Gomez

These aren't so obscure, particularly not to me. I was brought up listening to Gomez alongside such greats as Van Morrison and The Eagles; to me they're a classic and therefore it seems like they should be to everyone else.

Gomez are pretty successful, more so in America I believe (a song of theirs features in the movie American Beauty) - but quite a few people aren't aware of their music and  this is a sin, which I am here to rectify.

I'd say their best albums are Liquid Skin and Bring It On, the latter of which contains perhaps their most famous song, Whippin' Piccadilly. They're a British Indie band whose use of electric mixing and sounds mingle with jazz influences to create a unique style, funky and bluesy but also modern.

Ben Ottewell's voice is fantastic; powerful and gravelly - and the variety of voices and instruments they employ along with their imaginative, if occasionally nonsensical lyrics ("open hearted surgery never works" ... except it does, doesn't it lads?), are a joy to listen to. From the soulful sensuality of Rosalita (Liquid Skin) to the bouncy energy of Detroit Swing 66 (In Our Gun) and Get Myself Arrested's pure coolness (Bring It On), Gomez are consistently wonderful.

Check them and their entire back catalogue out, you won't regret it.

Songs of Love, Loss and Debauchery

Now here is a band that is criminally underrated.  And again, one about whom no-one except my good friend Jayne, who introduced me to them, seems to have heard (in my experience).  Even the guy we got talking to when we got to see them live was there to see someone else. 

Kill It Kid are fantastic, and this is one of my favourite ever albums.  Produced by Eels and PJ Harvey producer John Parish as a teaching exercise at Bath University, its complex riffs, grinding bluegrass-style guitar and heavy beats are right up my alley.  To go along with those, there's folksy harmonies, beautiful lyrics and - in my mind - an incredible violinist (Richard Jones, who unfortunately left the band after this album).

Lead singer Chris Turpin's vocals are bluesy and unique - the power of his voice only became fully apparent to me when I saw him perform on stage.  I wondered how that sound didn't damage him on its way out.  And it's perfectly complimented by the other singer/keyboardist Stephanie Ward, whose delicate feminine tone harmonises wonderfully with his throaty timbre. 

An evocative album, it always puts me in mind of dusty desert roads and the deep South - even after the surprising revelation that it's creators are a group of English university students.  

I urge you to listen to this album - I cannot fault it and I never tire of it.