Uncle Junior, Lifepath and The Scuttlers — The Best New Talent On The Scene

Words by Miles Milton Jeffries

Photo by Foxtrotter

This fantastic combination of bands set us up for a very lively Thursday evening. Starting with The Scuttlers, who managed to draw a full crowd despite the delays on the Victoria line. Myer Clark’s folk-blended vocals are effortless, and adds more of an improvised touch that is aided by his semi-awkward, but still retaining crowed confident interactions. Performing a playful twist on "Annie’s Song" by John Denver called "Maddie’s Song", dedicated to all the Maddies in the room – although nobody was brave enough to respond. The song "Public Holiday", stood out for me as a track moves effortlessly with the band, nothing seemed to resolve itself but instead lent aid to the band's strong improvisations on stage. Every time you see The Scuttlers (or any of their side projects) you never really know what you’re getting yourself in for, and it's this improvised nature that gives them their charm. It's as much of a sketch show as it is a live gig, and shows exactly why their reputation has been fast-growing since their formation in 2024.

Photo by Foxtrotter

Next are the hotly tipped Lifepath99, the project of Bex Vines, I was instantly hooked by their haunting sound that casts you under their spell. The dreary theatre-esque dreampop gaze, and the intimate lyricisms of her songs are boundary-pushing with a sonic confidence that I can't wait to see evolve in the future. Hopefully an EP will soon be on the horizon!

Photo by Foxtrotter

Our headliners tonight are noise-rock band Uncle Junior: by this point in the

night the energy is rowdy, a mosh is fully underway and The Windmill has been turned into its regular sweatbox. As always, the crowd are giving it their all, and Uncle Junior are ramping up their energy in turn. They're a young band, but have a confidence that comes from growing up in a school where the the likes of BCNR, New Wave, and Squid were forming, and it feels as if they are the frontrunners of the next wave of The Windmill scene.

Photo by Fotxtrotter

We get a runout of "I Love You, Kenneth Copeland", named after an American televangelist, associated with the charismatic movement from Texas and drenched in sweeping lore and a mythology of its own, that fits in with the vibe of the likes of Paper Hats and Junk Drawer – explosive to say the least. "I Love You, Kenneth Copeland", a song sprouting from hate captures the ironic nature of being unable to shake an interview with someone you hate so much, that you turn it into an outpouring of love “your voice

bellowing, my lip I have to bite,” Noble screams into the mic – marring the obsession

with Copeland as something of an sardonic jeer. Another track that stood out for me was "Sardines", which showed a range of the band's talent from the get go. It’s earnest and heartfelt, taking something as simple as lifting sardines from the tin and making it an act of affection – it feels intimate and impeccably honest. The deeper cuts are immaculate, and they show a band in fine form, adding to the noise-rock scene with the vital skills of a band tipped to explode.

You'd be mad to miss out on a noise-rock night at The Windmill.