New bands are falling from the sky. But who are worth picking up?

As we plummet back down from the euphoric heights of the pounding psychedelia of Glastonbury festival, we find ourselves back in the dreary caves of modern reality. As we take a torch and peer into the caves and crevasses, who are the bands and artists worth watching this summer?

Foster The People: Preppy Soft beat mellowed out Eels style indie rock with a washed down Ezra Coeing that grabs the audience by the ear lobes, and drags you under the primrosed sheets. Music for the port drinkers and party animals alike, who have already taken 2011 by storm.

Ronika: Silky blonde and petite Nottingham born that will tenderly fingerprint your heart twisted heartstrings into neatened lines with her 80’s synth electro pop. Pale white skin, flowery dresses and blocky red lipstick pushed through the speakers and printing on the listeners with a very distinct mark.

Walk The Moon: Lovable lighthearted rocket pop that will tune your ears and romantic experiences into a well ordered and suited fashion. Twist and shout dance guitars hinting and essence of Two Door Cinema Club and Good Shoes. Cheeky and Youthful, but cleanly innocent. Just how we like our pop music.

Egyptian Hip-Hop: With a highly anticipated album on the horizon, the Manchester foursome leave no survivors in their indie dance triumph and hipster extremist image. Honorably blunt bass and sharp guitar harmonies crowning with new-wave synths that trickle and the stains of pure new indie blood from the keys. Do your worst EHH.

Marcus Foster: Cold hearted Cash-esque folk-rock that chills to the bone from each bellowed vocal from folk’s newest woodsman. Grittier than a Fleet Foxes vs Mumford and Son’s boxing match, Fosters’ screaming vocals crunch off the walls, and fill your ventricles, just as he empty’s your veins.

Flats: Noisy, blistering, gritty and ear damaging post-punk indie rock designed to destroy speakers and cause short-term deafness and tinnitus of both ears every time you press the play button. Hardcore un-keyed bass lines and throaty vocals boiling up a cauldron of an almost unlistenable racket. And we absolutely adore it, and all it’s destructive glory.

Creep: A simplistic cyclone of turned down dubstep and minimalism, at it’s very best and most beautiful. Much like the XX and Mount Kimbie, the perfectly produced resonates black and deathly nature to music, in it’s most sinister form. Reminds you exactly what makes this music so appealing to the minorities seeking to escape the cliche of the dubstep wobble.

Dog Is Dead: Sweetened indie-pop and folk-rock alloy that has been created for those in seek of a more diluted rock-laced liquid. Strong Local Natives influence and folky glockenspiel for bike riders and orienteers looking for something more exciting and free. A symphony of creativity and innovate characteristic that dances nicely on your ear drums.

  1. Jai Paul: Drake fans will recongnise Jai Paul as ‘the guy who Drake sampled’. However, the Basement Jaxx favourite’s dreamy synth pop and broad bassed musical persona has finally put his sound to his face instead of his sound to the face of an over-rated rapper. With his hip-hop and pop productions, he’s well on his way to making a name for himself in the summer.

Outfit: Joy Division’s Ian Curtis’ legacy lives on giving influence to the brilliant Outfit, with their dry indie-rock tunes and throaty harmonised sound. Shutting out the light, their dark and brittle musical outlook pierces the chest cavity of the listener; scrapes out your insides, and leaves you for dead. A brave and bold effort of a band. Foreseen light flickers at the end of this years tunnel for indie’s new darkened masters.

The Heartbreaks: Chorus filled guitar arpeggio ramblings of The Smiths and Pulps love child. The Morcambe four-piece cram in love, lust, shattered romance and grave pride into their songs that leaves forbidden shells for the listeners to step on. Painfully realistic music that is screamed down the microphone. Beautiful and painful. You’d never guess that Morrisey plays any part in The Heartbreaks influence…