Hey, it's May Fools Day! The day when newspapers, websites, the young and the young at heart, the lovably wicked and the total arseholes are united in their playing of pranks. Hm? A guy genuinely lost his live savings through playing a carnival game? The Instagram Act is a real thing? Ace of Bass are actually Nazis? And May Fools Day isn't a thing? Christ. I need a lie down. Maybe I'll listen to some new music while I do so.

ONSIND – Anaesthesiology (Bandcamp)

Do you love political acoustic punk duos from the North East? Of course you do, you're a sensible human being, that's why you read this every week. ONSIND – that's One Night Stand In North Dakota – follow up one of my favourite albums and an EP with some of my favourite cover art with their second album proper, another collection of songs with pop culture-aping song titles ('Pokemon City Limits', 'Kim Kelly Is My Cognitive Behavioural Therapist') and blisteringly angry but bloody catchy lyrics (the opener's "Never trust a Tory!" refrain and the entirety of 'God Hates Facts' are notable high points in that area). There aren't many bands like ONSIND, so let's get all we can out of them, eh?



Still Corners – Strange Pleasures (Exclaim!)

If you, like me, have been jonesing for a new Real Estate album after the warm-toned guitar-lead pastoral wonder of 2011's Days...well, this isn't it, but it might tide you over a little better than the Duck Tails albums. This is the sophomore effort of UK upstarts Still Corners, and it is laden with lovely twangy lead guitars, some gently strummed acoustics, twinkly synths, and softly spoken female vocals. They cite The Cure and Cocteau Twins as influences, too, which you can definitely see – but it's a lot more of a sun-kissed, deckchair performance of jangly indie pop.



Savages – Silence Yourself (Matador Records)

Every music critic of a certain age's favourite band – because they sound like post-punk, but they're around now! And they're ladies! – release their long-hyped debut and...well, it sound like post-punk, but with ladies. Which isn't a bad thing, necessarily – I am partial to some Unknown Pleasures era Peter Hook bass, some Siouxsie Sioux hollering for vocals, and some pneumatic drum beats – just perhaps not the most innovative of records. Maybe not all records need to be though. Maybe they just need to be like Public Image Ltd. with a far less repugnant singer, or Magazine with more X chromosomes.



Ghostpoet – Some Say I So I Say Light (The Guardian)

I never got round to listening to his Mercury-nominated first album (as a rule of thumb I've ignored all Mercury recommendations since they gave the award to M People in '94), but on the basis of the follow up perhaps I should; Obaro Ejimiwe's second long player sounds – to me – like the natural ancestor of Roots Manuva's Awfully Deep, a fantastically dark record of introspection, self-flagellation and heavy dub lines influenced by the garage scene. The musical backing of Some Say I So I Say Light is even more minimal, a shadow-filled underpass of electronica, drums like the shuffling of feet, repetitive bleeps and bloops like a primitive Kraftwerk demo. Ejimiwe uncharitably describes the album as 'a chance for me to mumble over quirky sounds' – uncharitable, but not entirely incorrect. The disaffected vocal style adds to the depressive atmosphere all the better, though, especially as he dispassionately please to be 'sent down the Thames' on 'Them Waters'.



This week on Twitter @tennis_everyone I have been mainly avoiding everyone