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Different Street

by Various Artists



Weekly Independent Music Taster #44

This week we are on a DIFFERENT STREET for another eclectic mash-up of independent, underground and authentic music. As ever, it is a big mix but this collection sees us verge more towards 'rock' music and its many sub-genres. It is a bit heavier and rawer but we still have time for a fair few 'rootsy' picks too.

It is a great pleasure to welcome back the brilliant Revolution, I Love You. The Philadelphia electro rockers return with the very topical 'They Watch', be sure to listen to the lyrics intently. We also have The Clock Goes Red, the vintage bluesy rock label mates of Livingstone, the French rock trio that we welcomed to the AB family a couple of weeks ago.

There is also rootsy Americana storytelling from Four Year Bender, melodic post-rock from MIEA, and neo-rockabilly from Saint Peter Square. Then we have bedroom shoegaze pop from Hoorsees, spaghetti rock from Conan Castro and The Moonshine Piñatas, and melancholic psychedelic rock from Year of October. We delve into punk attitude too with The Pits, Between Your Teeth and The Ordinary Things.

The collection continues with the baggy Madchester experimentation of Armchair Anarchists (previously unreleased), the lo-fi guitar rock of The Do-Nothings, and the soulful alternative rock of Awash. We then start to wind down with the electric blues of Paul Huggett, the folk blues of Ami Yares, and the classic rock-folk rock hybrid of Dressed for The Occasion. The concluding statements come from the ambient folk of The Found and the homesick Scottish folk of Samuel Alexander Barbour.

There you have it! Another soundtrack for another week, enjoy and play loud, and discover your new favourite band. Until next week...


released August 7, 2020

Compiled by Tom Hilton for Aldora Britain Records. Artwork from a photo by Macy Hilton in San Francisco, November 2018. This album is dedicated to the victims of the Beirut disaster, our thoughts and prayers are with them at this time. 'Annalee' written by Ryan Smith, used by permission of Four Year Bender, taken from 'Gettin' Gone' (2019). 'Corporation Crime' written by Andrew John Lyden, used by permission of Livingstone, taken from 'Common Ground' (2020). 'Mammatus' written by and used by permission of MIEA, taken from 'Chaos And Perfections' (2020). 'They Watch' written by Revolution, I Love You, used by permission of Rob Lindgren, taken from 'Black Feathers' (2020). 'Nothing But A Man' written by and used by permission of Saint Peter Square, taken from 'Shit Or Lizard' (2017). 'Infectious' written by and used by permission of Hoorsees, taken from 'Major League Of Pain' (2019). 'Dress4midnite' written by and used by permission of The Pits, taken from 'Sending You A Rainbow' (2020). 'Ruby Room' written by and used by permission of Between Your Teeth, taken from 'Still City Kills' (2017). 'American Dream' written by Jacqueline Chacon, used by permission of The Ordinary Things, taken from 'Stories' (2019). 'L'Arrampicata' written by and used by permission of Conan Castro and The Moonshine Piñatas, taken from 'L'Arrampicata' (2020). 'Cut Me Open' written by Phlecia Sullivan, used by permission of Year Of October, taken from 'Wastelands' (2020). 'There's More To Life' written by and used by permission of Mark Carr, PREVIOUSLY UNRELEASED (2020). 'Sauce Pan Sally' written by and used by permission of The Do-Nothings, taken from 'You Just Gonna Stand There And Do Nothin!?' (2018). 'Shadow Or Sun' written by Awash, used by permission of IDVI Agency, taken from 'Shadow Or Sun' (2020). 'Person Of Interest' written by and used by permission of Paul Huggett, taken from 'Further Down That Road' (2020). 'Hallelujah Bitters' written by and used by permission of Ami Yares, taken from 'Begin To Begin Again' (2018). 'Wide Awake' written by and used by permission of Dressed For The Occasion, taken from 'Into The Fire' (2019). 'Longing' written by Libby Adderley and Jessie Bland, used by permission of The Found, taken from 'Even Still' (2020). 'Caledonia Dreaming' written by and used by permission of Samuel Alexander Barbour, taken from 'Hope (Love Never Dies)' (2017).


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