletsmoveon.bandcamp.com/album/we-now-dream-in-colour and a great ambassador of what's to come), Albratross (less electro, more rock, could be quite moshy live), and Letters to Anna (which reminds me of a cleaner version of the Bloodhound Gang).

The only low moment, really, is Hatchett, which gets a little too electric and is stripped of all integrity as a result.

I really can't emphasise how much I digg this album, and how firmly I believe you would too. But hey, you don't have to take my word for it. The whole thing is available for streaming at http://alanletsmoveon.bandcamp.com/album/we-now-dream-in-colour. Give it a listen and decide for yourself.

J Mascis - Several Shades of Why: A Bubble of Contentment

Being South African, you'll be forgiven for not knowing who J. Mascis is. But only by other South Africans, and only if you grew up in Tweebuffelsmeteenskootmorsdoodgeskietfontein.

OK, how about Dinosaur (Jr.)? Caught up now? Fantastic.

Having worked on various projects, including Dinosaur (Jr.), Velvet Monkeys and the Fog, this much-lauded, talented fellow has abandoned (temporarily) the band concept and stands on the verge of releasing a solo album, entitled Several Shades of Why. “Huzzah!” the townsfolk sing.

A gentle acoustic album of thoughtful lyrics and soothing melodies, J. Mascis plays host to various equally lauded talents, such as Ben Bridwell of Band of Horses and Suzanne Thorpe of Wounded Knees. Well, maybe 'solo' is a strong word considering the long line of fantastic collaborations on this deeply moving album.

Several Shades of why is melancholic and heartfelt, and something of a departure from Mascis' previous more, um, ear-bleeding offerings. It's the perfect album to wind down to after a long and hectic week. Listening to it, I can picture myself on the beach sipping something deceptively pink and soaking up the rays (melanoma be damned!). I can only wish everyone in the whole world can feel this happy at some point in their lives.

Oh wait! You can. Just rush out and buy Several Shades of Why! Or, more likely get it from iTunes.

The album is set for release on 15 May, but you can give it a streaing listen here: http://www.spin.com/articles/full-album-stream-dinosaur-jrs-j-mascis

Adele - 21: Initially nothing special, but with growing-on potential

I can't say I'm the biggest Adele fan. The UK seems to be nuts about her (as a triple platinum certification on her debut album, 19, will testify), but I never quite understood it. Chasing Pavements – the big single off the 2008 album – failed to impress and I don't really remember the rest of the album making any headway in SA.

Her follow up to 19 (21 – surprised?) isn't much more impressive. There isn't any obvious growth or development, and honestly Adele herself is a lot more entertaining than her music. 

21 is rather whiny and self-pitying. An excellent album if you're 16 and have just had your heart broken for the first time, but overly sentimental for us calloused grown ups. Like so many female musicians the target market is pretty clearly girls and boys who like boys.

There are, however, a few universally appealing high points on the album. Rolling in the Deep – the current single – is quite catchy, and angry enough not to be soppy. Rumour Has It is a vindictive little ditty and it's gone straight onto my 'favourites' playlist. And then there's the glorious cover of The Cure's Lovesong. Stripped of all the quirk and pep, it makes for a deeply heartfelt song that plucks at the heartsrings.

I hate to say it, but with these songs to keep you listening, the others have the potential to grow on you and this could even become a favourite album – if you're sufficiently heartbroken or sentimental. If your palette longs for something a little more meaty, I'd give this one a skip.

Yoav - A Foolproof Escape Plan: A captivating 40 minutes worth of imaginative, hypnotising tracks

If you just listened to the dance version of We Are Dancing steadily climbing up 5FM’s chart, you would be forgiven for not giving Yoav a second thought. However, if you were to delve a little deeper and listen to his 2010 release, A Foolproof Escape Plan, in its entirety you would soon be singing his praises. If you were to take it one step further and attend one of his gigs you would be transformed into a bona fide fan, donning a Yoav t-shirt, frothing at the mouth waiting to get his autograph and fainting at seeing him in person.

In all honesty I think We Are Dancing is the worst song on the album, with the rest being streets ahead in terms of beat-induced toe tapping and soulful inspiration. The opening track, Greed, transports you to a dank, dark, dodgy bar in a side street where a man sitting on a rusted paint tin is jamming on his guitar, unaware of the stunned audience he is so intent on his song and so connected to his music. His sound is raw, natural and inviting, his lyrics full of feeling.

As the album progresses, you move from the bar into the streets and join a crowd of supporters following the man as his awe-inspiring, mesmerising beats lead you past those involved in conventional society and out into the sun where you all sit cross-legged on the grass and stare at him as he plays on, swaying to the subtle guitar tweaks flittering over the beat and his honey-like voice. Yoav and his music are one and any listener is soon pulled in by the big beats and delicate additions, hypnotised by it, forgetting the world and escaping to a happier place. A foolproof escape plan indeed.

Tumi and the Volume - Pick a Dream: Hip hop with joie de vivre

OK, what I know about hip hop is somewhat limited. I know I prefer it in a club to electro dance dance BS. My ear, shall we say, is relatively undeveloped. But my ear is backed up by reliable sources, so I can confidently say that Tumi and the Volume is 100% nzima.

The new(ish) album Pick a Dream is French-produced and comes complete with a more refined sound. The good ol' Tumi perspective is still solid and speaks clearly to a South African audience.

Tumi and the Volume caught their international break when playing a festival on Reunion – an island off the coast of Madagascar. They were picked up by the organiser Gerome Galbert and paraded around Europe for all to see. The French got the first listen as Pick a Dream was released there early in 2010. We in Saffaland were graced with the album much later - during the Christmas rush - and it was denied the attention it deserved.

TATV's second studio album, and third album in total, Pick a Dream carries the attitude and voice of Tumi and the Volume and the expertise of international production. A vast array of interesting instruments make an appearance, and TATV do a fantastic job of incorporating these into their own unique sound. It's hard not to be proud of our boys with a stellar offering such as this. 

If I have one critique it's that they had to go overseas to do it.The SA music industry really needs to start taking note of acts such as these, rather than sending them off to foreign climes.

Catch Tumi in action at the AGH Soweto sessions and RAMfest, and TATV at venues around SA. 

Visit their MySpace page for more info or a preview of the album: http://www.myspace.com/tatv

Sleepy Eyed Fox kick-assedness kick-started

From Nashville, Sleepy Eyed Fox have finally finished recording their folk/rock debut album after two years. However, the band still needs funding for mixing/mastering and duplication and manufacturing. Having come this far and having gathered all the funding for studio time and a producer from fans, it would be a serious waste to let such an amazing band's album fall through the cracks.

Folky awesomeness, as evident in the embedded video, is how they roll. And, your charity will not be in vain, besides providing the world with sweet-ass music, starting at the $15 price point, every donation receives a specially made silk screened t-shirt, designed and made by the band. Rad.

If you're keen to help out go to http://www.kickstarter.com/projects/sef/sleepy-eyed-fox-debut-album or if you just wanna hear a good tune click PLAY VIDEO below.

New Politics: Cathartic racket, with sparkle

Don't dirty rockers just make your heart sing?

Accidental Danish band New Politics embodies the nihilistic spirit of grunge, the exuberance of Brit Rock (pop just don't work here) and the kind of teen angst that expresses itself in hidden scars and labial piercings instead of really sleek hairstyles and dark eyeliner. And somehow manages to wrap it up all pretty and presentable. Their choons smack of early Bloc Party and Hard-Fi, with a little Seattle thrown in for good measure.

Made up of David Boyd, Søren Hansen, and Louis Vecchio, New Politics offers an interesting mix of alternative, punk and whiteboy rap a la Chilli Peppers. Alas, the whiteboy rap can get a bit much, and there's just a little too much electro gratuitously thrown in (a tragic sign of the times), but overall the raw, grainy vocals, tinny distortions and catchy rhythms make for some excellent moshy choons, such as the single Yeah Yeah Yeah and the angry Burn.

There are some lighter, more melodic high points on the self-titled début album too. My Love and (the other single) Dignity are two of my favourites; they epitomise a yearning desperation that speaks to the moody teen in each of us. And if you're just looking for something to get yourself going in the morning, Give Me Hope and Die For You will hit the spot.

Diverse, intelligent and oodles of fun, New Politics have made quite a splash internationally since their album dropped in June 2010, playing a few festivals to great responses and playing warm up for 30 Seconds to Mars in September and October of last year. There's little doubt that 2011 will see them rise that much closer to the stars.

New Politics is a name you should start getting used to – it will be uttered in tones of awe and admiration for years to come.

Superfind: Valley of the Snake

This is what we at BlindBlimp have been on about!

Here is a friggin AMAZING SA band, that has been around for-fucking-ever (five years in the music world is forever) and not a peep has been heard anywhere. well, here and there, but nowhere near as much peeping as there should be. All the time we could have been listening to The Wild Eyes, we have been subjected instead to the bastard Parlotones.

Big up to MK for showing the ridiculously awesome video for Valley of the Snake, off The Wild Eyes' 2005 album Our Love Has a Special Violence. (View it here: http://www.youtube.com/watch?v=C2GP5RzLjNw). It's quirky, it's awkward, it's a little disturbing for no good reason. It's certainly one of the best SA music videos I've ever seen. Bugger SA. It stands up to international standards easily.

The Wild Eyes has an interesting, punk sound, with a little more melody thrown in.

I strongly recommend finding this album and buying it. Don't steal it, don't copy it, don't illegally download it. BUY the damn thing. Bands of this calibre in SA need our support. Go out and support them.