LeftLion's Latest Listens: Notts music we're currently spinning

Single: Drew Thomas - You, Me & Desire

You may have heard of Britpop, but now Notts singer-songwriter Drew Thomas is forging a path with his very own sub-genre of pop music: grit-pop. The recipe for grit-pop is pretty simple - take some super catchy alt-pop hooks, sprinkle in some big rock riffs, then finish it all off with a thrilling guitar solo and anthemic chorus. This formula is all laid out on his cathartic new single You, Me & Desire, which at its core sees Drew honestly share pubescent anxieties over his sexuality and lustful urges. It’s another brilliantly bold song from Drew, one made for singing loud at his live shows. Bring on the grit-pop revolution! @drewthomasmusic (Karl Blakesley / Photo - Nigel King)

Single: The Days of Tomorrow - Henry Road

As autumn and darker days continue their inexorable approach, The Days of Tomorrow offer memories of warmer times, with underlying depth. Their latest offering, Henry Road, melds nostalgic rock with alt-folk sensibilities. There are warm guitars and plaintive vocals (inescapably Michael Stipe-esque), plus the inspired layering of Hammond organ. The song - which creates a fascinating narrative inspired by the Nottingham street where the band first rehearsed - is structured with long verses melding into their choruses, giving a broad and soaring feel to the story despite its sub-3-minute length. A rich and satisfying listen. @thedaysoftomorrow (Phil Taylor)

EP: The Publics - I Know The World Stopped, but Why Did You?

A band that has been lighting up festivals and the Notts music scene for the past few years, Mansfield-hailing, indie rock quintet The Publics have finally arrived with a bang on this their debut EP. Emergency Broadcast Service opens the record on just that, a brief intro that begins with a piercing alarm and offers an ominous warning. It soon drops into the rumbling bass, pounding drums and whirlwind riffs of Red Flag Verified, which kicks the project properly into gear. Gaslighter is a soaring, fist-in-the-air anthem, boasting a huge singalong chorus and more thrilling guitar work. D.B. Cooper then stomps along with shades of early Arctic Monkeys, before the title track thrills with a melancholic guitar breakdown midway through.

EP Highlight Murphy’s Law brings everything to a close, a track with lots of heart and more glistening guitars. Overall, this is a fantastic first outing from The Publics, one that showcases their talent and skilled musicianship, while also giving them a platform from which to rise in the future. @thepublicsofficials (Karl Blakesley)

Album: London Grammar: The Greatest Love

On this their fourth studio album, Notts alumni London Grammar present as a group who are quietly confident in where they are and where they've been. It's not an album packed with bangers, but is much more understated, providing the listener with a smoothly calm passage across varied soundscapes. Granted, the vibes sometimes err towards dance (opener House, for example) but it's mid-tempo - more of an immersion than a kick. There are some intimate moments, too, like the opening, hushed minute of the title track (right at the end of the album), transitioning beautifully from Into Gold; or the stripped back sounds of Fakest Bitch.

Elsewhere, London Grammar indulge themselves with wide-open, cinematic writing: witness those cacophonous strings on LA, and softer orchestration on You And I which also features a gospel choir. And there are elements of jazz, indie and laid-back garage, too. Across the album, Hannah Reid shares insights which are surprisingly raw at times, but always delivered with that distinctive soulful vocal quality. This is possibly London Grammar at their finest, but it's a subtle finery, and a record which should be respected and revisited for that reason. @londongrammar (Phil Taylor)

Single: flöat - Easy Life

On the surface Easy Life is a relaxed ballad, combining a soothing, hushed vocal with jangly guitar and a lilting rhythm, pushed forward by the smooth bassline. It is absolutely an enjoyable listen, instantly likeable with warmth in the indie production. But there's also a kind of autumnal sadness, too; it's a wistful and nostalgic song, telling of a longing for an easy life rather than one which is here right now – a yearning for something slightly beyond. The closing line, "I just want you by my side" is delivered hesitantly and leaves you lost in thought. flöat on Bandcamp Check out the locally-shot video, and Heather's launch gig at The Grove on 11th October. (Phil Taylor)