BIG RED (UK) ‘imagine The Orchestra (For Now) but there were only three of them and it was just guitar, bass, and drums’
BODY HORROR (UK) ‘a dark and dirty mixture of pain and unfiltered ecstasy’
BRUISE CONTROL (UK) ‘straightforward Manchester punks returning to finish the job’
CLARA MANN (UK) ‘almost folk music’
CLASSIC TRUCKS (UK) ‘beautiful songs from the ugliest man in Bristol’
DBA! (UK) ‘raucous guitar riffs and introspective lyrics’
DUG (IRE/US) ‘authentic Irish Americana’
EAT-GIRLS (FR) ‘cheap drum machines, clumsy synths, and gripping songs’
ETERNA (ES/UK) ‘serene slacker rock with a mesmerizingly backbone of percussion’
FELLATIO (NL) ‘Rotterdam’s very own avant-garde disco punk post-penis krautpop trio’
FOSSICK (UK) ‘compelling no wave’
FRANCES MURRAY (UK) ‘witty, searingly honest indie rock that’s equal parts raucous and introspective’
FUZZ LIGHTYEAR (UK) ‘loud, fast and a boisterous live energy’
GREEN GARDENS (UK) ‘slow rock at its finest’
HONEST WORK (UK) ‘pure rock anthems’
LAUNDROMAT CHICKS (AUT) ‘a sunburst of jangly pop songs’
LILA TRISTRAM (UK) ‘a rare combination of intimacy and power’
LINTWORM (BE) ‘masterfully grunting their way trough a mix of heavy genres’
LOW ISLAND (UK) ‘the perfect layering of live and electronic sounds for true pop fans’
MAGDA (UK) ‘uncompromising, raw and chaotic post-punk’
MAX WINTER (UK) ‘experimental contemporary classical pop compositions’
MÊN AN TOL (UK) ‘So Young Magazine: ‘’the best kept secret on the London live scene’’’
MIDDING (UK) ‘brooding shoegazey psych’
MODERN WOMAN (UK) ‘the tenderness of folk music blend with elements of free-jazz and noise’
MOJA (JP) ‘impressively hectic and loud’
MUMBLE TIDE (UK) ‘the sounds of bedroom pop perfection’
NAYA MÖ (FR) ‘lush, edgy, and enchanted indie rock’
OCTOBER AND THE EYES (NZ/UK) ‘a disturbing collage of goth, glam-rock, wave, and more’
OLIVER WILDE (UK) ‘rightly described by NME as “a Nick Drake for the 21st Century”’
PUBLIC CIRCUIT (US) ‘slightly melancholic, yet extremely infectious synth pop’
RABBITFOOT (UK) ‘a boundary-pushing mix of pop, rock, alt, jazz, and electronic sounds’
RYDER THE EAGLE (FR/MEX) ‘a remarkable crooner with healing songs for the broken-hearted’
SALVIA (UA/BE) ‘an emotional fusion of dream pop and dark wave’
SEMIWESTERN (US) ‘charmingly unpolished Texan indie rock’
SERVO (FR) ‘brutal, hypnotic, trance inducing noise’
SHAKING HAND (UK) ‘thrilling post-rock greatness’
SILVERWINGKILLER (UK) – ‘chaos, aggression, and multilingual vocals’
SOAPBOX (GB-SCT) ‘genuine punk – rioting shows (in the best possible way)’
STAR CITY (UK) ‘an infectiously danceable, synth-heavy blend of disco, post punk, techno and acid house’
TH DA FREAK (FR) ‘an electrifying blend of proto-grunge, pop structures and surreal lyrics’
THE EMPTY THREATS (AU) ‘eccentric noisy 5-piece with a commanding stage presence’
THE FAMILY MEN (SE) ‘industrial noise played by young and eager Swedes’
THE NEW CUT (UK) ‘grungy, clunky, twangy and DIY’
THE NONE (UK) ‘according to Far Out Magazine ’’the UK’s most enigmatic act’’’
THE SICK MAN OF EUROPE (UK) ‘hypnotic krautrock-like wave with crisp motorik beats’
THISTLE. (UK) ‘fast-paced, hard-hitting guitars with melancholic vocals’
TOMMY BARLOW (UK) ‘gently unfolding songs filled with ear-tickling sounds’
TORBA (IT) ‘dark industrial and haunting synth wave’
VAN ZON (UK) ‘maybe slightly folk rock, but mostly not part of any pre-existing genre’
VIEIRA AND THE SILVERS (UK) ‘bluesy garage psych with a twang’
Y (UK) ‘hypnotic alt-rave with a touch of Klezmer’
YAANG (UK) ‘a high-energy, sweaty, and raucous live show’
BIG RED (UK) ‘imagine The Orchestra (For Now) but there were only three of them and it was just guitar, bass, and drums’
BODY HORROR (UK) ‘a dark and dirty mixture of pain and unfiltered ecstasy’
BRUISE CONTROL (UK) ‘straightforward Manchester punks returning to finish the job’
CLARA MANN (UK) ‘almost folk music’
CLASSIC TRUCKS (UK) ‘beautiful songs from the ugliest man in Bristol’
DBA! (UK) ‘raucous guitar riffs and introspective lyrics’
DUG (IRE/US) ‘authentic Irish Americana’
EAT-GIRLS (FR) ‘cheap drum machines, clumsy synths, and gripping songs’
ETERNA (ES/UK) ‘serene slacker rock with a mesmerizingly backbone of percussion’
FELLATIO (NL) ‘Rotterdam’s very own avant-garde disco punk post-penis krautpop trio’
FOSSICK (UK) ‘compelling no wave’
FRANCES MURRAY (UK) ‘witty, searingly honest indie rock that’s equal parts raucous and introspective’
FUZZ LIGHTYEAR (UK) ‘loud, fast and a boisterous live energy’
GREEN GARDENS (UK) ‘slow rock at its finest’
HONEST WORK (UK) ‘pure rock anthems’
LAUNDROMAT CHICKS (AUT) ‘a sunburst of jangly pop songs’
LILA TRISTRAM (UK) ‘a rare combination of intimacy and power’
LINTWORM (BE) ‘masterfully grunting their way trough a mix of heavy genres’
LOW ISLAND (UK) ‘the perfect layering of live and electronic sounds for true pop fans’
MAGDA (UK) ‘uncompromising, raw and chaotic post-punk’
MAX WINTER (UK) ‘experimental contemporary classical pop compositions’
MÊN AN TOL (UK) ‘So Young Magazine: ‘’the best kept secret on the London live scene’’’
MIDDING (UK) ‘brooding shoegazey psych’
MODERN WOMAN (UK) ‘the tenderness of folk music blend with elements of free-jazz and noise’
MOJA (JP) ‘impressively hectic and loud’
MUMBLE TIDE (UK) ‘the sounds of bedroom pop perfection’
NAYA MÖ (FR) ‘lush, edgy, and enchanted indie rock’
OCTOBER AND THE EYES (NZ/UK) ‘a disturbing collage of goth, glam-rock, wave, and more’
OLIVER WILDE (UK) ‘rightly described by NME as "a Nick Drake for the 21st Century"’
PUBLIC CIRCUIT (US) ‘slightly melancholic, yet extremely infectious synth pop’
RABBITFOOT (UK) ‘a boundary-pushing mix of pop, rock, alt, jazz, and electronic sounds’
RYDER THE EAGLE (FR/MEX) ‘a remarkable crooner with healing songs for the broken-hearted’
SALVIA (UA/BE) ‘an emotional fusion of dream pop and dark wave’
SEMIWESTERN (US) ‘charmingly unpolished Texan indie rock’
SERVO (FR) ‘brutal, hypnotic, trance inducing noise’
SHAKING HAND (UK) ‘thrilling post-rock greatness’
SILVERWINGKILLER (UK) – ‘chaos, aggression, and multilingual vocals’
SOAPBOX (GB-SCT) ‘genuine punk - rioting shows (in the best possible way)’
STAR CITY (UK) ‘an infectiously danceable, synth-heavy blend of disco, post punk, techno and acid house’
TH DA FREAK (FR) 'an electrifying blend of proto-grunge, pop structures and surreal lyrics'
THE EMPTY THREATS (AU) ‘eccentric noisy 5-piece with a commanding stage presence’
THE FAMILY MEN (SE) ‘industrial noise played by young and eager Swedes’
THE NEW CUT (UK) ‘grungy, clunky, twangy and DIY’
THE NONE (UK) ‘according to Far Out Magazine ’’the UK’s most enigmatic act’’’
THE SICK MAN OF EUROPE (UK) ‘hypnotic krautrock-like wave with crisp motorik beats’
THISTLE. (UK) ‘fast-paced, hard-hitting guitars with melancholic vocals’
TOMMY BARLOW (UK) ‘gently unfolding songs filled with ear-tickling sounds’
TORBA (IT) ‘dark industrial and haunting synth wave’
VAN ZON (UK) ‘maybe slightly folk rock, but mostly not part of any pre-existing genre’
VIEIRA AND THE SILVERS (UK) ‘bluesy garage psych with a twang’
Y (UK) ‘hypnotic alt-rave with a touch of Klezmer’
YAANG (UK) 'a high-energy, sweaty, and raucous live show'