Buggs - 'Mother'
South London residents Buggs reveal a more relaxed attitude towards songwriting with ‘Mother’, where the band's sensibilities manifest themselves in both lyrical and instrumental form.
Lyrically, ‘Mother’ sounds like London’s answer to Klara Söderberg, whilst the wandering bassline is superbly mixed into the track, commanding the direction throughout. Meanwhile, appropriately loose guitar melodies accompany light-hearted drumming to produce a track that could feel as at home on an American highway as it does in the capital.
The band have been compared to The Breeders in the past, but ‘Mother’ ditches any grungier aspects to their sound and appears decidedly more comfortable in the categories of Warpaint and Deerhunter, whilst retaining their influences from the 60s pop. The song’s lyrical content concerns “female resilience and motherhood” and is an honest reflection on a subject that is often ignored in the male-dominated music industry.
Since emerging from the woodwork in Spring of 2020 with the release of single ‘Nick Gowland’ by Sad Records Club, Buggs have made a slow but steady introduction into the indie music picture. With the release of their third single, following ‘Flaws’ in 2021, their journey is one I am certainly keen to follow, and one that hopefully produces a full-length LP in the not-so-distant future. Having had ‘Flaws’ recently featured in a Killing Eve episode, it would be no surprise to find their breakout is just around the corner.
South London’s music scene is hardly scarce, and it can be difficult to stick your head above the parapet to make audiences take notice. ‘Mother’, though, is an impassioned response to overcrowding and should prove itself to be Buggs’ most admired project yet.
Words by Dan Thompson
Electric Picnic announce another 40+ acts joining their 2026 lineup, including the likes of Wolf Alice, DJO and JADE.
Blending 90s nostalgia with a 'fuck work' attitude, The Prodigy’s latest crusade is a laser-drenched masterclass in how to honor a legend without ever slowing the tempo.
Irish band Basht bring a sweltering, electric energy to a packed-out MOTH Club in London on Friday evening.
Sydney hardcore monolith SPEED tear holes through the fabric of the Bristol hardcore scene as they amaze with their killer riffs and beautiful humility.
Massive Attack and Tom Waits collaborate on evocative song ‘Boots On The Ground’.
Lifted from their fifth and final studio album, Kodaline return with their new single ‘We Were Only Young’, via Concord Records.
Where restraint gets mistaken for emotional intelligence, LØLØ opts out entirely, feeling too much, too loudly, and saying it exactly as it lands. It’s chaotic, occasionally unhinged, but never careless. Against the odds, it sticks the landing.
The legend of the art rock scene herself Kim Gordon delivers a rage against artificial intelligence and a celebration of self-identity at 02 Shepherd’s Bush, with excellent support from rising Brighton outfit Lonnie Gunn.
DID YOU ASK TO BE SET FREE? draws a tear-stained line in the sand; and the result is, fittingly enough, true liberation, as the band settles into the best version of themselves.
Blood Wizard’s free flowing experimental approach takes them into a new chapter.
Superbloom reveals that Jessie Ware has mastered the art of the grown-up pop record without sacrificing an ounce of its hedonistic thrill.
Now, a quarter of the way through the year, with the new American Football album creeping up on us, one feeling seems ever-present. It’s about to be a fantastic year to be sad!