UK Indie & The Post Punk Revival / Carry On Up The Nation 2002 – 2008


2002 - 2005


01 The Libertines / What A Waster / A Side June 2002

02 The Coral / Shadows Fall / The Coral July 2002

03 The Libertines / Up The Bracket / Up The Bracket October 2002

04 Franz Ferdinand / Darts Of Pleasure / Darts Of Pleasure EP August 2003

05 Razorlight / Action! / Rock’n’Roll Lies EP August 2003

06 Eastern Lane / Feed Your Addiction / A Side November 2003

07 Franz Ferdinand / Take Me Out / Franz Ferdinand February 2004

08 Bloc Party / She’s Hearing Voices / A Side February 2004

09 Art Brut / Formed A Band / A Side March 2004

10 The Ordinary Boys / Week In, Week Out / A Side April 2004

11 Razorlight / Don’t Go Back To Dalston / Up All Night June 2004

12 The Libertines / Can’t Stand Me Now / The Libertines August 2004

13 The Futureheads / Hounds Of Love / The Futureheads September 2004

14 Kasabian / L.S.F. / Kasabian September 2004

15 Bloc Party / Helicopter / A Side October 2004

16 The Subways / At 1am / A Side October 2004

17 The Dead 60’s / Riot Radio / A Side October 2004

18 Babyshambles / Killamangiro / A Side November 2004

19 Dogs / London Bridge / A Side November 2004

20 Kaiser Chiefs / Everyday I Love You Less And Less / Employment March 2005

21 The Cribs / Hey Scenesters! / A Side April 2005

22 Arctic Monkeys / Fake Tales Of San Francisco / Five Minutes With.. May 2005

23 The Rakes / Work Work Work (Pub Club Sleep) / A Side July 2005

24 Mother And The Addicts / Oh Yeah You Look Quite Nice / A Side July 2005

25 The Kooks / Eddie’s Gun / A Side July 2005


2006 - 2008


01 Arctic Monkeys / Mardy Bum / Whatever People Say I Am January 2006

02 The Rifles / Repeated Offender / A Side February 2006

03 The Automatic / Raoul / A Side March 2006

04 Larrikin Love / Edwould / A Side March 2006

05 Dirty Pretty Things / You Fucking Love It / Waterloo To Anywhere May 2006

06 Kasabian / Me Plus One / Empire August 2006

07 Razorlight / Los Angeles Waltz / Razorlight August 2006

08 The Fratellis / Got Ma Nuts From A Hippie / Costello Music September 2006

09 Klaxons / Magick / A Side October 2006

10 The Horrors / Count In Fives / Count In Fives EP October 2006  

11 Bromheads Jacket / What Ifs And Maybes / Dits From The Commuter Belt November 2006

12 The Noisettes / Don’t Give Up / A Side November 2006

13 Assembly Now / Leigh On Sea / A Side January 2007

14 Foals / Hummer / A Side March 2007

15 Maximo Park / Girls Who Play Guitars / Our Earthly Pleasures April 2007

16 Arctic Monkeys / Fluorescent Adolescent / Favourite Worst Nightmare April 2007

17 Blood Red Shoes / It’s Getting Boring By The Sea / A Side June 2007

18 The Enemy / We’ll Live And Die In These Towns / We’ll Live And Die In These Towns July 2007

19 Babyshambles / UnBilotitled / Shotter’s Nation October 2007

20 The Courteeners / Acrylic / A Side October 2007

21 Johnny Foreigner / Champagne Girls I Have Known / Arcs Across The City November 2007

22 These New Puritans / Elvis / Beat Pyramid January 2008

23 Pete & The Pirates / Mr Understanding / Little Death February 2008

24 Hello Wembley / Up Great Britain / A Side February 2008

25 Twisted Wheel / You Stole The Sun / A Side July 2008


    They arrived in the summer of 2002, as fully formed as they’d ever be, a haze of sweat and cheap narcotics with pasty white chests poking out of skip salvaged jackets. With their tall tales of pension drawing drummers, rent boy pasts and idealistic visions of a mythical England, if you’re under thirty it’s entirely possible that The Libertines changed your world; they really were that important. That they were also a hefty kick in the bollocks to the bland Coldsailors and Stereotravises holding sway at the time was merely an added bonus. Of course, the return to youthful rock’n’roll had started with the imported Strokes, but The Libertines idealistic visions of a mythical England opened youthful eyes to a freewheeling, fancy free side of life most never knew existed. The nation suddenly became overrun by urchin rock laureates in skinny jeans and thrift store trilby’s.

   Despite their huge influence, The Libertines failed to generate any real movement. Following the last party of Britpop, that was near impossible anyway, as tastes had frayed into myriad sub genres and no-one really gave a fuck about anything except money. Inevitably, The Libertines proved to be that most British of phenomena’s, the glorious failure, but they did drag along a bunch of others for their own five minutes of fame. Many, like Franz Ferdinand, Razorlight, Bloc Party and Kasabian were labelled ‘post punk revival’ as they picked one idea from post punk to baggy and beyond, and clung onto it for dear life. The sorrowful Kaiser Chiefs even latched onto Britpop, or more specifically, Blur B-Sides. The Libertines easily remained the most revered until Doherty and Barat imploded, and along came a group from Sheffield who easily became the greatest of them all.

   The Arctic Monkeys even surprised themselves by how quickly they filled the gaping hole left by The Libertines blow up. Almost immediately they were declared Their Generations Most Important Band, maybe because, in essence they made stripped down punk records with every touchstone of Great British music covered: The Englishness of The Kinks, the melodic nous of The Beatles, the sneer of the Sex Pistols, the wit of The Smiths, the groove of the Stone Roses and the clatter of The Libertines. Not bad for a bunch of kids who’d spent their teens listening to hip-hop. Where that really showed was in Alex Turners lyrics and frenetic delivery. Forgetting the flowery fancies conjured up by Dickensian Doherty, his were tales of the scum-ridden streets as they were in the 21st Century not the 19th.

  Unfortunately, The Libertines brief blaze and the well-deserved success of the Arctic Monkeys brought its own Britpop effect circa 2006. Suddenly, the nation was awash with a multitude of hairy chinned strummers, slavishly copying the originators every move. By 2007, these purveyors of bland, crowd pleasing sing-along’s were being wooed by a generation of media nobodies desperate to be cool. Even the mighty NME, once the absolute arbiter of taste, became a corporate entity with much talk of ‘growing the brand’ and award shows sponsored by an international hair product. Being in a band became a viable career option as attitude and any sense of reality faded. UK indie was renamed ‘Mortgage Indie’, and there was nothing cool about it at all.

   Weirdly, barely six months later, the musical landscape looked startlingly similar to how it did before The Libertines arrival and not a lot has changed since. All the Animal Collectives, Fleet Foxes, Modest Mouse’s and Hold Steady’s, are lauded for their lack of obvious references and sense of adventure. Theirs is a perfectly valid reaction to the legions of Libertines/Arctic copyists that immediately preceded them and yet they seem oh so worthy, often American, usually with facial hair and boring as fuck. 

   What needs to happen now is for a band to come along and react against all of these things. Then the young can start having fun again, and a new generation can get on with being defined, just like the one before, and the one before that, and the one before that.


January 2010.