For your entertainment during another working week here's five more hand-picked delights from the Scruff Of The Neck stable.

The Elephant Trees – 'Up'

Kicking things off this week are Leeds four-piece The Elephant Trees. Relatively young in the scheme of things, they're making a ballsy brand of indie pop that's going to take them places. Look past the DIY production on 'Up' and you'll find one of the strongest demo tracks around. Its the semi-acoustic simplicity, coupled with a dual vocal and a deft ear for melody that's meant it's been stuck in my head for weeks.

Clench – 'Quiver'

Hailing from Glasgow, Clench relish in atmospheric alt rock that's both rich and melodic. 'Quiver' is built around an almost effortless balancing of dynamics; lilting verses are juxtaposed with an explosively cathartic chorus, which in turn, is dexterously reigned in before bursting forth once again.

Harper Roots – 'Surrounded By Angels'

Sticking with alt-rock but this time at the other end of the spectrum, Manc upstarts Harper Roots are all spiky riffs and dual vocal lines. 'Surrounded By Angels' draws its influence from the likes of Paramore, and is back-boned by a chugging chord progression whilst harbouring plenty of attitude.

Park Fires – 'Opal Dream'

Stylish and sultry, the second band to come from West Yorkshire this week are Park Fires. Leaning more towards the poppier side of things, 'Opal Dreams' is three and a half minutes of atmospheric and understated electro pop that sets the duo apart from their contemporaries. A little more radio-friendly than our usual fare but certainly no less special.

Loco Ono – 'Sunny Day'

Aside from having one of the best band names I've seen in ages, London's Loco Ono embody the lo-fi aesthetic perfectly. Combining some of the greatest genres of the '90s in to one multi-faceted beast, the bad combine garage, grunge and shoegaze in order to create something truly imposing. 'Sunny Day' is a prime example; huge walls of noise are juxtaposed effortlessly against a female vocal, providing some much needed weightlessness to the track's imposing noise.

The Weekly Froth! A weekly take on six tracks, most of which have recently popped up somewhere in the blogosphere. Bit of a mixed bag with a slight leaning towards house, disco, and remixes, but generally just anything that for some reason tickled the writer’s fancy.

Track of the Week: ‘Sunny Side Up’ by Junktion

Junktion starts with a beat, but definitely also with a deep bass, which is the main rhythm going, providing some backbone to this whole thing. After about half a minute they do turn it up though, giving the bass some help, including with a bit of that guitar that they start riffing about on. And that definitely brings in the funk, brings in that sunny side that they’re talking about. At the 1:30 mark, a different guitar, a little change of pace, even though the bass keeps rolling in the background and the beat keeps working it. But the different guitars also shift the tone a bit, adding some variety to this high paced party affair. At the 2:40 mark they bring the sun back in, doing that funky thing with that guitar. And especially those parts are darn catchy, let me tell ya, though the bass makes sure you can shake your booty even in the segment after. I always feel the guitar is under-utilised in tracks for dancing, but luckily Junktion shows it’s got a place in there.

‘Compass Point’ by Holy Ghost!

First come the retro synths, they build up a bit, after which the drums give it a go to give us dat rhythm for dancing. The boys keep working the synthesizers, until they stop at about the 45 second mark, when the vocals are introduced. Obviously, the vocals then start working together with all of the above. The main vocals in the verses are almost talky, more rhythmic, with the multiple vocal layers in the choruses doing some actual chorus singing, trying to convince you to fall in love and Make the same mistakes. And, apparently, they like it When it hurts, so there you go. After the three minute mark we get a rather restrained synthesizer interlude, after which more things are added, including a nice little guitar riff as the track starts jamming its way to the end. I love the band, thought their Dynamics record was ace, and this EP again shows they can mix the disco with the 80s retro vibe for some new school NY dancing.

Scroll down to the bandcamp embed at the foot of this article to hear 'Compass Point'.

‘If You Ever Wanna Change Your Mind’ by Sally Shapiro

Johan Agebjorn released a lovely album called Notes last year, but he also has a more dancey side, that’s when he teams up with Shally Shapiro, doing that chanteuse thing on top of some dreamy disco beats. That is, until the 12th of May, when the duo will release their last single, calling it quits after a run that lasted years and years. The main rhythm is a restrained bass sound in the background, obviously helped by some drum and synth rhythm elements. Then Shapiro comes in, with those far away, dreamland vocals, to which the instruments adapt perfectly. Lots of lovely piano work as well, and as the chorus comes in the pace bumps up slightly, as Sally Shapiro says If you ever wanna change your mind, in such a lovelorn fashion it seems like a fitting way for a band to say goodbye. And for us a good moment to say thanks for the music, and so long.

‘Don’t You Want My Love’ by Vera (SanFranDisko mix)

SanFranDisko always knows how to bring the party in, and here they really get it going at about the 16 second mark, bringing a nice little beat to go with those retro electro synths. At one point, the vocals come in, asking you Don’t you want my love tonight (and who could say no, really)? In the mean time these euro synths keep it working, all the while with the drum beat as a constant to hold on to. In the mean time, Vera has turned more bold, as she just tells you to Try me, try me, try me. There are some lovely corny bits in there, like how the instrumentals work up to the chorus, that’s some super 80 vibes right there. And when she goes diva a bit, that’s some disco karaoke waiting to happen on the dancefloor. And that’s what an edit like this is all about, getting the good vibes in, and preferably in a bit of a cheeky, sexy manner. So, lets get it on, really.

‘Your Name Is’ by Demuir & AntLaRock

From the start, this is House music, with the beat getting it on and the vocals already belting it out with its Baby, baaaby. Then, those familiar old school house sounds are added to it, getting the groovy in and having everybody jacking it up on the dancefloor. Around the minute mark the beat is stripped for just a moment, but soon it obviously comes back, with the soulful vocal turn still singing the same two words. The second time they strip it down they keep the vocals going, add some piano work, and then get that groove back in. So they make sure to play with pace a bit, keep some variety in, but also they know to ultimately return to the core again, which is something nightclubbers always appreciate. At the 3:30 mark, surprise, we get a synonym for Baby in the form of Girl, which I believe is done by a different vocalist. It does indicate a more percussion heavy part after, though soon the synths are back in as well. Just a good House tune for all them niteclubbin’ maniacs not banned by an Argentinian judge.

‘Baby Do You Want To Bump’ by Todd Terje & The Olsens (Daniel Maloso remix)

This week the Primavera Sound festival in Barcelona announced their DJ line-up, which includes Todd Terje. And here’s something to look forward to, with the girls in the back doing a “du-du-du-du-duuhuu” line before some deep male vocals come in, asking Baby baby, do you want to bump. Even, at one point, spelling it out for you (as if ya needed that, eh, we all know what business he’s talking about). In the mean time the synth is doing the dance rhythm in the background, along with some percussion elements. Just before the two minute mark it goes a bit space, and throughout the song we get all kinds of rhythm synths thrown at us to keep us moving as the girls, in different pitches, are still going Du-du-du-du-duuhuu. It’s a high paced ride that doesn’t let up, so for those still able to dance after a festival day, Primavera Sound at least gives you a reason to get them dancing shoes on.

For your entertainment during another working week here's five more hand-picked delights from the Scruff Of The Neck stable.

The Starkins – 'Wasted'

Despite being a little quiet in recent months, The Starkins still remain one of Sheffield's most promising young bands. 'Wasted' is the ultimate indie anthem; a huge chorus is interspersed with quieter verses eventually reaching a cathartic conclusion. With gigs booked in the coming months, catch them live to see for yourself what the fuss is about.

EARTHS – 'Body Parts'

Post-rock and shoegaze are arguably two genres that go hand in hand with Scotland, something that EARTHS use to their advantage excellently. A combination of imposing instrumental breakdowns and understated verses delivered with a true Scottish lilt, 'Body Parts' is taken from their Blood Diary EP, and is the perfect introduction to a band refusing to be bound by genre.

Vellocet – 'Better Days'

Upbeat and anthemic, Brighton's Vellocet suscribe to a brand of pop-rock that's bold, brash and difficult to ignore. 'Better Days' is as optimistic as its name suggests, despite its subject matter. Clattering guitars jangle along with drums effortlessly, all the while allowing the Neil McMillan's rich vocals to soar.

Waste Of Paint – 'For Molly'

Understated and almost painfully pretty, Yorkshire's Waste of Paint craft intricate folk-pop musings that uphold a deft balance of polish and grit. 'For Molly' is a lilting, meandering track in which subtle guitars are interwoven dexterously with button-bright keys. Rich and lighthearted, it's the perfect accompaniment to a summer afternoon.

Ist Ist – 'White Swan'

Emerging from the darker recesses of Manchester's music scene in 2015, post-punks Ist Ist are making a name for themselves as one of the city's most intense acts, both live and on record. Debut single 'White Swan' is a thunderous and uncompromising aphorism from a band whose ambition is matched only by its intensity.

The Weekly Froth! A weekly take on six tracks, most of which have recently popped up somewhere in the blogosphere. Bit of a mixed bag with a slight leaning towards house, disco, and remixes, but generally just anything that for some reason tickled the writer’s fancy.

Track of the Week: ‘Mastermind’ by Roisin Murphy

Miss Roisin Murphy is back, starting this one with some lush synths through which we can slowly hear a rhythm synth emerging. After about thirty seconds we get the vocals, almost narrating a story in a mysterious, near menacing vocal turn. She says she is Scared out of her mind, she is Petrified, and that she Has been waiting for too long, for something wrong. So no pop diva vocals here, but a sort of performance poetry, though at 2:20 she strips the gadgetry, some of the music as well, and from that point on we get a very clear vocal, also with lighter sounds surrounding it, this for the full immersive experience. From the moment her vocals start, by the way, the track gets a little pulsing beat underneath, and from the three minute mark that one is also helped by some of that bass. Later that minute we get another change up in the form of an instrumental interlude, harking back to some dark italo bass synths coming from some soundtrack or another from the 80s. It is a really theatrical piece this (especially hitting home when the backing vocals hauntingly appear as well), and shows that Murphy still has plenty of creative juices left in her.

‘Lose Control’ by Shit Robot

Shit Robot leaves no moment unused, immediately getting that bassy vibe in there for some getting down to. At the thirty second mark we get the lighter percussion sounds to juxtapose the heavier rhythm line, and half a minute later we get even more drum & rhythm to shake our bootie to. It’s got this forceful feel to it, a nice pounding it gives you. At the 1:30 mark, the DFA go-to vocalist appears, with Nancy Whang singing that Every day I’m waiting for, you to wake up, wake up, wake up. The great thing about Whang is that she’s got a nice, rhythmic voice for this sort of work. In the mean time Shit Robot keeps it all rolling down, adding all kinds of drum and rhythm elements to the core that is always present, really making sure this is a dancing tune (and don’t you forget about it!). Whang’s vocals return, singing that she Can’t fight this feeling, Lose control, which are dancing words. After that, Shit Robot takes the beat away for a moment, just going with the rhythm synth, and then bringing it back in for that little push. Lovely dancefloor tune, as we are accustomed to from anything that has to do with either DFA, Nancy Whang, or Shit Robot.

‘Under One’ by Toomy Disco

Toomy Disco starts this one with a hard hitting beat, doing the glitchy a bit as well. After the thirty second mark we get more of a thudding main hitter to get that rhythm right, and a minute in we also get some diva vocals. At least, for a moment, soon traded in for the bass sound. But not too much later they show they can co-exist, with the bass still rolling, and the vocals urging you to Bump (pump?) the party. And this definitely is a party track, no bones about it. After the two minute mark, suddenly, it opens up, getting some of that piano in, stripping some of the rhythm sounds for a moment (and at about the 4:10 mark doing a similar thing as well). But Toomy Disco soon works its way to the beat and go, giving the people on the dancefloor not too much of a rest as they need to keep a movin’! And it certainly pounces that home, doing the party vibe and the hard going with this one.

‘Long Water’ by Wilson Tanner

Wilson Tanner is a combination of John Tanner and A.R.T. Wilson, giving us a peaceful moment at the start, with some piano and a little bit of that slow guitar to really set the tone. Then, to add, a bit of those sad & jazzy horns, putting us in that particular state of mind. And so, slowly, it adds certain sounds, but without any form of clutter. It is a real clear cut song, getting everything out of all the sad notes for all the sad sacks to reminisce and reflect to. It is an instrumental piece that would not be out of place at a Jazz festival, and definitely it gives you all that a good jazz tune is able to give you as far as I’m concerned. The atmosphere is constant, the sounds clean and packing the emotional feel they want to exhume, and that for a good six minutes straight on. A feat they pull off with confidence and skill.

‘Pleasure’ by Formation

Formation are a young British band putting the bass full in at the start for this electro track, one with a little bit of that punk intensity in there as well. The bass is really the main rhythm, but drum rhythms help to give it the dance vibe, while the punk-ish delivery and a certain rawness provide that intense quality. The drums and vocals, for the most part, give each other a moment of rest, and at the two minute mark there is a full stop. Just some vocals before, first, the drums come back, and after that, the whole works, but a little more upbeat and with a bit more air than at the start. Trading in the basement for something with a bit more sunshine.

‘Do I Believe In God’ by Prince (LNTG Muscle Mix)

After Bowie now Prince has left the building as well, but that doesn’t mean we cannot funk to either songs like ‘Fame’ or tracks like ‘Controversy’, a classic Prince tune where he talks about people wanting to know about other people and, Oh lord, is he gay or straight, is he black or white, and does the man Believe in God? Controversy! One of my favorite edits is the Late Nite Tuff Guy mix (which I was fortunate enough to dance to live when I saw the man perform behind the decks). Starts out with a lovely beat, but also already the guitar riff, building up the familiarity until, after a good minute and a half or so, it dives headlong into the track, giving us the funky to do the sexy to. The vocals come in, the rhythm is spot on, and you can get crazy to Prince saying that I just can’t believe the things that people say, as people are getting down on the dancefloor doing things that might give people actually something to talk about. There’s plenty of the guitar, plenty of the vocal work, and enough funk and catchy stuff to really get it going on too. One of my favorite mixes of an artist who has influenced many.