A taster from Up You, the forthcoming album from edgy singer. playwright, novelist and poet Pete Gioconda. Pete specialises in songs that fuse new wave, psychedelia, pop and folk, to which he adds a healthy dose of punk attitude.

Union True is described as: “A psychedelic power ballad about an ecstatic union with nature, in love with a very special girl,” and that’s a nice summary – especially the “psychedelic power ballad” bit…

Indeed, the influence of Syd Barrett and early Pink Floyd is evident right from the song’s piercing fade-in and throughout the opening bars. And the psychedelic feel is intensified by lyrics like: “I’ll crawl across the painted heather, pull your snaking flesh together…”

The music – piano, acoustic and electric guitars, howling harmonica, loping bass and Ringo-like drumfills is both tight and gloriously lazy and Pete’s voice has that elusive lysergic quality – fully impassioned, even when the words just swirl around the ether. Well-worth a listen!

Another appetiser ahead of Luke’s eagerly-awaited sophomore album, Limes Hotel (scheduled for release on 17th April). His previous single, Hollows And Branches, was a sad-yet-celebratory ballad, written to commemorate the good times that Luke shared with a now-departed friend.

It saw release on 3rd March, to coincide with the full moon that occurred on the evening of that day. Luke James Williams has described his new single Full Moon as: “…about the dangers of not knowing where to stop in our pursuit of what we want.” He goes on to explain: “Gluttony can lead people to do very stupid things that put themselves in grave danger. The hunter becomes the hunted in this part-fable, part-cautionary tale.”

Full Moon is chugging and fast-paced. A pattering drumbeat sets the agenda for the song. Luke’s voice is so very reminiscent of Seth Lakeman on this one – he emphasises his every word, his every syllable. There’s a whole load of intensity here – it just builds and builds, and it culminates in a wailing climax that brings Kate Bush vividly to mind.

London-born Eugene McGuinness believed that his music career was over. After the release of his 4th album, Chroma, in 2014, his deal with Domino Records ended – and he thought that was that. He spoke too soon. More than a decade on from that crisis of confidence, Eugene has, finally, got another album on the starting blocks. Eugene McGuinness versus The Universe is ready to go and will be with us on 24th April. Watch this space…

Eugene’s new album will mark a return to the playful rawness of his 2007 debut EP, The Early Learning of Eugene McGuinness. We’ve already enjoyed a couple of sneak previews of what Eugene has in store for us, courtesy of his 2025 singles, Seascape and London. Now, along comes taster #3 – and it’s a corker!

With its choppy acoustic guitar lick and lashings of chillingly ghostly violin, Icarus is another song with an authentic late-60s psychedelic vibe. The 60s feel is consolidated by the plaintive, vulnerable tone of Eugene’s voice, which is so reminiscent of Ray Davies. The violins grow in intensity until they’ve almost taken over by the time we get to the climatic crescendo of: “Oh look what you do to me! Are you not entertained?” It all amounts to a massive, dreamy, psychedelic earworm. Bring on that album!

Dolomites is the final preview from Ella Clayton’s second album, Could It Be You, set for release on 24th April. Recorded at George Ezra’s Hotel Quebec studio, the single is a playful expression of the desire to be alone.

Born and raised in east London, Ella Clayton is a soulful, folk singer-songwriter. Her 2022 debut album, Murmurations, established her as a rising voice on the UK’s indie folk scene. That presence was cemented by her 2023 EP, Stairwell, and Ella is now a regular feature of the gig and festival circuit. The Could It Be You album will be launched at a special show at Soho’s 100 Club on 28th May (tickets available here).

A nice-sounding, echo-y piano plays an engaging waltz tune to get Dolomites going. Ella sings her thoughtful lyrics and sounds remarkably like Dusty Springfield as she does so, especially when she hits the high “Why won’t they let me be” refrain. It’s dramatic, but controlled until, that is, the song suddenly morphs into a steamy chunk of early 70s blues-rock. And, as it does, Ella rises admirably to the challenge. Listen for yourself:

I’m not sure at whom Dressner is aiming this exquisitely crafted acerbic barb, but I don’t think I’d like to be the target. But then again, given the lyric, there may be some quiet comfort in it, a semi-admiring putdown, up there with Carly Simon and her famous song about Warren Beatty.

But, being Dressner, rather than Laurel Canyon languor, it is all passionate and pure power pop lady punk, by way of the Go-Gos, the delivery smacking of Jane Wiedlin’s harsh snarl. This now Cambridge resident US ex-pat has been crafting gems like this to ATB’s satisfaction for some time now, and this, an advance party for a forthcoming full album, is an undiluted cracker of charm and substance.

“An anthem”, she says, “for all of those who have ever had to deal with someone who’s messed them around without any regard for their feelings” and “even though they were not worth your time, you still like something about them”. I think we’ve all been there and this catchy riposte captures it, and whoever he is, perfectly.

We last came across When Rivers Meet on a gloriously sunny afternoon last August, when the award-winning blues-rock duo delivered a passionate, soulful set at The Brasenose Fringe Festival. It had our reviewer in raptures.

And now, Grace & Aaron Bond, aka When Rivers Meet, have a new album in the pipeline. Rhythm Rust & Static will be with us on 28th May. That’s still quite a number of weeks away so, in order to satisfy any cravings, the duo have just issued their first foretaste of the delights that they have in store.

For new single, The Tide is Turning, Grace & Aaron have deliberately tried to recreate the atmosphere of one of their loud, dingy, chaotic gigs. And – I tell you what – they’ve succeeded, too – in style!

Urgent and dramatic, The Tide is Turning is a decibel-drenched revelation. Aaron’s guitar is sharp and electrifying and Grace sings with a passion that you can almost reach out and touch. You can really sense that she means every word that she sings. And, when we get to the song’s central refrain: “Oh – when the lights fade and the walls close in…” distorted, punky, hell breaks well-and-truly loose.

Are When Rivers Meet a pair of new White Stripes for the 2020s? They seem that way to me…