HEARTWORMS, GLUTTON FOR PUNISHMENT

Guitarist, singer, and songwriter Jojo Orme has carved out a distinctive space in London's underground post-punk scene by channeling her personal struggles and experiences into her music. Navigating the industry as an outsider, she has wrestled with self-doubt and imposter syndrome, using these emotions as a driving force behind her work. Her sound is defined by a mix of tension and release, where sharp guitar work and striking vocals meet introspective, emotionally charged lyrics. The themes in her music often mirror her own journey—battles with identity, resilience in the face of uncertainty, and the discipline it takes to push forward in a world that can feel unwelcoming. 

Under the moniker Heartworms, Orme has released Glutton for Punishment, an album that expands on her post-punk foundations with the addition of synthesizers and electronic elements. This combination creates a sound that is both brooding and expansive, layering mechanical precision with fierce emotion. Her lyrics reflect both personal and historical narratives, blending war imagery with confessional storytelling. Each track moves with a calculated intensity, reinforcing the push-and-pull dynamic between control and turmoil. It makes Glutton For Punishment a compelling listen.

SQUID, COWARDS

Ollie Judge (vocals, drums), Louis Borlase (guitar, vocals), Anton Pearson (guitar, vocals), Laurie Nankivell (bass), and Arthur Leadbetter (keyboards) were drawn together while studying in Brighton, England, united by a shared love for experimental music—its unpredictability, freedom, and ability to push beyond conventional song structures. In 2016, they formed Squid, quickly developing a distinctive sound that blended post-punk, jazz, and electronic influences. Since then, they have embraced the challenge of crafting music that feels spontaneous and immersive, incorporating unusual rhythms, shifting time signatures, and layered textures.

Their first two albums pushed sonic boundaries in ways which I have to admit was a bit much for me at times. But with their third release, Cowards, Squid introduces a new sense of restraint, which is welcomed. While still adventurous, its nine songs are more approachable, balancing complexity with clarity. Exploring themes of evil and moral ambiguity, Cowards is an evolution for Squid, refining their experimental tendencies without losing their edge. It’s singular in its creativity and one of the more fascinating albums that I’ve heard in some time. 

ĠENN, UNUM

In 2017, Childhood friends, vocalist Leona (vox) Farrugia, bassist Leanne Zammit, and guitarist Janelle Borg left their home island of Malta and moved to the UK. Brighton to be exact. There they met drummer Sofia Rose Cooper and Ġenn was born.

Ġenn takes it's name from the Maltese word for frenzy. Unum is the Latin word for oneness, unity, and a sense of being whole. Together, these two words greatly define the tone and tenor of Ġenn's music. Drawing from their diverse backgrounds and influences, the band somehow has woven post punk, noise-rock, Maltese folk, some Jamaican rhythms (Cooper has Jamaican and Portuguese roots) and a little bit of psych-rock into a tapestry of sound that is surprising and exciting to hear. Most importantly, the band's eclecticism works. 

Loud, caustic, quiet, moody, hypnotic, Unum will have your heart racing and resting and your head wanting more. Ġenn's delivers one of the best debut albums of the year.

Yard Act, The Overload

In just 18 months, Yard Act have gone from an unknown post-punk band from Leeds, UK to being a major label recorded band with debut album that is expected to enter the UK charts at number one this week. Not too bad. 

Since the band released their first single, Fixer Upper, there has been a great buzz around them. Yard Act has seemed to have struck a nerve as lead singer James Smith and the band confront everyday life in a post-Brexit Britain with their acid tongue lyrics and post-punk funk sound. 

Now, a little less then two years since the forming, Yard Act give the people much more of what they want; a full length album of blunt, bruising, compassionate, and witty songs that touch on class identity, gentrification, consumerism, cancel culture, and general discontentment. Combined with their 'skittery-but-muscular post-punk funk' sound: 'punchy disco drums, stabbing, guitar, and melodies driven by the bass that tend to resolve into memorable choruses' (The Guardian), the band land a one-two punch. The Overload is a super debut album that I have been thoroughly enjoying and it is one that should set Yard Act on a trajectory to great success. 

 

Mad Foxes, Ashamed

Post-Punk music got a jolt of electricity a few years back when Idols came onto the scene. They were, and are, an unconventional band by most accounts. And their music brought a new level of brashness, thoughtfulness, and urgency to the genre. Since then other bands have followed, carving out new spaces for themselves to do what they want to do. None has measured to up to Idols in my opinion..until now.

French trio Mad Foxes sophomore album, Ashamed, has struck a nerve with many including myself. As a band, Mad Foxes are as 'brutish and committed as Idols, but with more self-mockery and complexity.' (Side B). They are also more playful, mixing in other musical genres, such as Garage, Punk, Grunge, and even Indie Folk, as they see fit. What really struck me with Ashamed was the band's cleverness and dynamic sound which features 'clanging guitars, pounding rhythms, often-shouted vocals, angst-fueled lyrics and anthemic song hooks.' (KEXP). 

This is a band carving out a new music space for themselves and it's a space where I definitely want to be hanging out and listening to Ashamed.