Risk And Consequence

Catherine, Atlus, and Your Best Worst Nightmare

2012-02-06T07:07:00.000-08:00

CATHERINE.

Publishers: Atlus.

Platforms: PS3, XBOX360.

Release date: February 10th 2012.

Price: £37.99

Buy it from Amazon.

Freud is responsible for a lot in modern culture, but a jobbing psychoanalysis student might not expect to look for him in a modern day computer game developed by a Japanese RPG developer. Well, I have my suspicions that at least one of the lead writers of Atlus is a full-on Freudian.

That’s because, following on from the Persona series (where characters literally become trapped in their own repressed subconscious until they can reconcile with it), Catherine is a story about growing up and accepting (or rejecting) the marital responsibility that is expected of you by society. It’s also a fucked-up horror/puzzle game about pushing loads of blocks around, dodging giant sheep, and cocktail trivia. And last, but not least, it’s potentially the saviour of grown-up modern story telling in this generation of video games. That’s Atlus for you folks.

The game begins with our protagonist Vincent being harangued into the long-term by his chic but career driven girlfriend Katherine (note the K).

Vincent’s very masculine indecision is explored in the context of a spate of unexplained deaths of young men, all found in their beds; a sinister backdrop that becomes, inevitably, Vincent’s own obsession. Caricatured blonde bombshell Catherine (with a C) compounds Vincent’s inner turmoil by waking up in his bed one morning, a deceptive doe-eyed catalyst, should you so choose over the course of the game, for his downfall and self-delusion or for his renewed sense of love for his would-be fiancé.

Now, the sumptuous, hand-crafted visual style animated by Studio 4°C (the studio behind the profoundly moving Tekkonkinkreet) not withstanding, and forgetting the compulsive, left-field and at times downright terrifying gameplay, Catherine is a unique game, and the morality system is the true cause célèbre. Whereas games such as Bioshock demonstrated that complex moral decisions have no meaningful impact on gameplay and/or can be reduced to a coloured bar for your reference, Catherine is that rare beast; a game that doesn’t signpost what your choices will affect, or have a ‘right’ answer. Ok granted, the coloured bar is still there, but in moments of crisis your current moral standing affects Vincent’s internal monologue and eventually (although I’m yet to pinpoint exactly the branches which truly decide this) which of the eight endings you’ll experience.

Playing (and experiencing) Catherine feels like a bizarre hybrid of book, anime, and freakish Jenga. It makes demands of you; not just suspension of disbelief but that you ask hard questions of yourself, and of what a videogame should feel like.

Catherine is released in the UK (finally) on February 10th, just in time to piss your significant other off for Valentine's Day.

Just be warned; for the next few weeks, you'll be dreaming of sheep Jenga.

by Danny Wadeson.

Album Review: Plug, ‘Back On Time’

2012-02-06T00:30:00.000-08:00

I think it’s fair to say this electronic a album from Plug, a.k.a. Luke Vibert, is a unique release. When a LP gestates a while, it’s usually because the artist has been tweaking, prodding, working on the tracks to make them just right. When an album isn’t released for fifteen years after the tracks are originally put together you’d be forgiven for thinking it risks being fiddled with a little bit too much.

Plug’s new LP, Back On Time, is a little different. Between 1995 and 1998 Vibert produced a collection of tracks under the Plug name; it was influenced by the mid 90s changing tides of dance, trance and electronica, but with a more relaxed spin. The music was then put aside, Vibert fearing it wouldn’t find an audience at the time, thanks to its more contemplative stylings. In early 2011, however, Vibert and Ninjatune uncovered the tracks and decided the time was finally right for them to see the light of day.

The album, released on Ninjatune, is something of a curio – sounds from the mid-90s that sit far more comfortably in the eclectic electronica era of the new millennium. You might be inclined to argue with this synopsis if you were only to listen to the first three tracks of album. All three - ‘Scar City’, ‘Feeling So Special’, ‘Come On My Skeleton’ - feature the driving beats found in more trad-dance and vocal samples that are recognisably 90s. But there are hints of change, at least in the spare production and changing sections.

And change they do, the middle section of the album being by far the strongest. ‘Ain’t No Reality’
features a well orchestrated intro section and a pared back style with no driving beat for much of the song. When the beat does kick-in it’s pacy, but spare rather than overproduced. This is the first stand-out track of the album, but not the last. Track 5, ‘A Quick Plug for a New Slot’, is also a highlight, a strong eastern influence setting it apart from its album mates, while ‘Mind Bending’ is very similar to a lot of contemporary electronica – a demonstration of how far ahead of itself this album would have been in the mid-90s.

The strongest on the album is title track ‘Back On Time’. In just over seven minutes Plug takes you on a journey of different textures and ideas, including a sampled strings section that would be at home on an old movie soundtrack that meanders seamlessly into a much more hip hop styled conclusion.

The final three tracks - ‘Yes Man’, ‘Drum N Bass’, ‘Flight 78’ - are less remarkable in comparison, and something of a disappointment after the epic title track. They have less to offer, suggesting that perhaps Vibert’s ideas had all been poured into the much stronger output that went before.

In short, this album demonstrates just how far ahead of the curve Luke Vibert would have been over a decade ago. Released now, there are some great tracks here, but the album is let down by a slow start and a much weaker conclusion.

Stick to the middle bit.

By Steve Boniface
Labelled Independent – The New Music Podcast

Love discovering new music? Then subscribe to the Labelled Independent podcast and get brand new tunes delivered to you twice a month, FREE! - http://bit.ly/labelledindyitunes

A Radio Play for a Post-television Era

2012-02-05T04:15:00.000-08:00

How does a two-part opera about a boy abducted by a jazz-fish sound to you?

How about if you get to listen to it whilst reading a comic book?

“Discover AtlantASS” tells the story of Franklin, a young teen who is abducted by a laid-back revolutionary jazz fish named Stinge. Kidnapped to the undersea world of Atlantis, the unlikely duo combat a fatal oil spill which has almost wiped out the entire community of underwater poets, musicians and artists which inhabit Atlantis.

The ‘thriller fairytale adventure album’ is the brainchild of Talibam! and Sam Kulik, consisting of a CD filled with 19 tracks and a 24-page comic. It will be available to buy on the 20th February 2012 through Belly Kids.

The full-color comic was drawn by James Clapham, and details all of the major events of the opera, so you can read and experience the events as they unfold aurally.

If this isn’t enough for you, Talibam! and Sam Kulik will be supporting the release with a month-long tour from Feb 27th – March 25th, in full dress with puppets and video accompaniment.

The CD and comic book will be available for purchase at all performances as well as various retailers in New York, London and wider Europe.

You can order the CD and comic book online at Belly Kids.
You can listen to Naughty Tonite here.

RRP: £8.99

by Kaylea Mitchem.

Robin Bacior, Ohio

2012-02-03T07:00:00.000-08:00

ROBIN BACIOR | Ohio from Earth vs Space on Vimeo.

Before I say anything more, I want to congratulate Robin Bacior on making the first video that has ever given me vertigo. That's not a criticism; it's a fact. It made my head spin - and I think she did it on purpose. So, right on, you've made truly moving art.

Robin Bacior is based in Brooklyn. A lot of bands are these days. But Bacior stands-out. I think it's because she sounds delicate. Her music has a certain quality that seems as if it's made by a dozen orchids. Everything's perfectly in place, cymbals, jazz drums, what may or may not be a mandolin, and a voice that is simultaneously smooth and sweet. Yet under it's softness and put-togetherness, there's a bed of passion and disquiet that gives the music meaning.

Bancior has a new EP, Rest Our Wings. And will soon tour the American Northeast.

By Jim Morrow

Book Club.

2012-02-03T02:05:00.000-08:00

OLYMPIANS are set to start a book club. Well, almost.

'The Great 'Cats'by', geddit?

Given the literary-themed titles of their singles, it seems fitting that the band have chosen to release their next four bundles of material this way. The band are offering fans the chance to subscribe to a ‘book club’-style set of releases, where those who subscribe will receive all four singles ahead of the official release date, straight to their door, all for a mere £10. Alongside this, fans will receive exclusive-to-members ‘Bonus Content’ (yeaaaah!), which includes a limited edition print and a hollowed-out bookcase to keep the singles in, as well as access to a wealth of digital material such as videos and b-sides periodically throughout the year.

The first release will be “The Great Gatsby”, which will be available through Barely Regal Records from the 13th February 2012.

If you don’t fancy subscribing to the Book Club (why not?) then you can still buy “The Great Gatsby” digitally through Bandcamp, Spotify and iTunes from the 13th February.

You can subscribe to Olympians’ Book Club here.

Sharing the Love

2012-02-02T13:45:00.000-08:00

We got an e-mail today from a band called the Feddens. The first sentence they wrote was, 'Hello! i think im in love with your magazine/fanzine/blog thing!!'

Thanks! We'd like to take the opportunity to reciprocate.

Dear the Feddens,

Thank you for the love, though we're sure you say you love every zine you meet.

We had a listen to your songs. We like them. They're good. And if the date in your e-mail address is correct, the songs are especially good, considering you still can't buy beer.

You sound like you have a future together. Good on you.

Here's an endorsement from us that you can stick on your website or merch or what have you: The Feddens have their shit together. They're fucking alright by us.

Enjoy the scene when you get there,
Risk and Consequence

Maps by The Feddens
By Jim Morrow

Commit

2012-02-02T01:22:00.000-08:00

FRANK HAMILTON - One Song a Week.

frankhamilton2012.co.uk

Imagine committing to something once a week; every week. As somebody who finds it difficult to commit to anything more definite than a vague plan on any given week, the idea fills me with dread. That’s why I’m glad there are people in the world who find these things ‘fun’ and ‘ambitious’, approaching them with relentless ‘enthusiasm’. Yuck, but thank GOD.

Anyway, Frank Hamilton is one of those people. He’s decided that this year is the year to release one song, e v e r y w e e k. That’s 52 songs, guys.

Each song will be accompanied by an unpredictable yet endearing blog post, which may encourage those less committed of us to perhaps finally commit (if only to commit to listening to Frank’s new song, once a week, every week; it’s a start, right?).

Each week, ten limited edition CDs will be sold/given away and a compilation in the shape of an EP will be available to download from iTunes on the last Friday of each month.

To subscribe to the venture, visit One Song a Week.

Video:

2012-01-30T10:19:00.000-08:00

EXLOVERS
- Starlight Starlight

exlovers' album 'Moth' will be released through Young & Lost Club on the 21st May, 2012, by which point I will have finished my final year of undergraduate education and will be sobbing whilst I pack my life back into boxes. In which case May is a good time for an album release; well done exlovers, excellently timed.

You can download 'Starlight Starlight' here in exchange for your email address.

Directed by Frederick Lloyd (Ursine Vulpine).

Kaylea x

Video: Birds That Change Colour, Tales From the Moon

2012-01-19T12:46:00.000-08:00

I always wondered what Blur would sound like if they were fronted by Paul McCartney. It's a common debate in my world. I ask everybody I know if they know the answer. Some people say I ask stupid questions, others say Wings and walk away. But I'm never deterred. It's an important question.

And now there's an answer: Birds That Change Colour

The technical term for their sound is 'effervescent'. They have a lot pop, but it's not all fizz and saccharine enthusiasm. Their music floats-up from something deeper and heart-felt. And it's chased-down with the nice, smooth finish of Koen Kohlbacher's vocals.

There's something different about Birds That Change Colour. It's partly that they're Belgian. But it has what beer makers call 'chill haze': There's some cloudiness to their music that has no affect on flavour. Or put another way, they have a really complex and layered style that comes-off nice and ambient, with a subtle hint of melancholy.

Birds have a new album, On Recording the Sun, that will be out on 5 March.

For more about Birds That Change Colour, visit their website or their label, Jezus Factory.

By Jim Morrow

Ones to Watch, er, literally...

2012-01-17T14:24:00.000-08:00

Delta/Alaska

Delta/Alaska is a five-piece from North London who spent the majority of 2011 writing and playing just a handful of shows, all so that they could produce this wonderful EP for your ears.

They're just babies in the world of social networking, so we only have a still-image video for you to cast your eyes over; this is a song I recommend listening to with your eyes closed anyway.

The limited edition self-titled EP brings a lot of noise, and then little noise, and then pretty noise, and on the whole, some pretty indescribable, amazing noise. If you're quick, you might be lucky enough to grab one of the last copies. If not, you can still choose your own price and download the MP3s from the link below.

Likely to please fans of Foals, Tall Ships, 65daysofstatic, maybe even ASIWYFA fans in places.

You can buy the EP here.
You can go on their website here.
You can go and see them support Tall Ships at New Slang in Kingston next Thursday (26/01/12).

by Kaylea Mitchem

Little Boxes

2012-01-17T07:30:00.000-08:00

by Bonnie Friend.

Apart from the miserable weather and interminable number of months looking forward to summer with only the interruption of consumer sponsored celebrations in between … although having said that, Valentines does promise another influx of chocolate so it isn’t all bad … I find this time of year fascinating. In the weeks following New Year the leisure industry sees a cavalcade of new gym memberships and promises to oneself of a brighter and better-toned future.

As a regular gym-goer – whose routine has barely altered in seven years except for vague increases in duration, I have an enormous amount of respect for anyone going to the gym for the first time. I myself still find them intimidating places, and that’s despite the friendly greetings the Virgin Active staff so kindly bestow. All the people there have an air of ‘I know what I am doing, I am very serious about this, and I belong here.’ Gyms purport to be places of health, what is less advertised is that in fact they are museums to the body beautiful, and more than that, places of great exhibitionism.

In this vein I find something that amuses me a great deal – as it does in many arenas, but under the strip lighting glare of the gym the little boxes that people put themselves into become even more evident. I have been a member of a few gyms over time, and from what I gather the boxes remain the same.

Most prominent are the body building men. I have no idea what they actually do because all I ever see is the odd weight being lifted and a lot of time spent peacocking around and taking large swigs of water, but they must do something because invariably their shoulders give King Kong a run for his money.

Then there are the girls – they are probably the scariest phenomenon you will ever see in the gym. They are the embodiment of that Hollywood myth that will have you believe that all they do is Pilates once a week, they are totally addicted to Pringles, and not a day goes by that they don’t have sticky toffee pudding with custard – it’s a lie. Just so you know. They have a personal trainer five times a week and think sticky toffee pudding is something the hairdresser uses to moisturize colored locks. But the most intimidating thing of all as they sweat away onto designer sports bras is that they look fabulous.

Of course there is the crowd who genuinely do come to the gym for the sole purpose of doing yoga and Pilates. Both rather different, but invariably lumped into the same bending and stretching bracket – I adore yoga, and enjoy Pilates mostly because I think it might be good for me. Either way, the most accomplished attendants tend to be women over the age of fifty who can merrily listen to the inner workings of their ankles when they double over into a forward bend, while the stragglers in the class struggling to reach their own knees tend to be keen runners or sports players who have not listened to their body’s moaning and have subsequently injured themselves. My yoga instructor is more than twice my age with a dodgy hip and her flexibility surpasses mine tenfold, but I am rarely happier than in her classes, which is perhaps the most important lesson to take away from yoga.

Certainly there are none so queer as folk and what makes me chuckle without fail is the little man who sits on the bikes with a newspaper in hand and wearing a buttoned up white shirt complete with collar and cuffs, going about his exercise in a refined and leisurely manner. I cannot believe that this is doing him any cardiovascular good whatsoever, but he appears to be content.

When I was at university there were of course other additional sectors – rowers were the only others in the gym at 7.30am for hours on end, and the newspaper man was replaced by girls reading notes on the stepper machine – I could never quite figure out if they were extremely keen students who couldn’t bear a moment away from their books, or if they were very poor students trying to kill two birds with one stone so as not to impinge upon their social lives.

Ultimately all of this will prove too much for several, and many a direct debit will be cancelled by mid February, if not before, but for anyone whose New Year’s resolution was to exercise a little more I encourage you to push past the boxes and enjoy it … And if you can’t push past them, then I recommend them as a far more suitable form of observational entertainment than the newspaper while stepping your way towards the perfect backside.

Ones to Watch, er, literally...

2012-01-16T07:14:00.000-08:00

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DAUGHTER
Setting fire to our insides for fun.

For me, one shining gem glistening amongst Communion Records' growing roster is Daughter. From the acoustic, folk roots of her first EP, ‘His Young Heart’, to the more edgy, darkly inspired follow up ‘The Wild Youth EP’, she’s seen a passionate following grow. The husk of Daughter’s breathtakingly soft vocals play the angel over devilishly crafted song writing. 2012 can only be her year, where the engineering of a busy 2011 will properly pay off. If you’re failed to be blown away by Daughter, you have a heart made of iron. She’ll touch you somewhere deep, and you won’t forget it.

by Robbie Wojciechowski

Labelled Independent Live: Sophie Bohana

2012-01-15T15:14:00.000-08:00

Our partner podcast, Labelled Independent, has put together its very first live episode featuring Assorted Records’ Sophie Bohanon – who celebrated the release of her debut EP Eyeline on January 6th.

Back in November, Labelled Independent sat down with Sophie, her guitarist Josh and Assorted Records’ Pete Roch to record some live tracks, talk about her music and play some of her EP too. This LIVE episode is the result.

Listen here: http://labelledindependent.podbean.com/.

Subscribe to the podcast by searching iTunes Store for Labelled Independent or by going to http://bit.ly/labelledindyitunes.

You can find out more about Sophie Bohanan at http://www.assortedrecords.com/sophiebohanan/.

Assorted Records: http://www.assortedrecords.com/.

Also, while you’re here, don’t forget you can still vote for your Labelled Independent Track of the Year for 2011 – simply download the previous episode and have a listen!

Video: Rich Aucoin, 'It'

2012-01-13T12:52:00.000-08:00

Rich Aucoin's Canadian. He has the Canadian ever-changing-multiple-member-orchestra-organised-around-a-single-composer thing down. In fact, I'll wager to top comment on Youtube for this video is 'Its a Arcade Fire rip-off' - or some poorly spelled variant. Instead, what Aucoin and Arcade Fire have in common that they sound like Canada.

Aucoin's latest album, We're All Dying to Live - which is the second in a trilogy - was recorded on multiple continents, has 22 songs, and features somewhere around 500 musicians and a children's choir. Hell, even his video for 'It' features an absurdly massive ensemble cast.

But in spite of his Canadian inclinations, Rich Aucoin makes catchy music, the kind that will have you singing-along and bopping all day long. It's straight-up, unpretentious anthem music; think John Maus without the obscure allusions to cypto-Marxist academics and Speak and Spell synth.

If you want to know more about Rich or just want to see what he's up to, you can click... here.

By Jim Morrow

New Single from Tanlines

2012-01-11T15:22:00.000-08:00

Tanlines has a new single called Brothers. They say it's 'a good commute song'. And it's true. But it'll also work as a 'calling in sick at work and spend the afternoon staring at clouds song' or a 'coming-off a long night and I hope that fucking DJ that only spun dubstep didn't give me tinnitus, and I want to relax and think about something else song'.

You can download 'Brothers' here.

FUN PARTY

2012-01-08T16:32:00.000-08:00

FLAMINGODS launch party!

To celebrate Flamingods release of 'Away' on Belly Kids, they're throwing a party at Power Lunches.

They will be joined by:

Halo Halo,
Keel Her,
Bone Yards,
Chalices of the Past,
Yola Fatoush

AWAY is available to download for free here.

And if you like what you hear, you can order now from BELLY KIDS (http://www.bellykids.co.uk).

You can also pick up a limited edition Aztec-style zine with a purchase of the single.

'Ones to Watch', er, literally.

2012-01-08T05:04:00.000-08:00

NURSES.

Nurses. Nurses. Nurses. Where do we start? Formed in Portland, Oregon, I'm certain that this three-piece are the answer to your comedown from Foster the People. Your pining for Animal Collective. Hell, even I know that you sometimes still listen to MGMT.

Nurses produce that kind of dreamy psychedelic pop that is the soundtrack to your perfect Summer. They're uplifting, focusing on hypnotic but shifting rhythmic patterns. And when paired with unpredictable, nasal vocals, which are oft unintelligible, Nurses quite often catch you off guard.

It's their aesthetic that has grabbed my attention; it would seem as though they enter the recording studio and warble in various ways until they find what they like. It's difficult to describe their sound exactly; there's a lot of indecipherable subtleties in each track. From the almost tribal drumming in 'Fever Dreams', to the finger-clicking feel-goodness of 'Trying to Reach You', the tracks really are made up with the tiniest inflections.

by Kaylea Mitchem.

'Ones to Watch', er, literally.

2012-01-04T14:17:00.000-08:00

GRIMES

(This is not an official video - but it is an interesting watch all the same).

Having just signed to 4AD (home of tUnE-YaRdS, St. Vincent and Bon Iver, to name a few), Grimes is our third 'One to Watch' this year.

Grimes is pretty difficult to pin-down in terms of description, but I'll try my best: Montreal-based Claire Boucher's previous releases summon other-worldly vocals, hiding them amongst layer-upon-layer of beautiful musical constructs not too dissimilar to that of Zola Jesus. It's all very ethereal and, at times, a little difficult to get into. With this, it seemed as though Grimes was destined to embrace witch-house and stay there indefinitely. However, what we've heard of her upcoming album, Visions (her fourth release in two years, no less), nods towards something a little new age, a little more synth-y and altogether more upbeat, whilst remaining ultimately melancholy in its undertones - which when written down, doesn't make much sense, so have yourself a listen and see what we mean.

Visions - released in Canada 31/01/12 (Arbutus)
- released in North American 21/02/12 (4AD)
- released everywhere else 12/03/12 (4AD)

by Kaylea Mitchem (via Wayne Moya Kettell)

'Ones to Watch', er, literally

2012-01-03T12:01:00.000-08:00

TIMBER TIMBRE

Music's gone retro. It's a fact. It's so retro these days that it's gone Dark Ages and started to play with alchemy in an effort to make gold.

It kicked-in around the time Amy Winehouse's beehive met Mark Ronson's record collection, and has carried-thorough Lady Gaga's impersonation of Grace Jones humping Madonna.

But alchemy's not all bad. At least it's not historical re-enactment or strip-mining - both of which Sublime has been up to these days. Alchemy's about putting the right elements together to make something different. It's about finding the right matter and substance and using the proper magic to make it dance: Two turds rubbed together makes a mess; two sticks make fire.

Appropriately, Timber Timbre has their alchemy down.

Timber Timbre is: One part black and white celluloid science fiction soundtrack, one part smoke-filled beat jazz club, one part Canadian roadhouse, three parts Leonard Cohen, and a whole lot of Elvis on downers.

Timber Timbre won't set your dance floor alight. Instead, they smoulder like embers, keeping it warm enough for their melody and composition to work their magic.

And if you want to see Timber Timbre's alchemy for yourself, they're touring the UK this March.

By Jim Morrow

'Ones to Watch', er, literally

2012-01-02T14:14:00.000-08:00

WEEKEND WOLVES

Based in Hamburg, Weekend Wolves is something of an enigma. With barely an internet presence besides a handful of reviews and a short interview, there's little to tell about the man behind the sound. But that's all irrelevant anyway: the music speaks for itself.

It's hard to place his sound amongst a scene full of chillwave/grimewave/dubwave (that surely must be a genre by now?). He creates multi-layered, gritty landscapes, that grab you and force your head back and forth with such meaning and purpose that you have to push 'replay' countless times in an attempt to make sense of what you're hearing.

With its samples and heavy basslines, Weekend Wolves would most likely appeal to fans of Fuck Buttons, perhaps M83 and, at a push, Gold Panda. The only difference being that Weekend Wolves produces 'the best bits' that carry consistently throughout the track. There's no subtle build-up, no 'massive drop', he just pelts straight-in with the heavy bass and a persistent beat.

With remixes for Lo Fi Fnk, Is Tropical and MIT under his belt, we're looking to hear a lot more from Weekend Wolves in 2012. And, hopefully, sooner rather than later.

by Kaylea Mitchem

Podcast: Labelled Independent

2011-12-30T21:20:00.000-08:00

Presented by Steve Boniface, with panellist Emma Jones

Another new year is upon us. And 2012 is already looking to be a promising one for new music. First, though, Labelled Independent takes a look back at some of the best tracks from 2011 in our Track of the Year contest. Listen, and find out how you can vote for your favourite to be named our first TRACK OF THE YEAR.

Listen Now:

Your browser does not support the audio element.

ARTISTS included:

Cashier No.9

The Correspondents

Thom Cross

Eric Ness

Sonic Boom Six

Nostalgia 77

Owen James Harvey

LABELS included:

Bella Union

Freshly Squeezed Music

Rebel Alliance Recordings

Tru Thoughts

Southern Crossroads

Eric Ness track courtesy of Quite Great Music PR

Links to our pages:

Subscribe to the podcast with iTunes

Twitter @LabelledIndyPod

Facebook: http://on.fb.me/labelledindyfacebook

Happy Holidays from Risk and Consequence!

2011-12-24T17:05:00.000-08:00

As our gift to you, we give you a special Holiday mixtape.

From the Archive: the June Brides

2011-12-20T12:58:00.000-08:00

C-86. It's music nerd code for 'The most indie thing that ever existed'. At least that's what music critics say - and that's probably good reason not to take such sources as Word.

C-86 is also a myth. A twee mixtape that, like any bit of history, most people say they had a hand in its making, though few people actually did. That said, the June Brides would be the first to openly admit they weren't part of C-86, as they turned-down an offer to lead the tape. But many bands they influenced and had previously supported them, like the Wedding Present, were. And in time, other bands' place on the mixtape allowed them to be part of music mythology.

It's not really known why the June Brides refused C-86. The most common story is that they didn't want to be labelled. Another is that they weren't careerists. For whatever reason, their decision let them be over-shadowed, their jangly influence limited to esoteric record shop talk - which in the end, may be the best compliment most bands can ever be paid.

The June Brides only lasted for less than three years, one LP and two EPs. But it was enough to let them be an odd part of music legend.

By Jim Morrow

Unsigned Profile: Stuart Newman

2011-12-15T01:00:00.000-08:00

‘Here’s to thinking outside of the box’. It’s a lyric lifted directly from one of Stuart Newman’s tracks, ‘51st State’, and it sums up the Brighton-based artist quite nicely.

His website describes him as mellow, acoustic, indie. It’s a description that might be used to describe most artists at an average open mic night. So what sets Newman apart? What is it that demands that demands listeners’ attention above so many other people out there peddling their own take on the acoustic guitar/vocal sound?

When faced with questions about his music, Newman’s answers are similar to his tracks: Considered, complex and thoughtful. He answers in such a way that, though your original question is answered, you’re left with more to ask.

‘I’m always wary of explaining lyrics I’ve written’, he says. ‘They can change and develop over time for you. It’s up to people to choose their own interpretations’.

Now working on material for a second album, it’s clear that it’s not only Newman’s lyrics that change and develop. His first album, ‘Single But Defective’(2009), consisted of 2 minute glimpses into the mind of the largely self-taught singer-songwriter, and a dark world view delivered in a low vocal hum.

Newer material takes Newman in a different direction. The first album was almost exclusively dependent on simple, acoustic instrumentation, showcasing the down-beat lyrics that dominate the release. ‘Feel The Temperature Rising’, a track taken from material being put together for an as yet unnamed second album, is a more layered, upbeat, multi-instrumental song. The vocal, previously pulled from deep within Newman’s chest, soars into a pure falsetto, reminiscent of Radiohead, one of the bands he lists amongst his influences - though not to say he’s following any formula that might have been set down by those who came before him.

‘I’m very cautious about becoming overly formulaic’, explains Newman when asked about his songwriting technique. ‘The origins of each song vary. Some are poetry-based, or word note based. Some start with chord structures. Some lyrics appear from nowhere; others are deliberate searches for words’.

Searching for words is one of the areas in which Stuart Newman doesn’t struggle. It only takes one play through of each track to understand the mood and the meaning of each of his songs, leaving your ears free to explore the song from a more musical, melodic perspective the second time around. And it’s one of the dichotomies of Newman’s work: Instantly accessible music springing from an alternative sensibility.

So what would his advice be to aspiring songwriters? Know how to take artistic inspiration from your surroundings, but also know when you need to work harder to get the words on the page.

‘I think if one is to aspire to be a great songwriter, you have to recognise when you see gold and use it and know how to make gold from the tools at your disposal’, he says.
Keep an eye on Stuart Newman, he might just strike that gold one day.

Recommended Tracks: ‘If You Say’, Cry Wolf (from ‘Single But Defective’), ‘Feel The Temperature Rising’ (Second Album track).

Songs from both albums can be heard and downloaded free from www.stuartnewmanmusic.com

Artist profile courtesy of Steve Boniface & Labelled Independent – The New Independent Music Podcast

Podcast: Labelled Independent

2011-12-14T12:09:00.000-08:00

A little bit of something for all music fans on the latest Labelled Independent podcast, from heavy rock to funky electronica via some decent hip hop. If you love hearing new music this is the right place, and these are the tracks you should hear.

To hear all these tracks now, subscribe to Labelled Independent, our partner podcast, free by visiting us at itunes. By doing so, you’ll make sure you’re always among the first to receive our new music to your device of choice, and all for free.

Alternatively, you can hear individual episodes at http://labelledindependent.podbean.com/.

On this week's edition of Labelled Independent:

'JCVD' - Without Maps [49s v Dolphins records, single out now]
A well constructed slice of heavy rock, this track is one for fans of milder screamo. Heavy vocals mix with diverse instrumentation and a dynamic, guitar driven performance. The single is on limited physical release (CD and cassette) from the band’s website, as well as digital release from the usual suspects.

'Till The Day I Die' - Owen James Harvey [Southern Crossroads Records, from self titled EP out now]
Co-written with US songwriter Bobby Terry, this is a decent slice of Americana styled country rock - a well produced, well written track from the Nottingham based artist, with some lovely melodies and harmonies mixed with intertwined acoustic guitar. Highly recommended, this was named as track of the month by Labelled Independent for December.

'Animals' by Fashoda Crisis [Cognitive Dissonance, from album ‘Him They Make Learn Read’, out now]
Another decent example of heavy rock that opens at a measured mid-tempo before giving way to a driving beat. The band describe themselves as ‘three angry men from Southend’, and the delivery of the vocal reflects that ably. It’s also worth noting some of the melodic elements that mix with the heavier are nicely put together.

'(We’re Living In) Another Dimension' - Stuart Newman [unsigned, available for download now]
Mellow, mid-tempo acoustic stylings dominate this offering from singer/songwriter Stuart Newman. The vocals are delivered in a low growl comparable to the latest offerings of Leonard Cohen, all adding to the chilled nature of the song. You can get the track at stuartnewmanmusic.com now, along with a host of other tracks.

'Playtime' - Anita Maj [Lil Minx Records, single out 2 January, pre-order now]
A fun, bouncy indie pop track with a sense of humour often missing from pop music. It’s dominated by the vocal part and some nice guitar lines mixed with subtle organ sounds, all rounded off with a catchy chorus. Special mention to the varied nature of the drum/percussion parts too.

'Here We Go Again' by Roots Manuva [Ninjatune, single out now]
Another excellent hip-hop offering from an artist with an ever growing fan base. Taken from his highly acclaimed ‘4evarevolution’ album it mixes some genuinely interesting lyrics in the verses with a chorus section that’s easy to pick up. It all sits in a nice groove too, well worth your time.

'Night Lovers' - Zed Bias feat. Sam Frank [Tru Thoughts, single out now]
Another strong offering from the Brighton based Tru Thoughts and Zed Bias. More about the feel than the lyrics, the vocal is filtered in such a way that it’s more of a melodic influence than any other part of the track. Slick, well produced, funky electronic track.

'Jesus Loved The Nunchucks' - Great Medical Disaster [Pronoia Records, from the album ‘Die, You Bitch, Cried Architect’, out in time for Christmas]
Cinematic rock instrumental, unrolling gradually into an epic lasting nearly seven minutes. There are many different sections and facets to enjoy, varied sections held together by a meditative pace and decent musicianship. Not radio friendly, but that’s not a bad thing.

To hear all these tracks now, subscribe to Labelled Independent, our partner podcast, free by visiting http://bit.ly/labelledindyitunes. By doing so, you’ll make sure you’re always among the first to receive our new music to your device of choice, and all for free.

You can also hear individual episodes at http://labelledindependent.podbean.com/

By Steve Boniface

Unsigned Profile: Thom Cross

2011-12-14T06:02:00.000-08:00

In general, there are two types of unsigned musician. The first is outspoken, confident to the point of arrogance that their music and their world-view should be adopted by all. The second is a more humble beast, writing music they want to hear simply because they love a good melody. Thom Cross, originally from New Zealand but now based in London, falls firmly into the latter category. And he is all the better for it.

When asked about his songwriting, Cross is quick to reject any notions of grandeur, preferring to move instead towards natural self-deprecation.

‘I started trying to write songs in my last couple of years of high school', he says of his early efforts . 'They weren’t really bad, just really derivative, basically aping my influences. The lyrics were full of over-wrought teen angst. Some people may well argue nothing has changed!'

Having not heard his high school offerings, I can’t comment on the accuracy of the statement. But if nothing’s changed since then, then those early songs are far better than Cross would have you believe.

His debut EP release, Extended Play, is a collection of three superior tracks of varied moods and tempos. And though his influences are there for all to hear – the vocal in particular is strongly reminiscent of U2s Bono, with a few Bowie-like inflections for good measure – it would be churlish to call them derivative.

The EP was written with writing partner Richard Salmon, and was produced by one of the UK’s finest, Guy Massey (Manic Street Preachers/The Beatles), whom Cross was delighted to work with.

'Songwriting is never something that has come easily to me on my own. I much prefer collaborating and bouncing ideas off someone else', says Cross. Though he does go on to explain that, 'as I write solo more and more, it’s slowly starting to feel more natural'.

It might just be that there’s a much larger natural talent than Thom Cross is willing to admit, even to himself. There is a flowing nature to his tracks that's hard to put into words; each piece of instrumentation fits together just right, and each melody and harmony mixes to become more than the sum of its parts. The stand-out track from the Extended Play EP, ‘O, Constellations!’, is a textbook example of how to start a song simple, build to a natural climax, then bring it back down full circle, all in the space five and a half epic minutes.

So, if he finds pulling together lyrics challenging, how is it that Cross is able to produce a piece of work like this?

The melody came first with this one and then I had a group of images I put together and they worked. Writing is just about persistence – sending the pale down for water even when the well seems dry. Eventually you’ll drag something up'.

Thom Cross has a modest streak a mile wide. Something that makes his music all the more appealing in its execution. He is definitely not from the school of arrogant songwriter wannabes, and if that feeds into the music he produces then long may it continue.

So what’s next for Cross, once the promotional work for the new EP has run its course?

'The next steps are to tour and I’d like to put out a second EP early in the New Year – the demos are already done. I’m a firm believer in "if you don’t try, you never know". You just have to keep going regardless, not everyone will always like everything you do. I just write music I would like to listen to, and hope there are others out there with similar tastes'.

I, for one, have similar tastes. And I’m hoping for Thom’s sake that I’m not alone.

Artist profile courtesy of Steve Boniface & Labelled Independent, The New Independent Music Podcast.

Subscribe – http://bit.ly/labelledindyitunes

Homepage - http://labelledindependent.podbean.com/

Podcast: Labelled Independent

2011-12-13T12:32:00.000-08:00

Presented by Steve Boniface
Episode 9 – 'On The Road Again'

Labelled Independent visits the Midlands for this edition, recorded at the HQ of Staffordshire based indie label Assorted Records.

Loads of different styles on offer in this episode, so you’re bound to find something you’ll love! And we are we are joined on-air by Emma Jones and Pete Roch.

Artists we give a spin in this edition:
Nostalgia 77
Never Means Maybe
The Half Rabbits
Psykick Holiday
Straina
Katie Malco
JFB
Bernholz
Loka

Labels included:
Assorted Records
Tru Thoughts
Trashed Management
Future Legend Records
Reel Me Records
Alcopop Records
Freshly Squeezed Records
Anti-Ghost Moon Ray
Ninja Tune

Subscribe to the podcast with iTunes:
http://bit.ly/labelledindyitunes

Facebook:
http://on.fb.me/labelledindyfacebook

Listen Now:

Swag From Folkroom Records

2011-12-12T13:13:00.000-08:00

At The Queens Head in King's Cross, on the evening of the 17th - that's this Saturday - Folkroom Records is putting on a free gig to celebrate their first release, Folkroom Presents: Anthology One, which is also free. For those keeping score, the kind folks at Folkroom are giving you two bits of swag for the price of nothing more than coming-out, having a few drinks, a laugh and listen to some good music.

The night will feature performances from all acts on their new release, like Dave Gerard and Josienne Clark, as well as a few surprises.

Folk music is what Folkroom Records is all about. It's their scene and community, and anything they have going is worthy of attention. But if you need more convincing that they're stand-up folk, give what they have on offer a listen and judge for yourself.

Again, here's the drop:

Who: Folkroom Records.

What: Free gig and good times.

Where: The Queens Head, Kings Cross, London.

When: 17 December, throughout the evening.

Why: Swag.

How: Unwind, relax, have a good time.

Amusement

2011-12-09T11:24:00.000-08:00

Obscurity is the first thing that's noticed when something new is on the scene: It's not right, it doesn't fit in, it's not exactly like anything else. There may be references or reminiscences, but it's detached and distant, forced to earn its place among what's familiar.

This is why we listen to new music on repeat. We want it to find a place in our life, to be attached to a memory or emotion, anything.

Amusement is new, though you may swear you've heard them before. They're familiar, like they may have provided a soundtrack to a wet dream sequence from a bad 80s made for TV movie.

And though Amusement sounds like something we already know, they're vague and seductive enough to be so unfamiliar that they deserve a chance to have their own repeat memory.

Amusement - Run Through The Door

By Jim Morrow

[@iheartnixon]

Suuns

2011-12-06T11:20:00.000-08:00

They're from Montreal. They used to be called Zeroes, but had to change their name. They're now called Suuns.

Suuns are a model of sonic restraint. They prove that bands don't need to always make their audience's ear bleed. One part cyborg half-assembled in Bjork's secret synth factory somewhere deep in Iceland; one part Pink Floyd trying to beat-off a hang-over by playing Led Zeppelin; Suuns are the sound of mellow metronomic tension.

Their restraint - the fact that they know exactly when to pull-out - gives them the ability to build-up their songs, to constantly add new elements and layers that lets them clinically push the bonds of noise. Suuns tease and switch, pushing and intensifying the listener's comfort zone, which allows for satisfaction few bands know how to give.

And for your listening pleasure, Suuns have a new EP.

Suuns "Red Song" from Topher Manilla on Vimeo.

By Jim Morrow

[@iheartnixon]

Swimming, 'Neutron Wireless Crystal'

2011-12-02T11:25:00.000-08:00

What you need to know about Swimming:
1. They're from Nottingham.

2. Their hobbies include doing press-ups and reading Brecht.

3. They like art.
4. People like to put their songs on repeat.

Friends, 'I'm His Girl'

2011-11-30T13:27:00.000-08:00

Live Review: Grey Hairs

2011-11-26T12:08:00.000-08:00

Salon-quality VOLUME from new band Grey Hairs. Live @ Rescue Rooms, Nottingham. 24 November, 2011.

FREE DRINKS! That’s all it took to lure me out on a school night to Vice’s Issue Launch at Nottingham’s Rescue Rooms. Well, free drinks, hipster fist-pumping action and the promise of good music.

And why was I drinking and fist-pumping: Grey Hairs, a band with the dubious distinction and honour of being probably the only band I’ve seen twice in one week. And based on the evidence of my double-blind scientific research, I’m looking forward to hearing more of them in the future.

It was their second gig, and they set about conducting a tight exercise in riffage and volume that threatened to blow-out the Rescue Rooms’ ‘quaint’ upstairs venue. Grey Hairs is all about VOLUME, and they rip through their set with a refreshing, no-nonsense directness and elemental rock energy. And best of all, the band sounds and looks like they’re having a blast.

All four members [James - Vocals, Chris - Guitar, Bod - Bass & Dave - Drums] are seasoned veterans of countless other bands that cover a diverse spectrum of sounds. Together, as Grey Hairs, they coalesce into a tight knit, hard-rocking, Sub Pop-loving racket. At times their sound brings to my booze-addled mind Thee Oh Sees at their heaviest, circa the opening tracks of 2009’s Help LP - all reverb-drenched vocals and insistent, fuzzed-out guitar, that only occasionally lets up for some punctuating shards of echo and noise.

Singer James throws everything into his performance, contorting and writhing in front of his bandmates and the audience like a pent up ball of energy, wielding the microphone as if completely possessed by the music. It makes for compelling viewing.

The solid, booming rhythm section provides a strong anchor for the group to negotiate some naggingly catchy riffs and nifty, concise structures. Occasional vocals from bassist Bod provide a sweet counterpoint to James’ intense delivery, adding another dimension to the overall sound.

Midway through two of my friends retreated from the direct firing line of thrashing guitar, to a safer flanking position - a part of their offense to prolong their hearing for a few more weeks. But in the absence of earplugs and my fingers firmly gripped to my pint glass and whatever was nailed to the floor around me, I stood my ground near the front, hoping that years of ear wax build-up will save me. Too much info, maybe, but it’s also dire warning of what the future holds for those who remain to stay on the scene.

Part-way through the gig, the band had some technical issues. But they dealt with some them swiftly, with everyone in the band crouching band huddle to handle some kind of collective emergency pedal maintenance. And once sorted, normal service resumed louder than ever for the remaining songs.

As the set drew to a close, guitarist Chris fell to the floor, wringing the last vestiges of swirling cacophony from his pedals.

It was a thoroughly entertaining and exciting performance that bodes well for future live shows. In fact, they earned greatest compliment in music: The crowd wanted more. And I’ll be back for some more ear molestation first chance I get.

Grey Hairs? This band sound about as far away from 'old' and 'tired' as it’s possible to get.

To see for yourself what I’ve been rambling on about, visit the band’s Facebook page, where you’ll find some lovely live videos from their debut gig at Spanky Van Dyke’s on 18 November.

By Charles Agar

Live Review: Harbour

2011-11-25T12:04:00.000-08:00

Bourne of the The Echoes' ashes, Harbour is very much the same band, but with different songs and a tangeably different sound.

Back in the summer, when the four-piece opened 2000 Trees, they were noted for their less gravel-ravaged Gaslight Anthem-esque vibrations and Rocket Summer-style presentation. But hearing them now seems like a bizarre memory we can’t help but convince ourselves isn’t true.

From the two tracks available online 'To The Water' and 'Guide Me In', the listener is presented with a more familiar sound, akin to Cheltenham golden-boys and guitarist Chris Capewell‘s other outfit Jim Lockey and the Solemn Sun. Lyrically, the new songs are more prophetic and profound, rooted in the foundations of great songwriters creating 4 minute moments - footsteps that while difficult to follow in are irresistable. Listen to the music if you need more evidence.

When I first heard Harbour wouldn’t be playing or recording any Echoes songs, I thought they could probably be persuaded with some enticement from a packed house. But they’ve found a new dynamic that they’re completely at home with, and it may no longer be appropriate. Rather than changing their sound, Harbour is the sound of development, a maturing band whose journey is going to be fascinating to follow.

Their live shows can still being described using superlatives, like amazing, insane and perfect, so nothing changed. The only real differences from here on in will be in the size of the venues and audiences that will have the privilege of witnessing the following steps of the band's new odyssey.

Harbour hasn’t been gone for long, but we’re so glad they’re back.

'Run fast, run hard and run straight back to the water'.

If you missed the first track you can download an early version here.

By Simon from Outroversion

From the Archive: Disco Inferno

2011-11-24T11:20:00.000-08:00

It's shit to use a comparison to explain a band's sound. Years ago, some dude tried to tell me that Scissor Sisters sounded like 'Fatboy Slim mixed with Gloria Gaynor and mated with something jangly, like Blondie'. Not only was he way off, I have no clue how he came that conclusion: Scissor Sisters sound like high school drama queens making music for other high school drama queens to use as a soundtrack to their sextapes.

Critical comparisons of bands say more about the record collection of who's making the camparison than they do about a band's track record. That said, I'm going to make a critical comparison and say, 'Disco Inferno sounds like Joy Division mixed with the Wire and mated with something like Mekons on acid'. Then again, that's unfair, because they were more original than just 'sounding like' any other band. Disco Inferno was one of the most forward-thinking and experimental bands of the 90s. They took hazy guitar hooks that were popular at the time, stripped them down in a sampler and laid it out on a bed of power-chords and what may or may not be live drums. In some ways, their music was the 90s' answer to the Wall of Sound. They were melody hand-cut and looped over garbled klaxons and glitches - which is easy for folks these days who know hot-keys on GarageBand, but required skill with a razor and splicer before we all took Prince's advice and partied like it was 1999.

Disco Inferno was short-lived and hardly had any name recognition other than sharing their name with a crap disco tune. But in their time, they made music that was unusually rich, layered and understated.

The band's three albums and five EPs laid-bare their influences - including multiple samples from Iggy Pop's The Idiot - and, in turn, influenced more well-known acts like Blur and Beta Band.

By Jim Morrow

[@iheartnixon]

Live Review: Lights

2011-11-23T16:29:00.000-08:00

Live Review : The Lights album launch for ‘Teenager of the Century’ – Nov 18th, ‘Katie Fitzgerald’s’, Stourbridge.

According to 5 piece ‘The Lights’ [Liz Sheils, vocals & keys; Shaun Kelly, vocals & acoustic guitar; Warren Meadows, drums; Gaz Worton, Bass; Dan Tombs, lead guitar] their new album, ‘Teenager of the Century’, is ten years in the making. Something of a concept release, the twelve track LP charts the experience of moving through teenage years. But those expecting such to mean the album's dominated by angst and melancholy will be pleasantly surprised, or perhaps disappointed, depending on their personal tastes.

The album is a decent blend of styles, feels and tempos. It sometimes consists of stomping acoustic rock and, at others, feeds off the current trend for popular folk. Nonetheless, it all comes together to create a well produced, upbeat release from a group still working hard on their sound so long after setting out together.

The venue where the band celebrated the album's release was well chosen: ‘Katie Fitzgerald’s’ in Stourbridge, an intimate cellar bar, packed with a partisan crowd and excellent facilities for good live music. The place is a gem, with obvious care taken to make sure the gigs it hosts are well catered for.

The evening began with a warm up set from ‘The Lights’ working a small selection of acoustically, styled cover songs. It was a fitting start to an entertaining evening, the highlight being an energetic version of The Cure’s ‘In Between Days’. And perhaps by accident, the performance actually had more in common with a recent Ben Folds cover version of the song than the original, and was all the better for it.

Next up, in what was unusual for a gig of this sort, was a performance from comedy magician Al Rudge. The audience were unfairly slow to warm to his pacy mix of one-liners and magic tricks, which was no reflection on the man himself, who hit all the right notes and won everyone round come the end of his stint.

Finally, the meat and potatoes of the evening were served hot. For their second set of the evening, The Lights played ten of the new album tracks in the order they appear on the LP, meaning that a review of the gig inevitably turns into a quasi-review of the album.

Taking to the stage with far more energy than was on display in the low key first set - you knew they meant business when vocalist Shaun Kelly removed his glasses, from Clarke Kent to Superman...kind of - the five piece were joined by violinist Rachel Slater for their opener ‘Sleep Addiction’. A mellow start gave way to a more driven second half, topped off with some strong falsetto harmonies from Kelly. The second and third songs [‘Mostly Water’ & ‘Holly’] rounded-off a strong opening with a folk sensibility, the former a harmony-filled chugger, the latter demonstrating versatility as Liz Sheils moved from keys to accordion and Dan Tombs from lead guitar to banjo.

The mid section of the set, rounded-off by upbeat crowd pleasers ‘Guestopolis’ and ‘Storm Over Pendry’, built nicely and included acoustic ballad ‘Sunday Best’. It was a well constructed set that reflected the album they were there to launch.

The crown jewel of the set came three songs from the end. ‘No Match for Genevieve’ is a walking bass driven treat with echoes of Queen classic ‘Crazy Little Thing Called Love’, which garnered the strongest crowd reaction of the night. The accessible ‘la la la’ and clap along sections of the song were perfectly pitched for the intimate nature of the gig, and the climax brought the house down.

The final two tracks rounded off the evening nicely, with a stripped back version of the track ‘18’ followed by the epic feeling finale, ‘Last Days of Dressing Up’. The build and release final song was a fitting end to a fun night of solid performance and musicianship, complimented by a watchable front duo in Sheils and Kelly.

It was a classy set that was given depth by the inclusion at various points of the aforementioned Rachel Slater, and one which complimented ‘Teenager of the Century’ well.

To sum up: Success.

By Steve Boniface

(Ahk-toong Bay-bi) Covered

2011-11-22T12:22:00.000-08:00

Holidays are near. And once you get over the John Lewis adverts and your anger about the pain of smiling under the duress of seasonal cheer, it's time to start thinking about what to give.

If you have a 'I don't want anything, give to charity instead' anti-consumerist loved one or an 'I love U2, but I hate Bono's politics' Tory party lizard on your list, (Ahk-toong Bay-bi) Covered is the ideal gift.

(Ahk-toong Bay-bi) features Nine Inch Nails, Depeche Mode, Jack White, and others covering U2s seventh album. But more importantly, proceeds from the album go to Concern Worldwide's relief work in East Africa.

The album will drop at iTunes on 28 November.

Medium Death Kick

2011-11-17T12:35:00.000-08:00

Medium Death Kick's new release, Shark Attack!, is the sound of trippy weirdness made in a boudoir stocked with samplers and synths. Part EP, part remix compilation, the album is a refreshing throwback to an earlier era of e and electronic music that was powered by immersive vocals, solid composition and fantastic drums. There's no hooks or auto-tune, just disco-fuelled tones filtered through wires and a precious voice that's simultaneously tortured and tender.

heres your team by Medium Death Kick

Mermaids TheMekanoSet MekanoDeathKickMix by Medium Death Kick

By Jim Morrow
[@iheartnixon]

Grey Hairs

2011-11-15T13:20:00.000-08:00

Grey Hairs are proof that scene dues pay-off. The band is new, but the members have been on the scene long enough that they should be considered permanent residents, with close to a hundred years collective experience and hard time spent in somewhere around fifty bands.

Instead of putting-away the instruments and retiring to a mid-life crisis of shouting at television or finding meaning in an IKEA catalogue, Grey Hairs got the band together and are putting to work their hard-earned knowledge of how to make a heavy riff.

Coming Shows:

With Storm and 8mm Orchestra. Nottingham: Spanky Van Dykes, 18 November.

With Cantaloupe and Beaty Hearts. Nottingham: Rescue Rooms, 23 November.

By Jim Morrow
[@iheartnixon]

Review: Submarine

2011-11-13T12:09:00.000-08:00

A teen outsider, a lego-haired girl, iconic colours in block, whispering French music and crisp, melting lights. The trailer promised much. It promised comedy, and seemed to almost hint deliciously at the glorious suggestion of 'cult' film. But Submarine, if anything, is anti-cult.

Oliver Tate is the misunderstood genius falling in love with sardonic Jordana, with overbearing mother and depressed father in tow. All the ingredients are prepared for any other coming-of-age film. However, from the very opening titles director Richard Ayoade steps to the side of the screen and gives us a little wink. This is a film that will laugh at its own artifice; hyper-hipster super-8 reel depicts the burning moments of nostalgia, dreamy bokeh reflections at the harbour-side accompany awkward, stilted teenage dialogue, The Shining-esque abrupt cuts between scenes. Oliver walks to the swimming pool sign 'deep end' and jumps in. He says he wishes life could fade out to black 'like in the movies', and Ayoade obeys with an ironic smile.

Aesthetically, the film is just right. Red and blue establish the stark colour pallet of childhood from the school hallway doors to the opposing duffel coats of Jordana and Oliver. We are taken back to the prickling landscapes of adolescence, the joys of bath tubs, moving trains, fireworks and matches, toy boats and spit. The Welsh landscapes are so evocative, we almost shiver watching. We can just feel the cold of windy fields and beaches. It’s a beautiful choice of setting for first teenage infatuations and suburban drama. And perfect in its invocations of soggy trainers and dry skin between the knuckles. As Oliver says, 'I’m not sure I believe in scenery'.

The writing, particularly that of Oliver’s voice-overs, employs very precise and well-controlled wit. There are some very funny moments, most effective when Ayoade makes pertinent observations whist cringing at Oliver Tate’s naivety. The actors' performances are very efficient, with Craig Roberts (Oliver) and Yasmin Paige (Jordana) satisfyingly out-shining the rest. At times Sally Hawkins’ portrayal as Oliver’s mother is not completely believable. But this doubt is broken by some very apt representations of human interaction; the most successful existing between Roberts and Paige - is most impressive with her excellent balance of the fragility and boisterousness of aching youth.

The soundtrack by Alex Turner is frankly unremarkable. It does not sound out of place, but it adds little to the films impact. A notable moment, however, does consist of the haunting rasp of a breathing apparatus, deployed to impressive effect during a nightmarish scene. But something makes me feel that this has been done before: The typewriters in Atonement or the heart-beat in almost any horror film ever made. And, for that matter, I feel this way about much of the film. Somewhere in the past ten years I’ve already followed a protagonist down a hospital corridor. I’ve already seen the obscure lamps that reek of intended character. I’ve already laughed at self-conscious camera angles.

Oliver says 'this is the moment where you’re supposed to...' And, once again, we’ve found a script that, in desperation to defy the clichéd love story, joins the ever-growing genre of 'quirk'.

By Ella Chappell

New Year in Kentish Town with Tribes

2011-11-10T12:05:00.000-08:00

What are you doing this New Year's Eve? If you have no plans - and we know you still don't at the moment - consider spending the night in Kentish Town with:

FLOWERPOT PRESENTS:

NEW YEAR’S EVE PARTY

THE HMV FORUM | KENTISH TOWN

8PM – 4AM | TICKETS £30

TRIBES

SLOW CLUB

BONES

CAAN

+MORE TO ANNOUNCED

with

OLLIE RUSSIAN (MY BANDS BETTER THAN YOU BAND) DJ

PAUL SETHI (CLASH MAGAZINE) DJ

and

HAYDEN KAYS' ART SHOW

The Flowerpot,Camden’s self-styled 'institute of breaking acts' will keep-up its New Year’s tradition at The HMV Forum in Kentish Town.

This year’s bill boasts one of North London’s biggest breakthrough guitar band, Tribes, along with critics favourites Slow Club, Bones and rising outfit Caan, while the UK’s number one music blogger Ollie Russian, and Clash Magazine’s Paul Sethi will be supplying the party tunes and big beats.

Also, Camden pop-artist Hayden Kays will be curating an art show that will feature some of his now notorious imagery that has branded the chests and walls of Camdenites for years.

The Flowerpot also promises face-paining, miscellaneous surprises, an incredible atmosphere, great music and a memorable climax to top-off the night.

TICKETS FOR THE FLOWERPOT’S NEW YEAR’S EVE PARTY:

In person at the Wheelbarrow | 55 Camden High Street

ticketmaster | 0448472405

hmvtickets | 0843221011

£30+booking fee, where applied

Also see,

www.flowerpotlondon.com

www.wheelbarrowlondon.com

Nostalgia with Brad: Grand Funk Railroad

2011-11-09T15:00:00.000-08:00

At some point every record nerd realizes the same thing: “Good” music is barely interesting most the time. A band like Girls may get the cred, but there’s a reason KISS gets the tattoos. It is also why the seemingly ironic tastes of record collectors are anything but esoteric. Personally, I pay exactly no attention when something like Girls is recommended to me. But I’m all-in if you swear up and down Uriah Heap has got something going on. And the next day I’ll be shelling over my hard earned $3 for that chewed-up copy of Wizards and Demons. I may or may not end-up playing air drums with the elves - or whatever it is that band is always on about - but at least rediscovery is involved. That’s something I can respect more than regurgitating some nonsense you read about a bunch of haircuts from Brooklyn on whatever blog you think means something [present company excluded].

I write this to say you can trust me when I tell you Grand Funk Railroad’s Closer To Home is one of the greatest records ever recorded. Ask your Dad, he’s got my back.

In no doubt due to the vast wilderness of uselessness that’s American radio, Grand Funk Railroad has become shorthand for a certain kind of rock music fan. He’s the guy who hasn’t bought an LP since Born in the USA. He tends not to wear shirts in public. When you go to a street fair, he’s the guy drunk at 2:30 on a Wednesday afternoon. He’s got a faded tattoo of his ex-wife or high school mascot. There’s a tassel hanging from his rear-view window that says “Class of 1981.” He’s the guy who audibly gasped while you were trying to sleep during Avatar. Grand Funk is Homer Simpson’s favorite band, and that makes all of the sense in the world.

The question is, though, beyond the wild shirtless lyrics of Mark Farner, bong-rattling bass of Don Brewer and competent drumming of Mel Schacher: Does Grand Funk Railroad actually offer anything to a ‘discerning’ modern audience? The answer is a giant shirt-rattling yes.

All of the aforementioned Homer Simpson-ness of Grand Funk implies a lunk-headed freedom-rock that immediately became unfashionable soon as Nixon was chased out of the castle by all those torch-wielding villagers. But there’s something there, something exciting and vibrant in ways more ambitious music doesn’t get. Grand Funk Railroad was loud and dumb and strictly for the people. Grand Funk is for groovin’, not thinkin’. As such, the songs are organized around feeling and movement - in the same way they remind me of early REM.

When you consider the ebb and flow of a track like ‘Sin’s A Good Man’s Brother’, you’re looking at the same structure that caused The Pixies and Nirvana to be so beloved. Mark Farner will hold back with some lightly strummed, yet heavily distorted guitar work, giving everyone a chance to catch their breath. Then, soon as you get comfortable, the most underrated rhythm section in rock and roll kicks you in your chest…and the crowd goes fucking crazy. You want to hear 10,000 people lose their minds? Dig up their live album, it’s 90% screaming.

It’s the visceral reaction is what makes Grand Funk great. But what makes them special is the song that closes out side one, ‘Get It Together’. The track is, hands down, the most soulful rock and roll song that has ever been recorded. The genius of the song is how Grand Funk rushes nothing. In its five minute run-time, the first three and a half are Mark Farner pounding away on a Hammond, while Brewer’s fuzzed-out bass drifts in and out of the mix. Then the vocals kick in. A trio of women scream ‘got to get it together’ while Farner wails like a man possessed by the insane ghost of Otis Redding’s car mechanic. I may be prone to hyperbole, but we are still talking about a group of white guys from Michigan.

They called their audience ‘brothers and sisters’. And they inadvertently created the template of modern indie and perfected the meeting of soul and rock. Buy-in and deal with the snickering. Lord knows no one getting this passionate about Major Lazer forty years from now.

By Brad Lewis

Video Mixtape: Chart Programmes

2011-11-07T15:48:00.000-08:00

The passing of Jimmy a Savile is a tragedy. Not only does it mean Jimmy Savile fancy dress will eventually become increasingly obscure - making it more difficult to just throw-on a shell suit and claim to be anything more than a chav - but it also puts a footstone on the television chart programme.

Before MTV killed the radio star, the only way for bands to promote themselves to a large audience, besides touring and airplay, meant making the trip to the television studio. And chart programmes, with their stale stages and awkward dancing studio audience, made for some surreal performances.

The Strawbs - Part of the Union

Jimmy Savile at his weirdest. This video is the 70s: Coked-out TV presenters pushing their cult on impressionable teenagers, swinging fetishists, bands trying to be the creepy missing link between Sgt. Pepper and Saturday Night Fever, it's all there.

Monks - Oh, How to Do Now

This video only proves my theory that Germans can't dance to anything but David Hasselhoff. The kids on the dance-floor, with exception of the tie-wearing kid in front of the stage, are a part of the Monks' only appearance on television, and they blow it by clapping out of beat and having the energy of my nan after one of her Vicodin benders. They look like they're burning time until the arrival of Eurotrance.

Tubeway Army - Are Friends Electric?

This specific stop at the Old Grey Whistle made Gary Numan's career. It was said that the audience found Numan to be 'robotic' and 'rather odd'. Today, we'd say he seems 'autistic' and wonder what meds he's dosed.

Joy Division - She's Lost Control

Joy Division live is very different than Joy Division playing on your stereo. It becomes obvious why Joy Division had its following once you see Ian Curtis attempt to dance.

Nirvana - Smells Like Teenage Spirit

Speaking of Joy Division. TOTP policy said the bands couldn't play live. Nivana decided they'd still try to perform.

Billy Bragg - Between the Wars

Rumour has it that Billy Bragg was allowed on air because no other band could make it to studio on short notice after WHAM! pulled-out. As the story goes, he's one of the only bands ever allowed to perform live and lyrics not censored because BBC couldn't find a copy of his album in their stacks.

Sister Rosetta Tharpe - Trouble in Mind

Live from Chorlton Station. It's a rare and beautiful moment in music history. And take a look at the old guy in the rocker: It's Muddy Waters, the man whose fate was made at an Alabama crossroad.

By Jim Morrow

Podcast: Labelled Independent

2011-11-02T11:48:00.000-07:00

By Steve Boniface

If you’re a discerning fan of new music (and let’s face it, you are) then you are always looking for new music to enjoy. And you also want to be the first one of your friends to discover that great new band everyone will be talking about next year, right? Then check out the latest Labelled Independent podcast – nine new tracks from independent artists and labels around the UK, all delivered direct to you for the princely sum of £0. Don’t ever say we don’t do anything for you.

To hear all of these tracks as you read the reviews, subscribe to the podcast free by visiting http://bit.ly/labelledindyitunes - in doing so, you’ll make sure you’re always among the first to receive our new music to your device of choice, and all for free.

Alternatively, you can hear individual episodes at http://labelledindependent.podbean.com/

‘Tonight’ By Crystal Bats (taken from new Barefeet Records compilation ‘Volume V’ OUT NOW)

Smooth, old school indie pop touching on the current trend of eighties recall, this track blends acoustic guitar, light synth and a clever mid-point electric guitar solo to great effect. This song gets better and better with each listen, give it a chance and it will reward you greatly.

‘If You Can’t Make Me Happy’ by Kirsty Almeida (All Made Up Records, single out Nov 7^th)

Picked as track of the episode on the latest podcast, this is tremendous fun. An easy, toe-tapping shuffle pace is complimented by spare production that builds to a lovely middle section that could be from a different song but fits perfectly. And how often do you hear a tuba on a walking bass line in popular music these days? A gem.

‘Systematic’ by Model Society (Unsigned, single OUT NOW)

A driving rock track that once again owes more than a little to the sounds of the eighties, particularly the punk movement. Its short running time belies the number of ideas on show, from the busy drum part to the ‘aahs’ backing the chorus. Well played all round.

‘Six And Sevens’ by Sophie Bohanan (Assorted Records, single/EP released Nov 1^st)

Stafford based Sophie Bohanan’s star is on the rise, and rightly so based on this straight-up acoustic/rock offering. Excellent production compliments an impressive vocal delivery from the singer/songwriter. Another decent pick from the Assorted Records stable.

‘Something To Believe In’ by Relish (taken from album ‘Connected’, OUT NOW)

Relish are now on their third album having been around since the 90’s, and count Brian May, Paul Weller and U2’s Larry Mullen among their fans. This track is an upbeat, well-produced piece of pop-rock that could easily be the three way love child of the Manics, The Feeling and Rooster.

‘Blue Sky At Night’ by Weird Shapes (Unsigned, from AA single ‘Weird Shapes Light/Blue Sky At Night, out Oct 31^st)

One of those tracks that just washes over you, this is an atmospheric, reverb laden joy. It’s slow pace, minimalist arrangement and electronic touches come together to form a smooth whole, almost trance like in its execution.

‘Room of Red’ by The Ocean’s Eyes (I Am Mighty Records, from EP ‘Lost Along The Way’, OUT NOW)

A ‘well built’ rock song from the ground up with a syncopated rhythm section supporting a verse that builds to a catchy, repeated chorus line. All this is wrapped around a middle section that brings everything back down to earth, and finished off with an excellent false ending. A great example of rock for the radio.

‘The Pigeon Machine’ by Intonamori (from new BadSekta compilation ‘Against All Odd’ OUT NOW)

Meditative electronica that seeps into your consciousness and takes you on a journey all its own. The ticking clock motif and the spare instrumentation, mixing eastern influences and electronic sounds, will not be to everyone’s tastes – there’s not a catchy chorus to be had here – but it’s a lovely piece of music.

‘Dragon Drums’ by Slugabed (NinjaTune, from EP ‘Sun Too Bright To Turn It Off’ OUT NOW)

Wilfully unstructured and non-commercial, this track is a shiny slice of electronic music from Slugabed’s 2^nd EP with the ever excellent NinjaTune label. An album is to follow in 2012, one to look forward to for electronic aficionados if this intriguing example is anything to go by.

To hear all these tracks now, subscribe to the podcast free by visiting http://bit.ly/labelledindyitunes - in doing so, you’ll make sure you’re always among the first to receive our new music to your device of choice, and all for free.

Alternatively, you can hear individual episodes at http://labelledindependent.podbean.com/

Thanks for reading, enjoy the tracks!

Feature: Words Worth

2011-11-02T10:52:00.000-07:00

By @bonniefriend - a freelance illustrator working on everything from children's books to bespoke wedding stationary. -

I find stereotypes and clichés infinitely irritating. I think I was scarred for life at university where the standard uniform included a pair of Jack Wills tracksuit trousers and gilet, Ugg boots, a leather disc belt and back combed hair that has been styled within an inch of its life to exude nonchalance. I am not a massive fan of following the crowd in any way if I am totally honest – it is why it took me six months after the onset of leggings to give in to wearing them; my own miniature form of rebellion for someone who is otherwise not remotely rebellious in any way shape or form.

Recently one particular turn of phrase has been rattling about in my head and causing some trouble. When Napoleon said ‘a picture is worth a thousand words,’ he created yet another long-standing clichéd term. But was he just being flippant? Or did he really think about this?

Now I am an enormous fan of illustrated communication. I was grossly disappointed when I realized I was too old for books with pictures, and equally thrilled that Sophie Dahl instigated a renaissance in such texts for fully fledged ‘grown-ups’. I am also aware of just how much can be communicated in a picture; you would be hard pressed to miss the impact of Nick Ut’s photograph of Phan Thi Kim Phuc in a Vietnamese steet, or at the opposite end of the spectrum The Beatles’ Abbey Road album cover. Certainly the importance of a good portrait for PR’s sake was not lost on Napoleon who repeatedly reinvented his image as romantic war hero and hard working statesman. Nonetheless, I feel that the term somewhat undermines the importance of the written word, to which we owe so much.

Having finally got around to watching filmic take on Elizabeth Gilbert’s Eat, Pray, Love the other day, I was utterly absorbed in the sensuality of the concept; I really think life probably is about all those things, but it was the moment where she is asked to pinpoint one word that defines her, which I thought most interesting.

Asking a friend to do the same, she wailed: ‘Oh no! That’s too hard!’ So I decided to undertake the challenge myself. However, rather than having to suffer the naval gazing that would involve defining myself in one word, I resorted to defining my friend instead, with a target date of the end of the week – more on that later.

The Oxford English Dictionary estimates there are around 228,112 words including over 40,000 obsolete words and 9,500 derivative words. With so much choice, it is totally comprehensible why sometimes a picture would be rather more useful to convey an entire cavalcade of them in a more succinct manner. However, the point of having quite so many words is that they can convey nuances and target specific points, feelings, or expressions. There are so many so that you can find THE ONE.

Words seem to have been the unwitting victim of many oft quoted phrases – ‘actions speak louder than words’ [Mark Twain], ‘words without thoughts never go to heaven’ [Shakespeare], and so forth. However, their power is also important to acknowledge, after all, they are reportedly mightier than the sword if Edward Bulwer-Lytton is anything to go by. Sartre described them as ‘loaded pistols’, and Buddha is credited with the phrase, ‘Better than a thousand hollow words is the one that brings peace’, a clear indicator of the importance on not just any old word, but finding just the right one out of the hundreds of thousands at our disposal.

At university I had a lecturer who pointed out the importance of a narrative to memory. In terms of the individual, he said that memory only begins when our vocabulary develops and we are able to create a running commentary in our own heads, because at this point we can articulate to ourselves what we are seeing, feeling, wanting, or needing. Babies scream because they know they want something but are not able to say what the problem is; it is frustrating, annoying, and upsetting. How wonderfully useful it would be for adult and child if we were all born with an inbuilt dictionary of our chosen language? How inefficient time without words can prove to be! How frustrating is it when you can’t find the right word for the feeling you are trying to convey? Perhaps much could be solved and a lot of money saved in therapy if one’s vocabulary was just that little bit broader.

So with all of this in mind, I thought about a word that could sum up any one of my friends, and resolved that I was fortunate there were so many words because that is how many I would need. With more than 200,000 to choose from that is where their power lies, in their variety and specification.

Then it finally occurred to me, when summing up my nearest and dearest, there really is only one word that will do, and I had it from the very start: Friend. It is small, commonly used and conveys a thousand sentiments. As Churchill once said, ‘Broadly speaking, the short words are the best, and the old words best of all’. So perhaps when Napoleon coined his phrase, his problem wasn’t the need for a thousand words, but that he simply had not found the right one.

Feature: The Rum Diary

2011-11-01T01:00:00.000-07:00

Yes, The Rum Diary is based on a quasi-autobiographical novel by Hunter S Thompson . Yes, Johnny Depp works The Rum Diary as a Hunter S Thompson caricature. Yes, The Rum Diary features Hunter S Thompson's style: The adjective stacking; his affection for everything savage and righteous; the use of words like bastards or the Fear. But put-away what you think you know about Hunter S Thompson. Let your bent collect dust next to the yellow-tinted aviator glasses, novelty Las Vegas visor and Acapulco shirt you wore to a fancy dress do a few years ago.

The Rum Diary was written by Hunter S Thompson, but the film's not about Hunter S Thompson: It's a fiction about Paul Kemp [Johnny Depp], a journalist seeking his voice and refuge in San Juan, Puerto Rico.

The film opens with sunshine and surf. But the dreamscape is quickly broken by a rum-soaked Kemp getting his bearing in a trashed hotel room. And beyond the room's drawn curtains, it's 1960, the last months before the American Dream begins its long slouch to depravity. It is Kemp's first morning in San Juan, and he's barely able to make sense of the scene.

From its opening, The Rum Diary follows Kemp as he staggers through San Juan and its gorgeous environment, acclimating to the schizoid life of the city. Kemp lives with his photographer, Sala [Michael Rispoli], and Moburg [Giovanni Ribisi], a vagrant journalist with a love for Hitler speeches. He works for an english-language newspaper on the edge of bankruptcy. He's in love with the lush Chenault [Amber Heard], the pampered nymphet fiance of Sanderson [Aaron Eckhardt], a fixer willing to landrape the locals for the slightest profit. And everything Kemp does is part of a live-action break-up letter to the America Dream and the hustle of those who know 'the price of everything but the value of nothing'.

Adapted and directed by Bruce Robinson, The Rum Diary is a literary counter-point to Mad Men. Robinson, who also made Withnail & I, explores the 1960s in a similar way as most period pieces. But instead of dressing-up drama in history, The Rum Diary takes a strange moment in time and undresses it, or 'unzips' as Chenault says - and, in several scenes, assaults it - in an effort to stylishly tell a few mousetraps featuring rum and a morality tale about greed and restless idealism.

However, despite its storyboard aspirations, there are many instances where The Rum Diary is not as suave as Robinson imagines, often shifting between uneven and unhinged. It's not a film as much as an observational account - which partly explains the story's strange shifts. The film follows Kemp as he tries to sort-out his place in the world, his dreams of being a face fading and his mind simultaneously addled and fueled by drink. The audience knows no more about what's happening than Kemp does; and in some instances even less, as they have no idea what really goes-on in his head or pages of the article he proudly writes. Then again, maybe that's the film's take: We're not meant to know motivation or fully understand what's happening, we just live with the consequences of events in which we never knew we had a role.

At its end, the film leaves the audience hanging. Because they're stuck with Kemp's unreliable narration, the audience is left to take what he says at full-value. There's no closure, just some sort of satisfaction in knowing Kemp thinks he has everything worked-out. Characters like Chenault remain mysteries, nothing more than a pretty face or soft touch that Kemp passes-over in his meandering search for revelation and clarity.

The Rum Diary is good, really good. And there's a certain timeliness to its bill of goods. But it only works if the audience lets-go and follows Paul Kemp on his literary adventure, and don't watch it as a Hunter S Thompson origin story.

The Rum Diary will be released in cinema Friday, 4 November.

By Jim Morrow

[@iheartnixon]

Live Review: Art Brut

2011-10-29T01:00:00.000-07:00

Art Brut. New Slang, Kingston. 20 October 2011

Art Brut is a band that should never have lasted four albums. But it’s fantastic they have and are still touring to promote their latest album, ‘Brilliant! Tragic!’. With comic books and paintings based on the album for sale at the merch stand, manned by Eddie Argos himself, there was a real connection with their increasingly loyal and present fanbase.

Opening their set with a segment from ‘Paradise City’ before launching straight into usual set opener ‘Formed A Band’, the song still strikes a chord, as much as it did when they first burst onto the scene. A feature of Art Brut gigs is how Eddie updates songs: Where they used to be the band that ‘Makes Israel and Palestine get along’, they now have the slightly less ambitious aim of making ‘Kele from Bloc Party and the NME get along’. After this, they went into the new album track ‘Axl Rose’, which opens with: ‘This world is fucked’ and how Eddie wants to give the world a finger, the exception being his favourite lead singer.

Still acknowledging his bandmates with his trademark ‘Are you ready Art Brut?’, they powered through their set at break-neck speed. And when Eddie decided to “improvise” during ‘Modern Art’, both band and audience had the chance to sit down. With Eddie in the midst of the crowd talking about his trip to the Van Gogh museum in Amsterdam, he told how he went ‘down’ to the basement while beckoning the audience to sit on the floor. The majority did, but he was aware some were not. ‘After two months of solid touring’, he explained, ‘I’ve learnt that no-one likes sitting on the floor, especially now some of our audience are in their thirties. I’m in my thirties too’. Of course, despite the creaking bones, everyone around him managed to rock out at the appropriate time. Eddie also talked about how his little brother is now 29 and hates the ‘patronising’ song ‘My Little Brother’, then he went on to mention how there is no longer such a thing as an A-side, and that his brother now uses Spotify to listen to all his music. It’s kind of sad, but for Art Brut fans it’s great to hear how he’s getting on, as he seems to no longer be out of control. Eddie said he’s now the one who gets the funny looks at family gatherings when asked what he does for a job.

Aware of the band's current standing, Eddie went into full-on mentoring mode, telling the crowd how his best advice is always to start by forming a band, have one really popular album and three equally-as-good records that the general public don’t seem to be keen on. He also said it’s best to not get too big, to gig-along at a level that keeps you happy, and everything will work out.

Backing-up his advice, the set still heavily leaned on the debut album, ‘Bang Bang Rock And Roll’, which had enough wit and interest in the likes of ‘Unprofessional Wrestling’ and ‘Lost Weekend’ to raise a smile amongst even the most miserable punter. Finishing their set with a frantic version of ‘Post Soothing Out’, the band still seem to be enjoying themselves every night , and long may that continue.

By Ryan Barham

Profile: Being There

2011-10-28T12:16:00.000-07:00

Currently touring the UK with label mates Noah and the Whale (Young and Lost Club), fans looking for a new group to scratch their 80s/90s rock itch since R.E.M. split should check out London-based four-piece Being There.

Originally formed at Manchester University by Sammy Lewis (vocals/guitar), James Robinson (Bass) and Nick Olorenshaw (Guitar), the group soon moved to London and found drummer Tom Rapanakis, all the while honing a sound inspired by guitar music heroes of their youth. Their debut single, double A side ‘The Radio/Back To The Future’ is an example of their versatile nature, two tracks which are distinct from one another while clearly hailing from the same source.

The first track, ‘The Radio’, is a melodic, synth infused rocker with airy vocals, while the brief but impactful ‘Back To The Future’ clocks in at just under two minutes with a far more guitar based, rhythmic feel. It’s all pulled together in the vocal production, with a smooth reverb added to the vocals to nice effect.

Self-confessed sci-fi fans, the band are quick to point to the cosmic references in the lyrics, as well as a strong through line suggesting a need to escape to something bigger, and come of age. Based on this start, I wouldn’t bet against those wishes being granted.

‘The Radio/Back To The Future’ is released on November 14th, with a launch night planned for November 29th in London.

You can find more on Being There at bandcamp.
Whilst you're waiting for that to load, check out Young and Lost Club.
Once you've done that, you can go and see them here, here and here, with Noah and the Whale:

26/10 LONDON, Brixton Academy
27/10 SOUTHAMPTON, Guildhall
29/10 CARDIFF, University
30/10 TRURO, Hall For Cornwall
31/10 BRISTOL, Colston Hall

By Steve Boniface

Video: Being There

2011-10-28T10:11:00.000-07:00

Being There says they're influenced by 'all things coming of age', like John Hughes or Goodbye Charlie Bright. They also say they want to sound like they formed in their parents' garage in the early 90s.

They're young, and we're not too sure they've yet come of age. But they have a Jesus and Mary Chain minus the ecstasy vibe. A few more nights on the town and a little innocence lost, and Being There will be well on their way to taking their show out of their parents' garage and into some venues they've earned the right to play.

Japanese Imports We Don't Need: AKB48

2011-10-27T11:54:00.000-07:00

Japan has a new logo. It looks something from Goku's arsenel. And it's supposed to help rebrand Japan as 'Cool'.

If there's anything Japan isn't lacking, it's probably attempts at manufacturing and franchising cool. Nonetheless, the Japanese government feels that it can prime its decaying industrial economy by increasing its cultural cache quota and ramping-up production of all things cute, kitsch and pastiche.

The vanguard of the 'Cool Japan' cultural production is AKB48, an attempt to create a pop group so massive and adorable that any global hostility to 'Cool Japan' will be rotted by excessive sweetness.

I have no problem with the concept of peace and love. But I do fear AKB48. The band has 57 members and growing. Their mission: Melt hearts and take no prisoners. However, in the process of building what's supposed to be the most perfect weapon of mass cultural destruction, the designer of AKB48, Yasushi Akimoto - who calls himself The Akimoto - has over-estimated the deployment of the Japanese school-girl stereotype, causing the band to be a creeper's delight. The group is so treacle, so over the top, so... kawaii, it's repellant.

Likewise, I'm pretty sure the sound of 48 girls singing-over each other to primitive Casio keytones is the music that plays on elevators in Hell.

AKB48s only redeemable quality is that members featured in music videos are determined by a nationally televised 'rock, paper, scissors' contest. It's a concept so brilliant, that it must be exported. Screw Strictly Come Dancing or whatever I'm supposed to watch, I want to see Dimbleby sweat it out against [insert current celebrity] in a rock, paper, scissors best of three death match for airtime. In fact, it's how all television scheduling must be done.

Caution, contains too much 'Cool Japan'

By Jim Morrow
[@iheartnixon]

Nostalgia with Brad: Stephen Malkmus

2011-10-26T15:59:00.000-07:00

Editor's Note: If you can't tell when you read this article, Brad's well-into his 30s and American. But because of his handicaps - at least one of them - he has a severe head-start on collecting albums, making him the memory pit of rock. And because Brad has an endless supply of albums and nostalgia, we've asked him to share with us.

Stephen Malkmus is a motherfucking genius. I can’t write a word on Mirror Traffic without getting that out of my system.

Every indie rock geek in his 30s has the exact same opinion I do. But oddly that is the exact same reason while so many indie rock geeks in their 30s can’t seem to get behind Malk’s solo records. He's the rare independent artist that's trapped by their past success; and we’re supposed to be the discerning audience that's not cowed by the shadow of nostalgia. Besides, it’s not like we're dealing with Audioslave here. The Jicks reside squarely in the Pavement wheelhouse. If those dudes could handle being in the same room together do you honestly think they would sound radically different from what Malkmus has been doing? Spoiler alert: no.

Yet every record Malkmus will release from now until the end of time will always be stacked-up against Pavement. And we’re not talking Terror Twilight either. Malkmus needs to release the best album Pavement never did or be called a complete failure. This is all a long way of saying a plenty of nerds have been complaining about Mirror Traffic. On one level this is totally expected. For the last year or so, Malkmus has been on the victory lap/cash grab that was the Pavement reunion. And I’m secure in claiming everybody we know was hoping that it was going to turn into a reunion album, complete with overwhelming critical and popular success that would eventually give us the long-hoped anti-Fitzgeraldian second act.

However, Malkmus didn't release Wowee Zowee 2: The ReZoweening. After a listen, we can all agree on that. But we did get something almost as good, almost. Here’s the rub: Malkmus was in his early to mid 20s during Pavement’s classic streak. Now he is in his 40s. Married. Children. All that. If you are anything like me, you were in high school when Malkmus showed up on your radar and now you own a house and very little hair. The moral here is the rage and excitement that totally makes sense from a 25 year-old realizing he has the ears of a generation has been replaced with a more pastoral quality that accurately reflects the lot of any self-respecting middle-aged man. His music is indicative of where I am — it’s just that I’m in a more resigned place these days. The increasing mellow of his records unfortunately mirrors my own age-based exhaustion. Two day hangovers after semi-eventful weekends is something I hate about my new life, and Malkmus reflecting that energy is a reason resent him some.

Listening to Mirror Traffic is like looking at a picture of yourself at a house party in 1998. You never realize how much you’ve changed until you're faced with indisputable contrast. Slanted and Enchanted opened with the towering monument to fuck-off that is 'Summer Babe'. Mirror Traffic opens with the subdued and lovely pedal steel of 'Tigers'. The sea change is evident from second one: We’re old. Crazed reactions to sexual frustration have been replaced with an exhausted romantic longing, I think.

Lyrically Malkmus is still obtuse at best. But delicate guitar work and pedal steel is always my assumed soundtrack to my exhausted romantic longing, so there we go.

That right there is why Malkmus still resonates with me. Pavement defined a time in my life because they articulated something deep inside, something I could not express for myself. Now I read them with nostalgia more than anything. If it is true that Malkmus doesn’t sound like Wowee Zowee anymore, it’s also true I don’t either. A lot of us are finally hitting the point where we’ve spent our entire adult lives with an artist. My love of Malkmus is now old enough to drive a car. It also means every new record takes-on the same meaning as the prom photo ironically taped to my refrigerator door.

By Brad Lewis

Live Review: Real Estate

2011-10-25T02:50:00.001-07:00

Real Estate. Rough Trade East. Tuesday 18 October.

London institution Rough Trade East opened its doors and welcomed Real Estate, who are widely unknown in the UK but deeply cherished by those who've heard of the New Jersey outfit.

After being ushered into the performance area, posters of the cover art for their new album were handed out, which felt like a show of respect and service for the people that made the trip to see the band. As is normally the case with Rough Trade in-stores, it was a free gig, though the crowd are encouraged to purchase the artists' material in exchange for a lack of cover at the door. However, after the show is through, not only do you feel compelled to splash your cash on the band's beauty of an album, 'Days', you feel bad for not paying for the privilege of seeing them live.

As soon as the band walked on stage, it was obvious they're at ease with one another. They smiled as they navigated their way through tightly-knit arrangements and lead singer Martin Courtney warmed-up to the crowd.

The unity of the band really showed when they began to play 'Green Aisles', with the bass immediately noticeable. Compared to the record, the sound is much richer and fuller, pacing-in like a slow march. Such warmth and feeling is complimented by lead guitarist Matthew Mondanile, looking like a young James May, swaying with effortless motion as if in a Zen-like trance and ripping-through the bass with clean, crisp riffs. You slowly get swept into the dream-like haze of an invincible summer.

As they continue through the set, the full force of the summer wave and their lead single 'It's Real'. It's such a simple riff, building slowly to the chorus and then the “ohhh's” come-in, creating a rally cry to make the most of the sun, jump into a drop-top car and head for the beach! But the real magic happens after the second chorus and the keyboards become more prominent. Without warning, the tonal delight of the whole band playing with almost mechanical perfection hits. It almost captures the feeling of having just accomplished what had seemed impossible, like you caught that first wave.

After closing with the album highlight 'All The Same', Real Estate, like any great live band, left the crowd wanting more. It was their crowning moment. The band was at their flowing best, playing off each other with perfect timing. They toyed with the crowd with such a hypnotic melody that everyone was swept-up in a sound so complete it was as though everybody was whipped-away by a wave they had no chance of escaping.

Coming-off the gig, the band were great to talk to and really attentive to their fans. You could see how much they love what they do and are so grateful to have the opportunity to do it. While listening to the album again on the way home it felt flat, almost as if this had been a conscious decision so that when you did get see them live you would be blown-away. It is a more punchier, fuller noise, and the band sound all the better for it.

By Matt Robinson

Real Estate, 'It's Real'

Found: Pat Jordache

2011-10-24T12:47:00.001-07:00

Canada is home to baroque rock. It's the music of Arcade Fire, Broken Social Scene, and Hidden Cameras, all of whom have more band members than seats on a tour bus and fetish for polyphonic cowbell and french horn solos.

But Canada is absurdly large, with few cities and not enough people to fill a social on the nation's sub-toilet circuit. It's expensive to take a string orchestra and Gregorian chanting monks on tour. Likewise, baroque attempts at the wall of sound can't be reproduced outside the studio and without the blessing of larger labels. So many Canadian bands - say Death From Above 1979, PS I Love You, and Diamond Rings - have stripped-down the band to create a sound that requires little more than a guitar or synth and kick drum. Think Flight of the Conchords after Bret left the band for Coco, and Jemaine had to work the tourist bureau convention with a cassette.

Out of the ashes of baroque and the new compact sound of Canada comes Montreal's Pat Jordache.

Pat Jordache - Phantom Limb from philip a karneef on Vimeo.

By Jim Morrow

[@iheartnixon]

2011-10-20T13:40:00.000-07:00

Taken by @irisnosroht . Taken from Ringo, Have a Banana.

Video Mixtape

2011-10-19T02:14:00.000-07:00

I still haven't gotten money from record companies. So I'm going to keep the label's music videos hostage until I have cash in hand or develop some sort of Stockholm Syndrome for their content, whichever happens first.

Kyla La Grange, 'Heavy Stone'

I have questions:
1. Is this an attempt at creating an alter-ego by an Olsen twin?
2. How much does it cost to rent the leisure centre? My niece has a birthday coming-up, and by the look of the video's quality, I'm thinking it's within my budget. How much more will the drum kit set me back?
3. What's the symbolism of the drummer being surrounded by candles? Or was it a budget decision?
4. Why does her make-up run on dry land, but not in the water?

Manic Street Preachers, 'This is the Day'

Their label is really pushing Manic Street Preachers like they're the next big thing. But a montage video may not be the best choice for the label's narrative, as it reminds viewers the band's been on the scene for some while. Also, I'm not sure how I feel about Manic Street Preachers covering The The. The original song - not to mention video - had a nice Thatcher-era low-fi, soundtrack to '16 Candles' quality. The cover comes-off as saccharine Cameron-era nostalgia for the Thatcher-era.

You Love Her Coz She's Dead, 'Leap of Desire'

The video features parkour because the song's called 'Leap of Desire'. Get it? Leap of Desire? Eh? Eh?

Back in the 90s there was an equation for post-Madchester music that went: [girl/screeching vocals] + [loud caller] x [90 BPM/industrial synth] = Solid Gold. It was effective for bands like Republica or Sneaker Pimps, but the vocals were shrill, so it's refreshing to see the equation has at least been updated to include a few moments of melody.

Alex Winston, 'Velvet Elvis'

The top comment for this video on YouTube is 'Heather Morris and Ashley Lendzion sent me here cause they're awesome :)'. I think that sums it up.

Moby, 'Sevastopol'

Moby's still around, eh? I'm surprised he's gone so long without a Richard Gere-like lifestyle rumour, especially since he seems to thrive on urban legends, like the one about how he used to have a music career. Therefore, I'm going to do him a solid and start a rumour for him: I once heard Moby hijacked a National Express coach outside Scunthorpe and forced passengers to listen to his 'Phil Collins Experience' mixtape.

Josh T Pearson, 'Country Dumb'

You know who else had a beard like that? Karl Marx. Oh, and maybe Jesus. And Brad Pitt did for a while, too. That's rare company.

Galaxie, 'Piste 1'

I'm not going to lie... I'm a sucker for any song that can unite the words 'dancefloor' and 'magnifique'. Likewise, I'm going to go ahead and say what everybody else is thinking: Did you see the band's beautiful Moog?

M83, 'Midnight City'

Ah, crap, the Midwich Cuckoos are back. This is one of those instances where the song outpaced the video in its release. It's not odd, but kind of weird, because the song is attached to memories or certain events by the time the video is released - not that the video should have that much impact on a song's meaning. As for the song, it's alright, though I know clips of it will soon become ubiquitous in mobile phone adverts and promos for Skins or what have you. Also, I'm kind of creeped-out by the sax at the end. The trend started with Destroyer earlier this year, and if the current pace continues, there will be a full-on 80s-style Sade sax solo in every song by mid-January.

By Jim Morrow
[@iheartnixon]

Feature: DRIVE

2011-10-18T02:00:00.000-07:00

Drive is the third English-language film from critically acclaimed Danish director Nicolas Winding Refn [Bronson, Valhalla Rising], and has attracted attention at The Cannes Film Festival for its super-cool soundtrack and mish-mash of genres. Ryan Gosling is the lead. Alongside him is Carey Mulligan, Albert Brooks, Ron Perlman and Christina Hendricks, who all make up an impressive cast for an independent production.

The film follows a quiet, seemingly reserved Hollywood stuntman who works as a getaway driver on the side, and eventually finds himself deep in an increasingly violent situation after a heist goes horribly wrong.

The film's most notable factor is its general style and feel, which me reminded me of Walter Hill's iconic film “The Warriors”, with its neon-soaked city views and the main protagonist's signature silver stunt jacket - almost identical to one of the gang's jackets from the 70's cinema classic. Another influence was Stanley Kubrick, who had a gift for holding a shot as long as possible without losing desired effect, creating landscapes with the camera.

There were moments in Drive when I found myself transfixed by the cinematography and its ability to suck my eyes into the screen with little mercy, like when "Driver" - as Gosling's character has no name - is looks-over Los Angeles's cityscape from his apartment. The camera creeps up on the characters with tight medium-shots in sometimes rather claustrophobic settings - corridors, diners - and clings to them, creating a sense of paranoia and unease, as well as a feeling of impending danger that may crash the film's initial calmness.

The music in the film deserves all the praise it has been given by critics and film fans alike. There are 5 original tracks, and my favourite being Kavinsky's gloomy robotic electro masterpiece "Nightcall". The music is scored by ex-Red Hot Chili Peppers drummer, Cliff Martinez. And many of his compositions start out in a minimalist and atmospheric fashion, beginning slow and serene before they build up into more frequent stabs of bass and erratic synthesizers in scenes of tension and dread.

The film explores loneliness,Gosling being brilliant as the mysterious and - at first - emotionless main character, who cruises the streets at night as if he were a devoted superhero protecting his city from evil. The character's most interesting feature is his psychological transition from the kind, helpful neighbour to vengeful, no-bullshit hero. The dark 'ultraviolence' that occurs later in the film may be exaggerated, but it still retains its shocking qualities, despite the B-movie/Grindhouse-feel that some scenes have.

Refn doesn't hesitate to incorporate his inspirations into this film, improveing his skills as a director. The melting pot of genres - it's hard to tell if it's New wave, a road film, horror/slasher, Romance, or Noir - challenges the audience and keeps things fresh, whilst displaying Refn's love of cinema and his appreciation of the different styles and movements within the world of film.

Drive is a wonderful piece of work and should not be missed.

By Luke Allen

Found: Lianne La Havas

2011-10-18T01:56:00.000-07:00

Lianne La Havas is a mystery. There's evidence she's a real person, as she's been on Jools Holland and can sometimes be heard on Radio 2. Then again, except for her velvet voice and haunting lyrics, little else is known about her. But maybe that's not so bad, as we get to hear her music without any preconception - we get to know who, as opposed to what, she is.

What's best about her duet with Willy Mason, 'No Room for Doubt', is that it has the feel of the Lee Hazelwood and Nancy Sinatra collaborations. A lot of musicians try hard to get the 'Some Velvet Morning' sound, and are always off pitch. But then Lianne La Havas saunters in and owns it.

By Jim Morrow

[@iheartnixon]

DOUGH: 20/10/11. The Bodega, Notts.

2011-10-17T03:26:00.000-07:00

Third year Graphic Design students from Nottingham Trent Uni are holding a party at The Bodega to raise cash for their degree show.

The night? Aptly entitled, 'DOUGH'.

20th October. The Bodega. 23:00-03:00. Live Art, Prints, Fun, Popcorn.

DOUGH will host fab local DJs such as Tunnels and FNORD (Lotp), as well as plenty of opportunities to get your mitts on the fabulous merchandise set out below for a reasonable price.

There will also be illustrators and artists creating some 'live art' outside the venue, all the while you can fill yourself up with popcorn as a midnight snack.

If all of this talent under one roof gets too much for you, and you undergo the harrowing realisation that you're spending your youth and your income on shots of sambuca instead of doing something productive with your spare time, you can spend all of your booze monies on some lovely prints for your boyfriend, your girlfriend, your best friend, your grandma.... (etc etc) and go to bed knowing that you've contributed to these wonderful people's future, and made your print receive-ee very happy indeed.

Above: Emily Darby. Cat Poster £2, homemade cards, £ as priced on the night!

Above: Hand-stitched sweaters made by Get Sweaty (Abbey Pennyfather).

Above: (L) Laura Hopewell. (R) The Cubb.

Podcast: Labelled Independent

2011-10-14T05:34:00.000-07:00

With the sheer amount of identikit pop that floods UK charts, there’re plenty of talented artists in the UK making music that will never get the recognition they deserve. Below are 8 great tracks that are on our radar, released this month by independent record labels and artists around the UK.

By Steve Boniface.

To hear all these tracks now, you can subscribe to the podcast free by visiting

http://bit.ly/labelledindyitunes. Doing so, you’ll make sure you’re always among the first to receive our new music to your device of choice, and all for free.

Alternatively, you can hear individual episodes at http://labelledindependent.podbean.com/

‘Used’ by Warren Dean (Unsigned, taken from the album ‘Who is Warren Dean?’ OUT NOW)

Straight up rock track from an artist known as Warren Dean – actually an alias selected to hide his true identity, preferring to remain anonymous and let the tunes speak for themselves. The cash to produce the record was raised busking around the UK and the hard work has resulted in this album.

‘Days Like These’ by Nick Howard (Unsigned, taken from album ‘When The Lights Go Up’ OUT NOW)

Upbeat pop rock that arrived just too late to be a great summer track. Strong bass lines mix with offbeat rhythms to build to a chorus as sticky as flypaper. Nick Howard is a Brit abroad, working in New York and supporting artists such as Jack Johnson and Counting Crows, doing his own headlining this year.

‘Here For Now’ by Miri (Reel Me Records, from the EP ‘My Heart’s On My T-Shirt’ OUT NOW)

Smooth, chilled pop that settles quickly into a laid back groove and never leaves it, with a chorus that’s easier to pick up than your morning paper. Miri is a hard working singer songwriter who’s been performing the London scene since the age of 16 and shows no signs of stopping since signing to Reel Me Records.

‘Time To Go’ by Elsie (Unsigned, track available now for free download from www.elsiemusic.com/)

Fun, eighties tinged pop tune about the joys of casual sex. Once you’ve listened through and enjoyed the lyrics, play it again to appreciate the gravelly quality of the vocals and the four on the floor dance feel from the drums. One to play loud while driving on a sunny day, windows down.

‘Perfect Darkness’ by Fink (NinjaTune, from AA single ‘Perfect Darkness/Berlin Sunrise’, OUT NOW)

Great music sets an atmosphere, and this alternative acoustic track from Ninjatune’s Fink is a great example. Building from a simple mix of melody and guitar into a simmering outro of strings and synth – this one will stick with you.

‘Painted By Numbers’ by Ben Parcell (unsigned, from EP ‘Painted By Numbers’, OUT NOW)

Stepping out to meet the current trend for folk tinged acoustica, this track is one that gets better and better with each listen – simple instrumentation, bouncy rhythm, great production, and a clever coda section that slowly brings the listener full circle for a satisfying end. Lovely.

‘For The Kids of Multiculture’ by Sonic Boom Six (Rebel Alliance Recordings, single, OUT NOW)

It’s a difficult balance to strike – satirical lyrics, punk rock, and keeping it fun without sounding pious. In the wrong hands the message of this song would have been preachy and clumsy, but here it’s all wrapped up in an upbeat treat of pure pop-punk. A fantastic track.

‘Drop The Other’ by Emika (NinjaTune, from album ‘Emika’, OUT NOW)

From the skippy, syncopated opening to its abrupt end, this track grabs you from first listen with an ominous mood and light, effective vocal. Emika is a singer songwriter in the most modern sense, effectively using the tools of the digital age to create her style, which is well worth sampling.

All tracks are featured on the latest episode of Risk & Consequence’s partner podcast Labelled

Independent, working to bring you new, independent music from fantastic artists before they make it big.

Thanks for reading, enjoy the tracks!

New: Tyrannosaurus Dead - Tyrannosaurus Dead EP

2011-10-13T14:13:00.000-07:00

Brightonian five-piece Tyrannosaurus Dead are set to release a three-track EP, simply entitled, ‘Tyrannosaurus Dead EP’ on 24 October 2011.

How are they celebrating? They're having a launch party at Fitzherberts in Brighton. It's free entry, and you can grab the EP for the low, low price of £3! Bargain, right?!

If you can't make it along to their launch party, which is on the 12th November, (shame on you), then you can buy the EP via Cupboard Music.

If all else fails, you can go to their website and stare at cute illustrations of vomiting dinosaurs and dinosaurs dressed up in a cowboy outfit.

Tyrannosaurus Dead by tyrannosaurusdead

You can catch Tyrannosaurus Dead at the following venues :

15.10.11 BRIGHTON - Prince Albert (with Black Black Hills, Clowns & The Icarus Youth)
12.11.11 BRIGHTON - Fitzherberts (Tyrannosaurus Dead EP Launch Party, with Hockeysmith & Jackals)
21.01.12 BRIGHTON - Green Door Store (with Standard Fare & Model Village)

Video Mixtape

2011-10-10T10:00:00.000-07:00

In an effort to pimp their bands, labels send us videos. They hope we'll pass them on to you, that you'll watch them and buy the album or, at the least, pass-on word of the band's existence to other people.

Back in the day, labels used to pay DJs to spread the word. However, 'payola' fell out of favour a long time ago. Seeing as payola isn't making a return in the next few days, we'll share the videos, but at some cost to the labels; they are popped into a mixtape, and I get to add some comments.

The Victorian English Gentleman's Club, 'A Conversation'

I had a teacher called Ludwig when I was in art school. Ludwig would get high before class and always talk about the 'moods of colour' and his fondness for girls in red heels. I like to think that whoever directed this video would have been Ludwig's favourite student.

Age of Consent, 'The Beach'

I don't mind the post-emo darkwave, Pet Shop Boys meet Depeche Mode posturing; it comes with the trenchcoat and Killers-style 'I'm a serious artist' beard. That said, I'm weary of any band that flashes a stylised logo before they have an audience that's larger than their Facebook friends. If you already have a logo, what else are young goths supposed to doodle in their ample spare time whilst they dream of being in the band?

Tall Ships, 'Plate Techtonics'

Nothing of significance happened in this song or video.

Emily Barker & The Red Clay Halo, 'Billowing Sea'

The PR agent tells me that Emily's the new opening act for Frank Turner. I've seen that guy play some venues where he barely fit on what was supposed to be the stage. I'm thinking that she isn't bringing the orchestra with her on the road.

Beth Jeans Houghton & The Hooves of Destiny, 'Liliputt'

I kind of dug the song. The video is a mystery. And I have to admit I'm a little worried about new rage for bands that take-on the Canadian Baroque sound - see Austra or Jenn Grant. If there's anything that should be imported from Canada, it's poutine.

Dennis Hopper Choppers, 'Girl Walked Out of Town'

When you turn 30, country music is supposed to suddenly be so profound that you can't help but cry. This hasn't happened to me yet. On a side note, I met Dennis Hopper once. He told me to drop acid in moderation. Solid advice that was.

Or... I could say something witty about the video, like 'Shut the fuck up. Dude, I don't care about your life story or girl troubles. Get back to fixing my damn car'.

Flashguns, 'Passions of a Different Kind'

Toffs practise that sollen look.

Duologue, 'Push It'

I thought the piano-based power-ballad went the way of 2006. I've been proven wrong. Also, the label says they sound like something between Radiohead and Foals. If that's what they say, sure, I'll go along with it, they sound something like that.

By Jim Morrow
[@iheartnixon]

Review: Apollo's Arrows

2011-10-10T04:34:00.000-07:00

Apollo’s Arrows dispel formulaic song structures, creating complex compositions
that feature chaotic time signatures and dynamic melodies.

Apollo’s Arrows consists of Ed Bidgood, Matt Freer and Alex Binks, who formed the band when they were 16. Since their formation they have built up a following thanks to their extensive live shows, and have recently performed at Bestival and featured on BBC introducing.

Their latest EP “Glass Vessels” bursts to life with opening track “Passenger Announcement”, as intricate guitar melodies entwine against a background of frenetic percussion and bass. Vocal melodies flow effortlessly throughout the ever changing soundscape, that cascades from a vigorous, energetic feel to an atmospheric breakdown, only to ascend once more in a frenzy of guitar riffs and propelled drumbeats. “Houdini” also possesses a great sense of energy, powerful kick drum and cymbal beats open the track; the rolling percussion providing the backdrop for forceful guitar riffs to propel the track forward, which contrast against tight vocal harmonies. Title track “Glass Vessels” slows the pace down, shimmering with beautiful guitar melodies and hazy vocals, possessing an ethereal feel. The speed is invigorated once more with final track “End At The Start”, featuring solemn vocals that build up to a whirlwind of pitchy screams and snare drum crescendos.

“Glass Vessels” is an EP that showcases Apollo's Arrows experiemental nature and is sure to appeal to fans of math rock/post-rock artists such as Brontide, Tubelord, Shapes, and Thursday.

The EP is currently available to buy from itunes, with a physical CD due to be released in late October, available to buy from Flat Pack Records and Tangled Talk. The band are due to tour with Rosa Valle and Polio in November.

By Rebecca Redfern

Icona Pop Release Another Catchy Song: Blogs Are Shocked.

2011-10-10T03:42:00.000-07:00

This morning I read claims that Icona Pop have gone 'too mainstream'.

What a phrase!

Who really cares? The song is brilliant.

Listen: Stream James Blake's 'New Thunder EP'

2011-10-07T05:24:00.000-07:00

With a Mercury Music Prize nomination and sales of more than 200k worldwide for his eponymous debut LP under his belt, James returns with ‘Enough Thunder’, a 6 track EP fronted by iconic imagery captured during his Glastonbury performance in June. Alongside four original compositions are the now infamous cover of Joni Mitchell's ‘A Case Of You’ and James’ collaboration with Bon Iver. The four other pieces are all solely James Blake's own compositions.

The full 'Enough Thunder' EP package will be available on October 10th.

Profile: Cities Aviv

2011-10-07T05:12:00.000-07:00

Hailing from Memphis, Gavin Mays (AKA Cities Aviv) combines various styles from lush electronica - check the washed out chillwave synths on Float On below - to almost jazzy trip-hop on his collabs with fellow Memphian Fille Catatonique. His off-kilter pop sensibility, reflected in his Shirley Bassey and Depeche Mode samples, compliments his RZA-like flow, with classic themes of hip-hop stardom- ‘Wanna be more than just a fuckin’ name on a plaque’. Bursting out of nowhere with a scattering of singles, Aviv released his debut album Digital Lows for free. If you’re down for some forward thinking hip-hop that gets you chill as, head over to Bandcamp. Hipster or not, you won’t regret it.

You can preview and name your price for Cities Aviv debut 'Digital Lows' here- http://citiesaviv.bandcamp.com/album/digital-lows

By Noah Jackson

Video: Bombay Bicycle Club 'Lights Out, Words Gone'

2011-10-07T04:52:00.001-07:00

Created through a competition by Genero TV, aspiring filmakers were given the opportunity to create the official promo video for Bombay Bicycle Club's new single 'Lights Out, Words Gone'. And here it is, the winning entry by UnaRegiaDiMauroBlasetti.

You can view UnaRegiaDiMauroBlasetti's Genero TV profile for more of his work here.

A Moment for Bert Jansch

2011-10-05T19:56:00.000-07:00

The world is without Bert Jansch.

It's easy to say music won't be the same without him. And it could be just as easy to make some kind of Don McLean-type statement about 'the day music died'. Or simply say he's 'Legend'. But there's also some truth to such statements.

Bert Jansch was more than the 'British Dylan', as so many obituaries will say in the coming days. He did folk right. His voice carried the wisdom of songs who's sound had long been left behind in distant dales and heath. And his guitar let loose the power and complexity of chords that make a soul stir.

'I'm not recording for anyone, just me', he once said. However, he influenced what is now generations of musicians. Jimmy Page, Neil Young, and Graham Coxon say he made them love music. That's high and well-earned praise.

By Jim Morrow

[@iheartnixon]

Video: Fairewell 'Born Under a Bad Sign'

2011-10-05T16:04:00.000-07:00

Feature: I believe in Fairies

2011-10-03T03:19:00.000-07:00

“Old people are really miserable!” said my friend having returned from a wedding the night before. (I hasten to add that he is twenty-eight, but is a primary school teacher, so by ‘old’ he could be referring to anyone over the age of six). He was in the hazy post celebratory glow accompanied by the compulsory headache of having just attended the wedding of a childhood friend, but the unbridled euphoria of the occasion had been undermined when a relative of the groom commented: “well, no point getting too excited, we’ll be here again in a few years time won’t we? It’ll never last.”

Aside from the shocking rudeness of this comment, a lack of faith, not to mention, enthusiasm, seems to be one of the tell tale signs of aging, and, I would like to point out, one of its least attractive symptoms. It is no surprise that my toddler-teaching friend was put out by this comment, because he spends his time with people who are capable of immeasurable joy over something as simple as break-time. Nonetheless, while it is perhaps unfair to compare the emotional capabilities of a six year old with that of someone with a few more decades and experiences under their belt, there is undoubtedly a shadow that gets cast on our ability to simply show enthusiasm and have faith as we grow up. After all, when was the last time you were so excited about something it was the first thing that flew out of your mouth everywhere you went? When you ran so fast you thought you couldn’t stop? Or you told someone how much you adored them without worrying what their response would be? (My cousin’s little girl wrote me a card last week that said ‘I love you, I love that you came to see me today. Lots of love.’ – She is six, I treasure it, and did indeed, feel loved). So with this in mind, I wonder, at what point is it exactly that we lose the uninhibited ability to believe?

In recent months, although I suspect it has been periodically recycled during silly season and around Valentines Day, a survey has been published in all the national papers and on the BBC telling us that too many rom-coms and Jilly Cooper novels are the reason so many relationships fail. After a diet of saccharine fictional clap-trap, we expect out of this world first meetings and fairytale romances that will last until the dawn of time (it is good to know that the omniscient ‘they’ are sticking to informative topics in publications specifically dedicated to ‘news’). Of course, any of this would be a massive strain on the average human being, but nonetheless I think this must be the first time anyone has accused books of being the source of societal ‘dumbing down’. Given that so much pleasure can be derived from these happy endings, surely the means to broadening your imagination can only fuel your faith? But no, someone old enough and ugly enough to play Grinch has had to see the down side.

There is nothing more annoying to me than people who simply refuse to have faith, who are eternally negative, and who always find a reason why things can’t be done. It is to those people you want to turn and say with a totally straight face that you still believe in Santa, and that you saw fairies at the bottom of the garden. Don’t get me wrong, I am just as capable as the next city dweller of being cynical: the only place I ever get asked out with alarming regularity is the tube (it’s not a compliment, it’s weird) and although all the ingredients are of movie moment magic, all can ever think is ‘must check my handbag to make sure this isn’t an elaborate ploy to steal my newly topped up Oyster card’. Even so, it is these people who I can only assume to be the source of all evil and when met with their views I assume the kind of block headed enthusiasm that can do nothing but irritate anyone whose opinion is solely based on logic and rationale.

Being an artist, drawing has always been the focal point of my existence, and growing up I had a preoccupation with Victorian fairy paintings – the flower fairies, Arthur Rackham – you name it, I copied it. So in amongst my obsessive reading I of course came across the Cottingly fairies. For anyone unfamiliar with them – in 1917 two little girls claimed to have photographed fairies in the woods near their home. It became something of a phenomenon, with many people believing them to be real until Geoffrey Crawley, editor of the British Journal of Photography, amongst other people, undertook a "major scientific investigation of the photographs", and proved them to be fake. What I can never understand, is what kind of a miserable bugger would feel the need to prove that fairies don’t exist? It is not as though it made a difference to the price of bread, it just made people happy. Deep down they would probably know that the photographs were fabricated, but why prove it? What did it achieve other than immeasurable disappointment and the public destruction of two little girls’ fantasies?

If you think about it, we humans are funny; we are eternally trying to keep a firm hold of things that are either intangible or that are not meant to be held on to. So in relation to the sour faced person my friend encountered at the wedding, their point seems to be mute, because although I understand that the point of marriage is that it hopefully lasts a lifetime you can have no guarantee that relationships will last, even if you bind them by law. Sure a marriage certificate can ensure to an extent that someone sticks around, but that isn’t to say the relationship itself is successful; the only thing you can do is have faith.

Another friend and I were discussing weddings recently, (they are a running theme at the moment) and she said: “My seven year old niece was uncontrollably excited about her birthday the other week, which we never seem to do as adults. So I think one of the reasons weddings are so lovely is because it is a rare chance to be really girly and overly enthusiastic.” I completely agree with her (although how tragic that as a ‘grown up’ we need an excuse to be excited to the point of the ridiculous?) I am lucky enough to be working with several brides at the moment, designing their invitations and bits and bobs, and the best part is that you can see them bubbling over with all the excitement they have been storing up since playing dress-up as a child. This of course, only adds to my conviction that any misery guts looking on the down side at a wedding can really just go home.

I seem to be learning an awful lot from my cousin’s little girl Lucy of late. We were in the garden over the summer blowing bubbles and trying to catch them; in the afternoon sunlight they were so beautiful. all different colours from the refracted light. So naturally, she wanted to be able to hold them. Of course the thing about bubbles is that you can’t hold them; as soon as you trap them, they burst, such is life; the only thing Luce and I could do was enjoy them to the full while they lasted. William Blake, unsurprisingly, put it better than me, writing:

“He who binds himself a joy
Does the winged life destroy.
But he who kisses the joy as it flies
Lives in eternity's sunrise.”

All that said, I am not entirely sure when it is that people lose the ability to have uninhibited faith, or even if it’s something we can avoid. Perhaps it is just a sign of growing up; of change and experience.

As I sit and write, the rain is pouring down outside, and in the last few days when I have been running, it has become obvious that the leaves are turning and the hedgerows are bursting with blackberries – Autumn is upon us. I am a summer girl, and this time of year seems one of descent and decay – it makes me sad.

An email just came through from a friend from school. In a grainy black and white picture, the shadow of a very, very small person is staring out at me accompanied by five little words: ‘Hopefully arriving on 22nd February xxxx’.

I guess change is inevitable, but I have total faith that the summer will come again, and I bet that for at least a little while, that shadow will have faith that there are fairies at the bottom of the garden.

By Bonnie Friend

Next Show: Mechnical Bride 26/10

2011-10-03T03:18:00.000-07:00

Thanks to all who came to our launch show at the Old Blue Last in Shoreditch last night. Our next show will be at the Frog and Fiddle in Cheltenham, and features the awesome Mechanical Bride headlining, with support to be announced. Tickets are just £4 advance, and available from our shows page, or on See Tickets.

Have a listen and read more about Mechanical Bride below:

Mechanical Bride - Colour Of Fire by Stayloose

"Doss now emerges as a fully-formed songwriter of sharply intelligent folk-pop... There's
character, musicality and spark here" Uncut

"Mechanical Bride's music is both invigoratingly new and comfortingly timeless. Combining
the mournfulness of Marianne Faithful and Natasha Khan's woodland mysticism, this is a
rare treat" The Panel, Music Week

"Dreamily rustling through the overgrowth of piano, strings and trumpet, like Little
Red Riding Hood listening to Cat Power….At it’s best, the fairy-tale mysteries of ‘Young Gold’
and ‘Colour Of Fire’, Doss is worth the wait " Q

“4/5” Artrocker

Mechanical Bride is 25 year old songwriter and self-taught musician Lauren Doss, who made quiet
but confident waves back in 2008 with her debut release, a collection of beautiful songs called 'Part
II: EPs'. On the mini-album was a version of Rihanna's 'Umbrella, an affecting cover that seemed
coated in icicles, more haunted nursery rhyme than the original chart-topping pop smash. The track
received plays all over the airwaves from Radio 1, 2 and 3 to BBC 6 Music and XFM and anchored
this exquisite mini-collection that gained Lauren critical acclaim as an exciting and talented new
British songwriter, as well as comparisons to the likes of PJ Harvey, Bat For Lashes and Laura
Marling.

Living With Ants, Mechanical Bride’s debut album proper, is a defiant step up and sees her song
writing blossom from the stark, black and white songs on Part II, into fully formed techni-colour
flourishes. “I wanted to find the beauty and colour from dark places that exist inside and outside
of ourselves, the title ‘Living With Ants’ means learning to co-exist alongside niggling issues and
worries that we maybe create for ourselves”. Living With Ants is a stronger, more vibrant record and
is testament to how much Lauren Doss has grown as an artist.

Video: Sons and Lovers 'Set My Heart'

2011-10-02T05:34:00.001-07:00

Review: Gross Magic 'Teen Jamz' EP

2011-10-02T04:03:00.000-07:00

In today’s blog-infested world of new music it’s easier than ever to pick up future trends and influences in bands. Sam McGarrigle’s Gross Magic seem to completely encapsulate this with their fusion of the 3 G’s (Glam Rock, Grunge and Garage) on their new E.P ‘Teen Jamz’.

The Brighton outfit have turned heads with their debut, mashing both lo-fi, grunge and psych-rock into something that seems to fit perfectly into the landscape the current wave of early 90s inspired acts. Opening track, ‘We’re Awake Tonight’, starts almost identically to E.L.O’s ‘Mr Blue Sky’, and continues with the same pop sensibility, complete with dreamy backing vocals and T-Rex reminiscent guitars. ‘Teen Jamz’ feels akin to Smith Westerns, ‘Dye It Blonde’, in that it is out and out glam rock, which sits perfectly with its lo-fi production.

It’s exactly this repatriation of glam-rock that makes Gross Magic look like the 21st to T-Rex’s ‘20th Century Boy’, exuding the smooth charm and character which has made Los Angeles’ Ariel Pink so popular. As a result, Gross Magic have already gained a blog hype usually reserved for up-and-coming, genre spanning U.S acts.   It didn’t take long after the UK release (August 2011) for the E.P. to be picked up by influential U.S. label Fat Possum Records, who are to release ‘Teen Jamz’ early October.

Out now on limited addition purple vinyl with album artwork akin to Saved by the Bell; ‘Teen Jamz’ sets the standards high for future releases, armed with a sound that owes as much to Marc Bolan and Jeff Lynne as it does to the blog darlings of today.

By Christian Allen

Review: Lowkey 'Soundtrack To The Struggle'

2011-10-02T04:00:00.000-07:00

Lowkey’s rhymes have led him to travel the world over, and build a reputation as one of the best conscious emcees out there. “Yet, you’ve probably never heard of him”, says Channel 4’s acclaimed Life Of Rhyme documentary.

It’s true, his controversial views have led to dispute in the past, especially so with his untraditional third mixtape ‘Key To The Game Volume 3’. This year, he returns with a follow up to 2009’s ‘Dear Listener’, his only full-length album released to date.

The new record, ‘Soundtrack To The Struggle’, looks to be a compilation of Lowkey’s work from 2010 onwards. From the off, this looks set to be something of a revolutionary record, a chance for Lowkey to comment on the uprisings of the last year. He’s always garnered acclaim for writing about heavy and edgy subjects, and ‘Soundtrack To The Struggle’ doesn’t look like it’s going to shy away from anything.

At first glance, the track listing’s most prominent theme seems to be that of terrorism and Obama. Tracks like ‘Terrorist?’, ‘Hand On Your Gun’, ‘Long Live Palestine’ and ‘Obama Nation’ all stand out. Many of the tracks on the record have seen previous release, hailing massive critical acclaim on Youtube; ‘Obama Nation’, and ‘Terrorist?’ alone rack up well over 3 million views.

Set for release in October, ‘Soundtrack To The Struggle’ looks set to amass more controversy than ever before, if the Youtube comments are anything to go by.

“This album has been in the making for a quarter century”, Lowkey spits out on title track and album starter, ‘Soundtrack For The Struggle’, and though not strictly true, this phrase shows us that what he has ready for us is set to be big, punchy and deep.

By Robbie Wojciechowski

Review: Sycamore Age

2011-10-02T03:55:00.000-07:00

There are bands out there that don't fit into any 'normal' categories some people like to put music in. These are the kinds of bands that are different and very rare. They might use marbles in tin cans, shells as trumpets and other things you can't imagine to see on a stage next to acoustic guitar, piano, drums, violin and whatever else you can imagine. Sycamore Age is one of these rare bands.

At the moment they have only four songs for the public. It's a fantastic album that's still searching for an audience. The four songs they share on soundcloud made me fall in love with their music instantly. The music is like 1900 or like I imagine it to be. It sounds like industrialization meets up with the beauty of Jugendstil. But it doesn't sound old-fashioned or anything I have heard lately. And in addition to the sound, you have singer Francesco Chimenti's voice, which exists somewhere between maniac, haunting and beautiful.

“My Bifid Sirens”, the first of the four songs, is the strongest. It starts with something that sounds like a penetrative running steam locomotive as a beat, and then transforms into an almost redemptive piano melody - it's like a recreation of the drama and the stress that opened the song, but remains sinister.

The feeling created by the opening track carries-on to the song “Romance”.

A later song, “Happy!!!” just doesn’t really sound like happy - though it eventually makes me happy because it is a great song. It has choral singing and clapping, but it does not sound like an outburst of happiness. It's more as if Chimenti wants to persuade himself that he is happy, as if it was possible to just erase the past, forget all and then return to happy.

The last track of these four and actually the first one of the album is “Binding Moon”. It carries the listener off this world and brings you over into their dark place. But the space between the vocals is just as important as the words themselves, it belongs to the tales and poems; it completes it. It's like a painting; every stroke of the brush completing the picture.

What surprised me the most about Sycamore Age, is that they are from Tuscany, Italy. Just from the sound and the darkness, I would have placed them more north to be honest. It came unexpected. Then again, nothing about this band is something to be expected.

Except for their live shows, they have a very intense live show. It's a different level of intensity than their album. I saw them at Popkomm, an event in Berlin for the international music industry, and they were simply mind-blowing. Seven people doing something what looks like chaos but turns-out in an incredible sound. It's one of those shows where I had no idea what happened when it ended. At the time, what I experienced couldn't be put into words, and I still can't.

Sycamore Age is one of the best and most refreshing sounds I have heard lately because they are truly moving off the beaten tracks of popular music.

Link:
http://www.sycamoreage.com/
http://soundcloud.com/sycamore-age

by Dörte Heilewelt

Review: Letlive

2011-10-02T03:33:00.000-07:00

Public Enemy once said "Don't believe the hype". If you're like me, with a finger on the pulse of what's receiving all sorts of adulation and accolades on the web and in the press, you may be familiar with Letlive. Ever since their maiden UK headline show at London's Old Blue Last in January, whisperings about this band have been gaining a gargantuan head of steam, enough for Kerrang! to name vocalist Jason Aalon Butler their Greatest Rockstar In The World Today.

However, all the positive write-ups in the world mean precisely zilch until you've experienced it yourself. Armed with a hangover and an array of mates, along I went to The Fighting Cocks, a 150 capacity venue that has seen some huge names pass under its zebra-print ceilings in recent times - Gallows and New Found Glory among them.

Scholars started off proceedings well enough. I have seen this band in many support slots in recent times, and theirs is a well-oiled set. But I feel they may be losing a little grip on the tightness that has made them such a delicious live prospect beforehand.

As soon as Letlive hit the stage, the scene went apeshit. Tracks from 2010 effort Fake History are delivered word-perfect. The aforementioned Butler behaves like a man possessed, leaping here and clambering there, he even managed to enter a tiny alcove built into the ceiling over the stage.

The songs are good. But it all felt a little studied, a bit too machinated. Also, this is one of two shows at the Cocks at the weekend, and it feels as if the band fully had this in mind, and were holding back from losing themselves completely.

A polished performance, the fans leave satisfied. Me, personally? I'll let this bandwagon roll on without me.

By Ollie Connors

Video: Pengilly's 'Toby's Hill'

2011-10-02T03:31:00.000-07:00

London/Leeds based Pengilly’s have just released a new EP, entitled ‘Toby’s Hill’, and with it, a sublime video to accompany the lead single of the same name.

The video, directed and produced by Brown Bread Films, explores the band’s fascination with cults, focusing on the suggestibility of human nature when up against charismatic leaders. The video compliments the single very well; for all of its emotion it evokes feelings of being trapped in a bad dream.

Not dissimilar to the likes of (dare I say it) Jamie Woon, Pengilly's have a lot to offer, and I wholeheartedly recommend that you set your eyes upon this brilliant video.

You can buy the physical EP here (http://pengillys.bandcamp.com/), as well as purchasing a tote and a t-shirt with it.

Review: 2000 Trees Festival 2011

2011-10-02T03:29:00.000-07:00

In the summer of 2006, in a sunny field outside Cheltenham, a local prog-metal band strummed and thrashed their way through the first song to be performed at 2000 Trees festival. In front of the stage was a small gathering of happy campers who revelled in the cheap food, local cider, green ethics and enjoyable music of an impeccably organised small festival.

Five years, countless brilliant bands and several long queues at the Pie Minister stand later, and it’s become evident that 2000 Trees has successfully undergone the transformation from “quirky, local, ethical, little jaunt in a field” to “nationally renowned, big-name-drawing, wonderfully enjoyable festival”. And it that time, the festival hasn't lost sight of its identity, ethics or roots, pardon the pun.

Since 2010, the 2000 Trees hit the gym hard, doubling in size and stages. The evidence is strewn across the campsite, in the form of a quite brilliant line-up, punctuated by the intensely friendly atmosphere throughout.

Friday held in store Out Like A Lion's ambient XX-ish indie. The anthemic choruses of Tribes. Woozy college rock of Dinosaur Pileup. Ridiculously catchy indie-pop of Tellison, who were not unnerved to fall victim to the weekend’s biggest line-up clash - as they battled with headliners Dan Le Sac Vs Scroobius Pip and Belfast post-rockers And So I Watch You From Afar, and produced a ludicrously energetic performance. Also, there was the quirky orchestral fightpop of Cats And Cats And Cats, whose set was so well attended that the packed, sweaty tent began to smell a bit like a pet shop.

Talking of well attended sets, uniquely talented, instrument swapping geniuses, Tall Ships were visibly humbled and thankful for the affections of the packed out tent they performed for, rammed full with people passionately singing along and clapping to every beat of their fantastically mathy, lyrically profound indie-rock.

Friday also saw the set of local heroes and fan favourites Jim Lockey and the Solemn Sun, whose eclectic set with revamped, heavier versions of previously folkier classics sat happily alongside newer and much heavier material.

Not even the rain could detract from the line-up on Saturday. There was delightfully lilting vocal harmonies and outrageously catchy folk melodies of Boat To Row. The thunderously raucous performance of a face-painted Talons in a loaded tent. Brilliantly ethereal and Scottishly passionate vocals of Twilight Sad. And the relentlessly energetic Stagecoach, whose fast-paced, chaotic set of grunge-pop anthems knocked any semblance of lingering Friday-hangovers out of the heads of those watching.

Continuing on, the heartbreakingly beautiful folk of the outrageously talented Midnight Mile, which was bolstered by a stunning string section. The wonderful sunnily-disposed acoustic anthems of Nicholas Stevenson. And the blissfully melodic genius of local folk troubadour Joe Summers, who proved to be a folk hat-trick so powerful that even the sun came back out to have a listen.

The weekend culminated in the sets of headliners Los Campesinos! (pictured) and Frightened Rabbit, who as Gareth Campesinos! humbly pointed out onstage were “brave choices to have headline the Saturday night of a festival”. But the audience disagreed, reacting to Los Camp’s set – boisterously resplendent in their unique approach to indie-pop anthems – and indeed to Frightened Rabbit’s passionate performance with sheer delight and utter glee: The 2000 Trees organisers were gloriously vindicated by their accomplished line-up.

They just need to work on the length of the queues at Pie Minister now, that’s all.

By Gareth Harper (@Gazzardinho)
Photo by Matthew Williamson of PhotoMattic

Video: Talons 'Impala'

2011-10-02T02:39:00.001-07:00

Video: Bluebell 'Normal Heights'

2011-10-01T02:37:00.000-07:00

Video: Ursine Vulpine 'The Constant'

2011-10-01T02:36:00.001-07:00

Video: Gross Magic 'Sweetest Touch'

2011-10-01T02:36:00.000-07:00

Video: Nicholas Stevenson 'Comet'

2011-10-01T02:34:00.000-07:00

Welcome

2011-08-02T01:41:00.000-07:00

We are a free, quarterly print ‘zine accompanied by this free, all-the-time-ly web ‘zine, due to be launched October 2011.

Contact Us

Music/PR emails to: News Editor news.riskandconsequence@gmail.com
Zine/Site Editor: Kaylea Mitchem riskandconsequence@gmail.com
Show Bookings: Joe Schiavon joe@idlehandsclub.com

Looking forward to it.

xo R&C

Last Issue

2011-06-11T16:34:00.000-07:00

Open publication