Avenue61 is a leading indie music site that specialises in album and gig reviews, breaking new bands, publicising events, and exclusive interviews with the leading cutting edge acts in the alternative music scene. Avenue61 covers a wide range of artists – some you would have heard of, some you won’t. Artists the site has reviewed recently include the Fleet Foxes, MGMT, Noisettes and Ladyhawke. The site is updated regularly so come back to catch up the latest news and reviews from the bleeding edge of the alternative music scene.

Ok, so first off I must iterate the fact that this particular run down is in no particular order, nor is it a definitive list of the best British record labels of all time (as if such a breakdown could ever be truly quantified). It is simply a list of some personal favourites within the British...MORE>>

It seems, of late, Pop has been travelling upon two very distinct, relatively mutually exclusive trajectories. On the one hand, we have those ultra-hip exponents of a plethora of ‘Nu’ genres, splicing, mashing & rehashing any number to influence to create something utterly unrecognisable from the sum of its parts. Then, on the other hand, there has been something of an uprising; a gentle stirring of

those embracing the very basis upon most music has been founded. That gentle, ever-present (if somewhat maligned) beast, known as ‘folk’. With so many connotations of beardy, cardiganned middle-aged men, warbling on about morning larks and the like, it seems an oddity that such a resurgence has taken place.

However, taken place it has, with many of its purveyors adorning both critical and commercial success. One of the most interesting protagonists of this new folk scene are Peggy Sue, a trio who have shunned label interest and the trappings of commercialism to simply make their music. A decision most admirable in our materialistic times.

As a band enigmatically treading the ever-precarious waters of record label Independence, Peggy Sue are as tenaciously committed to delivering a hearty dose of newly interpreted folk music as any of their fellow peers, currently cavorting with the public’s affections. An undeniably simplistic set-up, utilising minimalist orchestration & instrumentation, Peggy Sue have an almost archaism present whenever the pounding, downbeat drums mingle, with an unquestionable affection, amid the soaring vocals, never threatening nor intruding upon the song itself.

Their neo-classical take on folk music, whilst retaining a vibrant vitality, deftly tips a feather-topped trilby to the artists of a by-gone age, always done with skill and ingenuity. Whilst cynicism may take hold and accusations of bandwagon jumping may be hurled, it seems Peggy Sue have a genuine passion for both the music they play, and the music, which has influenced them to do so. Their desire to steer clear from major label influence reiterates this notion.

Lazarus, the band’s flagship tune is a thumping, almost guttural descent into something almost primeval. Dark & meandering, the vocals of both Rosa Rex & Katy Claw bleed seamlessly to create a single, raw unit conveying a deep sense of impending dread, as if either voice will break and shatter at any moment into a million salient fragments, while Olly’s hypnotic percussion is as deep as heartbeats, and every bit as exciting.

With Festival slots along-side the likes of Wilco & Bon Iver, it seems Peggy Sue  simply do not currently need a label. A fine paradigm for how music should exist.