‘Small Pond Presents: Emerging Vol. 4’ review
Since its debut in 2020, the Small Pond Presents: Emerging series has become a vibrant platform for fresh talent from England's south coast, consistently introducing some of the most exciting new artists. Earlier volumes introduced standout acts like CLT DRP, El Moono, CURRLS, and Lambrini Girls. This year, the lineup features sixteen young artists aged 16–25, Jar of Blind Flies, Modessa, Bones Ate Arfa, could be ghosts, Epsom Salts, FUZZTAZER, Kalopsia, Room 3, Slimy Bench, bacci pouch, The Wrong Trousers, Jeff Ubetcha, Austin Showers, Crimson, Jack Smith, and Sonic Crush. Each has joined the Small Pond family with access to professional rehearsal, recording, and PR support.
True to form, Small Pond Presents: Emerging Vol. 4 spans a range of alternative genres—from the gritty, post-hardcore of could be ghosts to the new-romantic, post-punk of Austin Showers—offering something for every listener. This collection provides a brilliant snapshot of Brighton’s thriving music scene, with track after track promising to capture the attention of fans of diverse genres.
Small Pond Presents: Emerging Vol. 4 opens with “Hell Is An Ocean,” a fuzz-heavy slice of post-grunge alt-rock from Brighton’s Jar of Blind Flies. Despite being a trio, Jar of Blind Flies packs a punch that’s borderline massive, with guttural, chunky guitars and intoxicating vocals that, through some kind of musical alchemy, warp the British seaside into Seattle circa 1994. “Hell Is An Ocean” is the perfect way to kick off the compilation, and from the very first note, you’re hit with swirling vocals, pounding guitars, and a bassline dripping with enough sleaze to make your head spin.
Our journey through the alt-rock underground lands next at “Burning” by Modessa, a gritty, filthy blast of garage rock from another powerful three-piece. “Burning” feels like a lost track from Queens of the Stone Age’s Songs for the Deaf sessions, with its relentless guitars, vintage vibe, and cowbell you can’t help but tap along to. It’s the kind of track that makes you feel like you’re barreling down a long, winding road under a starless sky.
The psychedelic garage rock gets a blast of punk energy in “Death Is A Traffic Sign” by Bones Ate Arfa, a band we recently featured in our unsigned spotlight on the radio show. This track will have you head-banging one moment and dancing the next as it slides effortlessly between a kaleidoscope of genres and influences. “Death Is A Traffic Sign” opens up possibly the strongest segment of the album and perfectly showcases the magic Small Pond has been nurturing down in Brighton.
When Small Pond announced this year’s compilation, they chose to preview the album with the absolutely massive “sutures” by could be ghosts. It’s easy to see why “sutures” got the spotlight—it fuses post-hardcore, screamo, and metalcore influences in a blistering cauldron of pure brilliance. Since its release, the track has been in heavy rotation on our radio show’s setlists, with its almost four-and-a-half-minute run time passing by in a blink, transforming into an all-encompassing, mosh-fest of a track. could be ghosts only formed in 2023, but they’ve got a confidence and edge that takes most bands years to develop. From their epic sound to their striking visual aesthetic, they’re climbing high on my need-to-see-live list. If James and the 2000trees crew are reading this, take note—they’d absolutely tear up the Cave stage (just saying).
“Burning Memory” by Epsom Salts is another track that’s been getting a serious workout on our radio show lately. On “Burning Memory,” the quartet deliver a chaotically infectious mix of noise rock, punk, and hardcore that defies genre boundaries and creates a sound all their own. Experiencing “Burning Memory” is like being packed into a tiny, sweaty venue with barely enough room to breathe, bodies crashing into you on all sides. It’s raw, primal, and utterly thrilling—a track that feels like everything else in life is on pause and your only focus is sheer survival. It’s hot, it’s sweaty, elbows are flying, and your chest is tight, but somehow, despite all that chaos, you’ve never felt more alive.
How best to describe “Curdle” by FUZZTAZER? Imagine the epic scale and technical prowess of a band like Haunt The Woods, then throw in a gritty, grungy primal force and mix it all up. “Curdle” is a dirty, raw-sounding track that feels both massive and grounded—like it could fill a stadium and then reduce it to a pile of rubble right in front of your very eyes.
If you haven’t already cranked the volume to 11, you’ll want to for “Parasite” by Kalopsia. This track is a sludge-metal monster, oozing with gothic doom that’s practically begging to tear open a mosh pit and leave a venue in carnage. It’s like a worm burrowing into your brain—“Parasite” leaves you feeling like a sweaty, exhausted shell by the end.
As soon as Room 3’s “Dependency” hits, you know you’re in for a banger. This modern post-punk anthem is guttural, intense, and absolutely brilliant. Feedback-laden guitars set the stage for a pounding bassline that feels like a live wire running straight to your head. The track builds in intensity, layering anger upon anger until the vocals spit right in your face. There’s something very Joe Talbot-esque in those vocals—raw and unapologetic—and it’s pure post-punk gold.
The gritty post-punk energy continues with “Me” by Slimy Bench. Angular and fuzzy, this track feels even more significant given the band recently went on hiatus. “Me” serves as a fitting swansong for a band gone far too soon, leaving a jagged mark on the world that makes you wish for just one more track.
Then, things shift gears with “It Ain’t Pretty” by bacci pouch. This indie trio leans into a distinctly C86 vibe, blending early-2000s indie sleaze with the jangle-pop guitars and earnest vocals that wouldn’t feel out of place on a Field Mice record. While most of the album has served up tracks fit for epic mosh pits, “It Ain’t Pretty” is a different kind of floor-filler—the kind of track where you barrel onto the dance floor in your skinny jeans with a pint of cheap cider in hand, and dance with pure abandon.
Now we’re treated to two bands with brilliantly pop culture-inspired names. First up is The Wrong Trousers, a nod to the Aardman classic that’s practically woven into the fabric of British culture. Their track “Postman” is the shortest on the record at just two minutes and seven seconds, proving that good things really do come in small packages. The Wrong Trousers blend rock ‘n’ roll with indie-pop influences to create something purely joyful—reminding me of a local band I once thought would go far, The Alfonz.
Naming your band after the news anchor from Fairly Odd Parents is a bold move, but Jeff Ubetcha pulls it off effortlessly. Their track “Space Flying Tiger Drop” has to be my personal favourite on this record. I set out to give each of these sixteen acts an equal share of attention, but honestly—have you heard “Space Flying Tiger Drop”? It’s a total ripper, and now that the album is out, it’s going to be on heavy rotation on our radio show, whether the listeners are ready for it or not. On “Space Flying Tiger Drop,” they distil the very best of emo’s multiple waves into one quirky, awkwardly wonderful track. Midwest/math rock guitars blend with layered vocals and screamed sections that hit you hard. If you’re a recovering scene kid like me and have time to hear just one track, make it this one. I’d love to see them on a lineup with a band like Goings—that would be a killer night.
“Sunshine” by Austin Showers has the unenviable task of following my favourite track, but it pulls it off perfectly. It’s almost as if the Small Pond crew anticipated this, placing a track here that shifts the album’s energy with a refreshing change of pace. It’s the longest song on the album and delivers a unique vibe. The band describes their sound as a “’70s mushroom punk fantasy,” but I can’t help but hear a touch of new romantic flair in this immersive post-punk anthem. It’s a track that makes you want to get up and dance, with a subtle, funky edge to the guitars that keeps you moving.
Ready to dig out your skinny jeans and Topman cardigans and transport yourself back to 2007? If so, “Multi-Vitamins” by Crimson is here for you. This infectious slice of jangly indie-pop would fit perfectly alongside “Toothpaste Kisses” by The Maccabees, radiating that same nostalgic warmth that draws you in for one more listen.
Things slow down as we reach the album’s penultimate track, “Good Day” by Jack Smith. In his solo outing, the former CURRLS bassist brings a ’70s-tinged singer-songwriter vibe that feels like it was tailor-made to soundtrack an indie film. It’s a reflective, mellow track that sets up the album’s closing act perfectly.
Wrapping up Small Pond Presents: Emerging Vol. 4 is “Me” by Sonic Crush, a collision of grungy riffs and darkwave energy. It’s a brilliant ending to the compilation, as Sonic Crush deliver a hard-hitting, gothic sound that borders on epic, with a near-futuristic feel that perfectly closes out this showcase of Brighton’s most promising young talent.
Small Pond Presents: Emerging Vol. 4 is not just a compilation, but a declaration of Brighton's thriving underground music scene. Small Pond’s commitment to developing and showcasing emerging talent is nothing short of exceptional, and the 2024 line-up delivers with a ferocity that will have you hitting repeat time after time after time. With a mix of indie, garage, post-punk, and hardcore, this compilation proves that the future of music in Brighton—and beyond—is in incredibly capable hands. Whether you’re a fan of explosive guitars, poetic vocals, or intricate rhythms, this album has something to offer. It’s a must-listen for anyone looking to stay ahead of the curve and hear the sounds of tomorrow’s stars today.
Small Pond Presents: Emerging Vol. 4 is out now via Small Pond Records and available on all good streaming platforms.
