The First Ones are made up of brothers Doug and Dan, along with their lifelong friend Will, who have been writing together for six years. As a band, they’re known for their blend of pacy metal, catchy riffs, and melodic harmonies, creating a sound that’s both intense and memorable. Their dark, prog-inspired energy has a way of drawing listeners in, leaving them mesmerised and always wanting more.
Reverie is an alternative rock track that explores the delicate tension between reality and illusion, capturing the feeling of drifting in and out of clarity as the mind wanders between what’s real and what’s imagined. The lyrics describe how it can be hard to escape your own mind at times, and how we sometimes need support from others to help us face those inner struggles. The result is a track that feels emotionally honest while still carrying the band’s signature power and atmosphere.
Huddersfield-based rock band Knuckle are a perfect example of the kind of talent that thrives in West Yorkshire. Known for their raw energy and sharp sense of humour, they bring a refreshing edge to the local music scene. Their track “Sick at the Fair” is a punchy punk anthem that blends witty, comedic lyrics with tight, hard-hitting rock instrumentation. The song tells the story of a date at the fair gone hilariously wrong, capturing the awkwardness, chaos, and unpredictability of modern dating.
Through its vivid storytelling, the track paints a clear and relatable picture of what it feels like to navigate romance today, complete with miscommunication, unexpected mishaps, and the kind of embarrassing moments you can laugh about later. The driving guitars and upbeat tempo give the song a lively momentum, while the playful lyrics add a sense of novelty that sets Knuckle apart. By the time the chorus hits, you’re left both headbanging and grinning, fully caught up in the band’s unique mix of humour, honesty, and punk-rock charm.
SAMH are a Huddersfield-based act founded by singer-songwriter Sam Hodgson. Their unique sound is characterised by “Organic lyrics with trance-like repetitive rhythms and psychedelic overtones,” described as feeling like a “lucid dream,” and drawing influences from artists like Pink Floyd and Radiohead. Samh has built a cult-like following through notable performances at festivals like the Edinburgh Fringe and Tramlines, while garnering radio support from BBC 6 and Radio X.
“Animal” by SAMH mixes folk, singer-songwriter, and psychedelic sounds to create a raw, energetic track. It’s driven by steady, repetitive guitar parts, while the rough, natural vocals make the song feel personal and honest. The melody is easy to follow and sticks with you, letting the message take all the attention. As the song goes on, the rhythms become stronger and more intense, giving it a lively energy. Overall, the musical style of “Animal” blends simple folk ideas with emotional vocals and powerful lyrics to create an engaging and impactful song. The theme of the song surrounds humanity and how self-obsession & materialism counteract the basics of humanity and human values.
How did you get into making music? – What started it all for you?
I naturally learnt to play drums when I was in year 7, and that just developed. When I was about 12/13, I massively got into the Beatles. I had a few downloaded songs on my old phone, such as Hey Jude and the No.1 album. When I was 14 (2017), my dad had an old Casio digital piano and an old Beatles songbook, which had the music of the Beatles in it. I remember trying to play Hey Jude and individually studying the notes with my dad just to get the first “hey Jude” and the F chord. For the amount of work it took, it wasn’t worth it. For weeks after, I kept playing little bits of notes and coming up with tunes and melodies. Weeks turned into months, and months turned into years. I never had any piano lessons, as I couldn’t afford them and learning to read music when I had already taught myself my own way just didn’t sit right with me. Eventually, these melodies I came up with developed into more complex note patterns, which were basically chords. I then remember googling the notes of C major and minor, etc., as I did music GCSE, I wasn’t completely unaware of this. I realised that a C major chord is the same as all other major chords and minor chords, whichever note they are. What I’d do is study how many notes are between each played note there are and apply it to any note on the keyboard. Eventually, I learned all chords, and then around 2019, I started to get better at writing tunes. Ever since, I have written full-blown songs and just kept practising and perfecting them constantly. Just having a pure love and a near-obsession with music made me constantly play and sing stuff which became songs.
What does your songwriting process look like?
I pretty much always start with the music. This involves just playing random chord patterns on the piano, which is usually GarageBand on my iPhone when I’m out and about, and on my piano at home and sometimes on my guitar, which I also taught myself. This involves playing chords and just whistling tunes; it’s all subconscious. I just whistle whatever comes out; I never really think about it, just whatever comes naturally to me. A lot of the time, instead of whistling, I’ll just sing random lyrics, and if I like them or they stick, I’ll keep them. Lyrics have never been my strong point, and so they sometimes require more conscious work. To be honest, playing my keyboard is also slightly subconscious; I sort of just think, “What will happen if I play this and then go there after?” Whenever I write a song, it’s all experimental- it’s just trying stuff out, just hearing and feeling how it sounds and if I like it. The whole process of writing music for me is a feeling. If it feels good and sounds good, it’s good. I do have a reasonably good self-taught understanding of music theory, but I never think “I need to follow it”. Just like, for example, how Card Factory starts in F major and modulates to G major for the “Card Factory” lyric and the rest of the song, almost adding excitement to being in a card shop. I think you do need an understanding of music theory and how keys relate to each other though, or else songs can just be bland. If a painter wants to be truly creative, they need to have a very full palette of colours. It’s the same way, I believe you do need a musical understanding because it does help you write. After crafting the music, which is the chords and melody and sometimes lyrics, I’ll then tweak and adjust, change and usually need to add more lyrics.
Who are your main influences?
I was brought up on The Beatles from both sides of my family, and I have a fond memory of my grandad and me singing along to them. They got me into playing the piano and guitar, and music in general was fully opened up to me because of the Beatles. After that, I massively got into the Beach Boys (mainly Brian Wilson) and the Pet Sounds album, which boosted my songwriting inspiration from coming up with some cool tunes on the piano to writing and producing proper songs. My dad has always been into Mozart, and only in the last year or so have I actually become massively into Mozart’s music. Another massive influence is Mac DeMarco, who I discovered in 2020 and whom I recently saw in one of his concerts in Manchester.
How would you describe your song ‘Card Factory?
I was in Card Factory around August 2024 with my girlfriend Kate. We were in there for a good 15 minutes while she was looking for a card for someone, and I got my GarageBand keyboard out on my phone and just started playing chords and singing as I was getting bored. The lyrics and chords and tune literally came all at once. I hadn’t even thought about it. I just started playing and singing, and the whole song came out straight away. At first, I was laughing at the spontaneity of it and playing it to Kate, who was getting embarrassed about me singing a cheesy song about the Card factory while in the card factory next to her. It was a very funny and fun experience. When I later recorded and produced the song at home, I hadn’t really changed anything; it was basically a copy of what I had just come up with while out and about in the card factory. It’s not really about anything apart from literally being in a card shop. It’s a very laid-back and obviously un-serious track.
Is there an album in the making that we can look forward to? If so, what’s the vibe?
I spend most of my time working on projects with my songwriting ‘partner’ and best mate, Jack. Our duo is called ValleyBoy and is totally separate from my own solo work. We’ve finished an EP that will be out soon, with proper artwork called ‘This Little Town’. It’s a very serious piece of work and at the moment is my main focus. It’s set around the decline of Northern towns and industry and is quite political and socially focused. I don’t know what you’d call the genre though. I’d link it in a category similar to what Pink Floyd, Bowie, and slightly, the Beatles are in, maybe? I’m not sure, though. We’re also looking for band members to join ValleyBoy who can play with us live, as we haven’t even done any gigs yet or anything aside from a few open mics at Northern Quarter. Aside from this, I do continue to write my own solo work as well and may potentially be releasing an album of mostly done material, but it probs won’t be for ages. I don’t know when the time is right, even though it’s basically almost done.
What’s next for you?
My girlfriend Kate has nearly finished a lovely and extremely creative animated music video for Card Factory, which she has drawn and used stop motion for. We just need to finish the last few seconds of it, so that should be out very soon. I hope also to soon be performing with a full band for ValleyBoy and have the EP released, and hopefully it’s well-received and known about. I will also keep releasing stuff under my own name.
The Wilson’s Republic WRXL event, which celebrated a decade of fostering creative community with the theme of ‘Routes,’ culminated in an absolutely electrifying private afterparty at Amped in Huddersfield.
Seamlessly transitioning the day’s inspiration into a night of community and celebration, the party was curated by us, transforming the venue into a powerful showcase for local talent. Attendees were treated to a diverse and gripping line-up that kept the energy high well into the night. Highlights included the beautiful, honest songwriting of Good Good Blood, the alluring and soulful sounds of vocalist Hannah Rowe, and the complex, yet highly danceable, Psychedelic Rock fusion of Don Gonzo. The celebration reached its peak with Therealdemo, a staple of the West Yorkshire scene, spinning classic and new Funk, Soul, and Hip Hop that kept the floor moving.
Take a look at the Highlights from the event below;
More than just a concert, the afterparty was the perfect, vibrant finale—a powerful demonstration of the collective spirit of the Northern creative scene and a truly triumphant way to cap off Wilson’s Republic’s 10th-anniversary celebration.
Additionally take a look at the highlights from the day event at Bates Mill featuring six speakers from different creative disciplines, they delivered heard honest, inspiring and beautiful interpretations of the event theme ROUTES.
Missed WRXL? Don’t worry – we’ve got the soundtrack. A little gift from us to you.
If you couldn’t make it (or just want to relive the event), we’ve got an official WRXL playlist – featuring the incredible artists who brought the afterparty to life.
Plug in, press play and keep the WRXL energy going 🎧
So this one time while practising in our tiny rented mill space, we came outside for a smoke break and were met with a flaming industrial sized skip, the flames reaching 20-30ft high…
We try to make this process as organic as possible, as we know we all have our own distinct individual styles that we like to nurture as much as we can, so that it shines through in each song and gives us a sound that is hopefully distinctly ‘Lomens’.
Generally speaking, one of us comes to rehearsal with a very loose idea, whether that be a vocal melody, a guitar riff, a chord progression on the synth or even just a groove with drums and bass
We then most of the time sit on that idea and jam it together as a band and see where it takes us. Sometimes it naturally forms itself into a song very quickly. Unplug the Earth was like this, for example! Sometimes we can spend weeks/months exploring lots of possibilities and really refine each section as much as we can.
The main thing is just trying to keep things as organic and fun as possible!
Who is your biggest influence? Now this is always a tough one as we’re all pretty nerdy with music, ha! What we get compared to isn’t necessarily what we listen to, and we all listen to quite an eclectic mix of music!
Vocally, Chris (lead vocals) takes a lot of inspiration from bands like Everything, Everything and Kid Kapichi. Some of us are pretty big fans of Radiohead, and there’s some Muse thrown in there too, a little bit of Prog as well, Porcupine Tree, TOOL, Leprous, The Mars Volta, Deftones.
Jordan (Drums) tends to have a raw attitude towards the drums, where he can, early Nirvana and The Melvins spring to mind, but again, the eclectic taste comes into play, and there’s also some Latin and Samba influences, especially coming from Tom! (Synths & Percussion)
These are just some influences that spring to mind, but as we’re all just massive music fans in general, it tends to make for some interesting jams and songwriting; we wouldn’t have it any other way!
Do you have any pre-gig rituals? We tend to try to run the set in our studio on the day, get ourselves nicely warmed up, a couple of pints and seeking out some cool food doesn’t go amiss!
What’s the best gig you’ve ever played? This is a difficult one; we’ve not played that many yet in the grand scheme of things, as we’ve only been active just over a year. There have been 16 gigs in that time, and we’ve played 3 headliners in that time (Parish, Huddersfield), Oporto, Leeds, Grass Fed 1 at Picturedrome, Holmfirth), so it would have to be one of those; they’ve all been equally fun and with some great supports!
What’s next for you guys? Write. Write. Write. We only have 4 singles out, and we just need to get more music out there! We’ll still be playing some shows in between, but the focus is definitely on increasing our repertoire and output. Expect an EP after our next single. We also have a Headline show at the new Parish space, Amped! on Mad Friday (December 19th) with support from Pageant Mum and Slipped Disco, that will be a big end-of-year party and a great way to see the year out!
How would you describe your new single, ‘Kinetic Currency’? Big! Our most out there song to date.
It’s got a punky edge to it with some proggy elements interspersed throughout. Also, a screamer of a riff at the end! We’ve recently been able to get our bassist, Josh, onto guitar as we’ve welcomed a new member on bass (Andrew Parkinson), so we’re now a 6-piece dual guitar assault on stage!
Kinetic Currency is an observational anthem told through the lens of a working-class person in Britain in 2025. Through some vivid lyrics and striking imagery, the song captures the struggle to rise above the noise of modern life’s complexities, seeking simplicity whilst desperately trying to avoid unnecessary confrontation and stress.
We’ve kept it politically neutral, presenting observations without aligning with any cause. It’s simply what we see on a day-to-day basis, whilst most people are skint yet forever being bombarded with grandiose political movements and news cycles, whilst simultaneously struggling with the normality of everyday life. It’s not a commentary; it’s an observational piece about the everyday rat race of Modern Britain. We invite people to find their own meaning and use their own lens to establish their relationship with the song.
LOMENS is for everyone.
Kinetic Currency, is out now on Spotify and many other major streaming platforms.
Breaking through the Northern indie scene are four-piece indie-rock band Joey’s Knuckle. The band’s name reveals the unpredictable punches life throws at you, with emotional lyrics layered over their fast-paced, evolving sound. The new single ‘Love’ further explores complexities of a messy, modern romance. It’s undeniably dangerous and their loudest project to date. Lead guitarist Fen comes to define this song as he drives us into the verses and chorus where the vocals gain momentum and always return crashing back with grit and a grooving bassline. Following this, the bridge encapsulates a conversational discourse between lead vocals and that familiar guitar. Then both parts cross over and build argumentative tension before breaking away into a final harmonic chorus which pulls the listener along.
The music is chaotic and volatile when it matches its intense lyricism, but the instruments do well to capture listeners and always keep us engaged. “Love” exists in its own complex liminal space, between an unstable relationship and its indefinite heartbreak. The band says, “we’ve all been through versions of this story”, a relatable need but not a want to let go. These universal feelings engrained into their energetic music is just another reason why Joey’s Knuckle are meant for a live audience. It’s intoxicatingly honest, and what everybody needs blasting through concert loudspeakers or their headphones on a late-night walk home.
