| John Grant is set to return with his second album, called 'Pale Green Ghosts', on March 13th 2013 via the Bella Union label. Having enjoyed huge acclaim with his 'Queen Of Denmark' album, recorded with friends Midlake as his backing band, it's fair to say there's a fair amount of anticipation for 'Pale Green Ghosts' which was recorded in Iceland with Sinead O'Connor appearing as a guest vocalist. And what's it going to sound like? If 'Queen Of Denmark' was his 70s album, 'Pale Green Ghosts' is mooted as his 80s album. Watch the video for 'Pale Green Ghosts' (the song) below and check it out:  |
12/13/2012
John Grant Returns With 'Pale Green Ghosts'
Christopher Owens Announces UK Tour
| Christopher Owens has confirmed plans to return to the UK and Europe early next year for a full headline tour. Deciding to split Girls, Christopher Owens threw fans a curveball. Refining his songwriting, the artist decided to head straight into the studio to record a solo album. Recently premiered with two sold out London shows, upcoming full length 'Lysandre' is one of Owens' most direct statements to date. Out in January, the American artist will follow the release with a number of headline shows. Opening in Manchester on February 25th, Christopher Owens will play four British shows before heading to the continent. Playing dates in Glasgow and Leeds, the short run of shows ends in Bristol on February 28th. Londoners feeling left out? Christopher Owens will play the Union Chapel on May 29th. Tickets will be available as a pre-sale to fans from this morning from Christopher Owens' Website and go on general sale on Friday (December 14th). Here's Christopher Owens performing material from 'Lysandre' in a bathtub. - - - Christopher Owens is set to play the following shows: February |
A$AP Rocky Unveils 'LongLiveA$AP' Tracklisting
| Read it now... The Official tracklisting for A$AP Rocky's hotly anticipated debut album 'LongLiveA$AP' has been revealed today. The 'Triiled-out' Harlemite's debut LP features guest spots from Kendrick Lamar, Danny Brown, Yelawolf and fellow New York emcee's Action Bronson and Joey Bada$$. However the most surprising guest feature in the LP comes in the form of red-headed songstress Florence Welch on 'I Come Apart'. 'LongLiveA$AP' also features production from Jim Jonson, Hit-Boy, Clams Casino and Skrillex. Tracklist: 'LongLiveA$AP' will be released in the UK on the 14th January next year. Words by Jerry Gadiano |
Junip Prepare Second Album
| Junip are set to release their second - self-titled - album on April 22nd. Junip are perhaps best known through an association with their most famous member - Swedish songwriter Jose Gonzalez represents one third of the band. However the group are more than the sum of their parts, having an identity which stands apart from the Scandinavian's blissful acoustic fare. Bursting into life with 2005's 'Black Refuge' EP, Junip then went on hiatus for five years. Returning in 2010 with 'Fields' the band are now set to surprise fans with a quick-fire (by their standards!) return. Completing work on a new album, the band will release the self-titled effort on April 22nd. Here's a quick trailer. - - - 'Junip' is set to be released on April 22nd. |
Darkstar Announce 'Amplified Ease' Single
| Listen to it now... Darkstar have unveiled their new single 'Amplified Ease' - listen to it below. Darkstar are changing. The electronic group have expanded and signed a new deal, finding a home at Warp. Working on fresh material, the band have thrown themselves open to new ideas, new possibilities. Upcoming album 'News From Nowhere' is set to be released on February 4th, and the band have already unveiled recent single 'Timeaway'. Now Darkstar have decided to unveil their next single, posting two very different versions of 'Amplified Ease' online. James Young from the band explains "We had been watching the Martin Scorcese documentary on George Harrison and took an interest in how he approached 'My Sweet Lord' as a mantra rather than a song. Amplified Ease began in a similar fashion, it was more of a repetitive chant different from a verse, chorus arrangement". Stream the album version of 'Amplified Ease' below. Meanwhile, Darkstar have also posted a live version of 'Amplified Ease' online. Recorded at Asylum, London you can listen to the performance below. - - - 'News From Nowhere' is set to be released on February 4th. |
Track Of The Day 13/12 - Dog Is Dead
| It's amazing what you can achieve in a year. Just 12 months ago Dog Is Dead were hardly known outside of their native Nottingham. Now the band have completed several nationwide tour, matching headline shows to some extremely high profile support slots. Throw in the casual matter of their debut album and you have a pretty life changing experience for the group. 2013 should be no different. Taking time off for the festivities, Dog Is Dead will hurl themselves back into rehearsals in the New Year before taking off on their largest headline tour to date. Containing some of the biggest shows of their career, tickets for the nationwide jaunt are on sale now. Meanwhile, Dog Is Dead are set to toast Advent with a new single. Stripped from their debut album, 'Teenage Daughter' is a typically buoyant slice of indie songcraft with a chorus that could have milkmen across the land whistling it on their rounds. Handed over to a number of guest producers, the band have opened themselves up to new interpretations. Such as this rendition from Raffertie. Twisting and turning the single into fresh shapes, what emerges is an old school (are we allowed to term electro house old school already?) stomper that points in a completely different direction than fans are maybe used to. Which is perhaps the point. Here tis, let us know your thoughts in the comments section. - - - 'Teenage Daughter' is set to be released on December 17th. |
12/12/2012
Wild Beasts - Live At The Lexington, London
| While not necessarily an outright admission of creative burnout, gigs that see whole albums played in their entirety tend to have an air of desperation about them. "Look how great we used to be, ey, back in the day?" the band seems to be reminding their audience, before adding under their breaths, "and look how much more we can get away with charging you for a ticket now!" But such cynicism cannot be targeted at Wild Beasts. Nevertheless, their decision to play 'Smother', an album released only last year, in its entirety could seem a tad premature, indulgent even. Yet, by the time luscious opener 'Lion's Share' has crawled into bed with a ravishing rendition of 'Bed of Nails', it's a decision vindicated. Hearing the elegant album performed whole, with its gentle ebb and flow, its subtle melodies and its irresistible rhythm, makes chopping it up, as would happen at a normal Beasts gig, suddenly seem like a barbaric act. And, despite their name, these four reserved gents from Kendal are anything but barbarous. Rejecting rock 'n' cliché, when Hayden Thorpe smashes his glass of wine on the stage floor in between songs, it's by accident. Then, later on, when a devil horn salute appears from the back of the small crowd (tickets for this intimate, 200 capacity gig were only available by ballot), he's quick to acknowledge its irony: "Mosh pit, anyone?" he jests. Instead, perhaps paradoxically, the intensity of 'Smother' comes in the restraint shown in its creation. This tension is palpable during a steamy 'Plaything', when brief seconds of silence hang in the air in between Thorpe's falsetto and drummer Chris Talbot's inventive use of the bongos (yes bongos). Evolving over the course of three distinctly unique albums, the band said goodbye to the standard three guitars and drum kit set up a long time ago. Reverberating bass hooks and ethereal synths have taken their sound to a new level now and no doubt further explorations into this world are already being made as they record their fourth album. The cathartic and hypnotic climax of a sparkling 'End Come Too Soon', a track usually saved for last at Wild Beasts' gigs nowadays, instead heralds the start of, by the band's own admission, the "silly" part of the set. "Time for some fun and games," says Tom Fleming, the treacle to Thorpe's honeyed vocals, and so begins 'The Fun Powder Plot', the uncommon opener to 2009's 'Two Dancers'. Fittingly, as the band's sound has got increasingly louche over the course of the night, Thorpe's foppish quiff has become more and more dishevelled, culminating in the Vaudeville camp of 'The Devil's Crayon', from their always welcome debut album 'Limbo, Panto'. If there is a criticism, it's that Wild Beasts don't seem comfortable revisiting other parts of their beguiling debut, instead choosing to stick rigidly to their other two releases. Maybe one day we'll hear the queer majesty of 'She Purred, While I Grrred' or 'Cheerio Chaps, Cheerio Goodbye' once again but, until then, we'll just have to settle for near-perfection instead. Words by Nico Franks |
Willy Mason - Live At Scala, London
| It's boring to say that Willy Mason sounds older than his years, so let's get it out of the way early. Still under 30, he has the voice and the temperament, maybe even the dress sense, of a 50-something year old Johnny Cash. His gravely tones are the antithesis of his fresh face, but they make for some beautifully soothing songs with his intimate and bluesy melodies. It's pretty clear that Willy is a bit bored of his old stuff. After all, he was barely out of his teens when he penned his first EP and his most well known know record was released five years ago. His new album is excellent, but as its release was the day before this gig, it may be a little too new for some people tonight. With that in mind, Willy made sure there was plenty of good old times throughout, saving some of the best bits for the audience to sing solo or a rearrangement. But the real gem of tonight is that, despite selling out the venue and despite Willy having a huge following, he scales back his band to just guitar, clarinet and the odd bit of percussion, bass, keys or trumpet played by a multi-instrumentalist in the corner. It's so understated, leaving space for his songs to fill the room. The clarinet especially is gorgeous and lifts every song it accompanies, like in a Low Anthem or James Yorkston gig. Despite this following, his new tracks go down a treat. There's the beautiful 'Talk Me Down', more reminiscent of his older stuff in melody, and the heart-breaking 'Show Me the Way to Go Home', like a stripped down folk tune, a little like 'The Pines', that's made its way through decades of the same family. 'Carry On' is another beauty, like the most aching of break up songs (although it's about a moth) and, give it a month or so and 'I Got Gold' will be a massive singalong. But the biggest appreciation of the night goes to the oldies. 'Save Myself' sees the audience take half the singing, but the addition of some sly trumpet can still be heard. The room accompanies Willy and his guitar for the chorus of the brilliant 'We Can Be Strong' - his guitar is the newest addition on stage tonight after his old one was stolen from a van in Swindon – and 'Riptide' is bare, pretty much just vocals for most of it, and amazing. 'Oxygen', one of his oldest, gets the biggest applause of the night. The single, like a hybrid of protest folk and a '60s pop record, was released in 2005 but tonight it's as if it's played on the radio every day. In a weird way, it's as if this crowd has grown up with Willy Mason… so thank God there's plenty of time to grow old with him too. Words by Gemma Hampson |
Preview: Dead Wolf Club - Strange Letters
| New album approaching... Dead Wolf Club have handed the video for new single 'Strange Letters' to ClashMusic - watch it below. Dead Wolf Club have been on our radar for a while. According to myth, the band formed on board a plane above Paris while those early shows resulted in attention from tastemaker blogs. One such outlet - Scene Not Herd - was so taken by the band's taut riffology that they even volunteered to sign Dead Wolf Club up to their new album. A close association followed, with the band planning out their next step in rehearsals throughout 2012. Now they're ready to move forward. Dead Wolf Club are set to release their second album in 2013 but ahead of this ClashMusic readers have been granted a special preview. Available on a very limited vinyl run from January 14th, new single 'Strange Letters' is available to stream below. - - - All sharp edges and about turns, 'Strange Letters' has spawned all manner of critical outpourings. As Dead Wolf Club themselves note on their Facebook page: "Dark punk, geek rage, post punk. We're called lots of things these days." Download the track below. Dead Wolf Club are set to play the following shows: February |
Clash Magazine Christmas Party - Live At The Lexington, London
| An enthusiastic crowd in for a night of eighties-influenced electro rock at Clash Magazine's December launch. All three bands passionately manipulate the synths in their skinny jeans in the customary style the of the keyboard alchemist; like masseurs whose wiggles and knee bends suggest they might need a visit to the gents. The literary sounding Ivory Seas are a four piece, featuring deep, rising bass lines and the Pet Shop Boys' smoothly glossed vocal articulation. Their singer is certainly a throwback to early eighties New Romanticism in pleated trousers and black crew neck top. They plug their new double A side, 'Mothers Tongue', a first release on vinyl. It has a brilliant drum groove, a continual fill where the sticks roll in a tide across the whole kit. The flipside 'Still Brooding' features a repeated, insistent oriental sounding chord. They tie up the set with their first single 'Boundary', whose lyrics echo the acid-like free associations of the late sixties. Unexpectedly, as they depart, they thank the audience and suggest people "come and have a sherry with us." All very cosy and genteel. It's sometimes difficult to get used to the ever present politeness and soberness of the current era's alternative music scene. Brighton based five piece Cave Painting open with subterranean grumblings on the Korg, reminiscent of Bauhaus' 'Bela Lugosi's Dead'. Quiffed lead singer Adam Kane hugs the mic like it's an ice cream he wants to judiciously lick in the hope it'll last forever. Their melllifluously melodic songs, such as 'So Calm' are chunked with searing guitar breaks. Although the live set can't quite capture the depth and atmospherics of their recordings the songs still feel exquisitely textured and their brief set comes to a rousing conclusion. Once Cave Painting depart the venue fills with a pall of dry ice and some exotically designed cardboard headwear is doled out to the audience, for no discernible reason. The smog though has a rationale, because grey is the leitmotif of Luv Luv Luv records outfit Get People. The graphics of their trippy, kaleidoscopic videos are Narnia-esque, frosty kingdoms. The fact that the two singers are physically and vocally obscured in the self-created crepuscule is not in itself a problem, but is symptomatic of the band's lack of rapport with the audience. It's not that that there needs to be chit chat, but unless you're going to go the whole hog and have a stunning visual show to complement the music, the pungent fog does put the boys at an unhelpful remove from their punters. Once again Get People's rich soundscape is not fully served justice in a live setting. Like their predecessors they're producing sonically crisp and fascinating electronica. The performance ends with new single 'Back to Dust'. In spite of the clarion call of the band's name, The Lexington was pretty full, at least from what we could see amidst the smoke. Words by Adrian Cross Photos by Richard Gray |
The Knife Post Fresh Material
| The Knife have posted a clip containing fresh material, presumably from their much rumoured new album. The Knife are one of the most praised yet reclusive groups to emerge from Scandinavia over the past decade. Producing sublime music, the duo rarely give interviews and haven't released a full length album since 2006. Recently, though, speculation has mounted that The Knife are plotting their next move. This afternoon the duo seemed to erase all doubt, by pointing fans towards a clip containing new material. - - - Alongside this, Pitchfork are reporting a few details which are - to our knowledge - as yet unconfirmed. The forthcoming album is seemingly titled 'Shaking the Habitual' and will be released through Mute in 2013. A number of guests are scheduled to appear on the album, which will feature Shannon Funchess of Light Asylum. More on this as we have it. |
Neil Young & Crazy Horse 2013 UK Shows
| Neil Young & Crazy Horse are set to play four headline shows across the UK next summer. Crazy Horse are well named. Taking their moniker from the Native American hero, the band's ferocious noise is more like a force of nature than a musical experience. Loud and lengthy, their sets allow Neil Young to showcase his love of volume addled rock 'n' roll. Recently returning with the expansive double LP set 'Psychedelic Pill' the band are now setting their sights on the UK. Neil Young & Crazy Horse have confirmed four headline dates in the UK next summer, the first time the group have performing in the country since 2001. Frank 'Poncho' Sampedro, Billy Talbot and Ralph Molina will line up alongside Neil Young, bringing their live show to Newcastle's Metro Radio Arena on June 10th. Hitting Birmingham, the band will then play a date in Glasgow's SECC on June 13th. The tour finishes in London on June 17th, with Neil Young & Crazy Horse set to perform in the O2 Arena. The date is the Canadian born artist's first London show since March 2008, when he played a series of gigs at the HMV Hammersmith Apollo. Here's 'Ramada Inn'. - - - Neil Young & Crazy Horse are set to play the following shows: June |
Morrissey Blames Royal Family For Nurse's Death
| During interview with New Zealand press... Morrissey has insisted that the Royal Family must shoulder their fair share of blame for the death of Jacintha Saldanha. It's become one of the most dissected hoax calls in history. Two Australian DJs from 2Day FM managed to get through to the hospital where Kate Middleton was undergoing treatment for severe morning sickness, and obtained confidential information by pretending to be members of the Royal Family. During the press furore which followed Jacintha Saldanha - the nurse who inadvertently answered the original call - was found dead of an apparent suicide. The media outcry which followed has been intense, with most of the attention following on the Australian DJ duo behind the call. Now Morrissey has stepped into the fray. Speaking to New Zealand's 3News, the singer explained that he believed the Royal Family must shoulder some of the blame. "It wasn't because of two DJs in Australia that this woman took her own life, it was the pressure around her," he explained. (via The Guardian) While the press applied much of that pressure, the singer also blamed the "maximum pressure [of] … the Palace and Clarence House". Referring to Kate Middleton, Morrissey doubted the reasons behind her treatment. "(She) was in the hospital, as far as I could see, for absolutely no reason," the singer said. "She feels no shame about the death of this woman, she's saying nothing about the death of this poor woman. The arrogance of the British royals is absolutely staggering." "Does she have a health condition?" he asked. "Is it anorexia or is it pregnancy? … I mean morning sickness already? So much hoo haw and then suddenly as bright as a button as soon as this poor woman dies she's out of hospital? It doesn't ring true." Continuing, Morrissey said that Buckingham Palace must tackle "thousands" of prank calls each day. Elsewhere, the singer insisted that blaming the DJs behind the incident, Mel Greig and Michael Christian, "is just a way of distracting people". "The fact they got so far probably astonished them beyond belief. But the pressure put on the woman who connected the callers was probably so enormous that she took her own life … And we forget about that and of course the royals are exonerated as always." So what do you think of these comments? Leave your opinion below. |
FIDLAR Announce 2013 Tour
| FIDLAR have announced a string of UK tour dates for 2013, as their self-titled debut album draws near. FIDLAR don't take prisoners. Performing in London recently, Clash sneaked backstage to chat with the debauched Californians. Almost immediately Zac Carper began reminiscing about their on tour antics: "I don't remember this...but a couple of weeks ago I apparently peed all over Brandon's backpack. I feel really bad. We were on tour with Jeff The Brotherhood and we all went out one night to this very sketchy bar..." Such is life on the road with FIDLAR. The Californians are set to release their self-titled debut album on February 4th, with Wichita helping to usher the material out into the waiting world. Alongside this, the band have confirmed plans for a headline tour. Running across the country, it's one of the largest run of British dates the band have yet undertaken, opening in Birmingham on February 21st. Hitting Dublin on February 22nd, the tour returns to the UK for shows in Brighton, Oxford and Bristol. Hitting London on February 25th, the band will play a no doubt rowdy show at The Garage. Ending in Leeds on February 28th, tickets go onsale 9am on Friday (December 14th) priced from £7 (subject to booking fee). FIDLAR are set to play the following shows: February |
Tate Modern Website Buckles Under Kraftwerk Rush
| Tickets for Kraftwerk's 12345678 shows at the Tate Modern went on sale this morning, causing the art gallery's website to crash. Announced earlier this year, Kraftwerk are set to re-visit their back catalogue at the Tate Modern in London next year. Bringing their 3D audio / visual show to the UK, the iconic German project are set to write a new chapter in their already illustrious history. Demand for tickets was expected to be huge, with Kraftwerk rarely venturing to these shows, however Tate Modern assured fans that it would be able to deal with any problems. Sadly, it seems that the overwhelming rush for tickets has resulted in numerous problems. Tickets went on sale this morning, and within seconds it was clear that the Tate Modern website was suffering from lag. Phonelines have been jammed, with the website even going down for a short time period. After this, the ticket page on the Tate Modern's website posted a message: "Kraftwerk at Tate Modern has just gone on sale and we are experiencing a phenomenal demand for tickets which is affecting our web server. We have extra staff on hand today but demand is extremely high." Kraftwerk are set to play the following dates: Wednesday 6 February 2013, 21:00 Thursday 7 February 2013, 21:00 Friday 8 February 2013, 22:30 Saturday 9 February 2013, 22:30 Monday 11 February 2013, 21:00 Tuesday 12 February 2013, 21:00 Wednesday 13 February 2013, 21:00 Thursday 14 February 2012, 21:00 |
Tame Impala Announce One Off Show
| Tame Impala have organised a one off show at the Hammersmith Apollo next summer. The rise of Tame Impala has been a joyous re-affirmation of the potency guitar music can have. Released earlier this year, second album 'Lonerism' has enjoyed a blissful sleeper effect, propelled by superb reviews and plenty of radio play. Recently playing a stand out show at the Brixton Academy in London, Tame Impala demonstrated that despite their studio trickery the band remain a good ol' fashioned psych quantity at heart. Mind blowing, cosmic rock for star gazers the world over, the show won rave reviews. Now Tame Impala have announced plans for an even larger one off show next summer. The Australian group are currently completing a North American tour, before heading back to their home city of Perth to soak up the festive activities. Returning to Europe next summer, the band will play Hammersmith Apollo on June 25th. Tickets for the one off show go on sale at 9am this Friday (December 14th). Here's 'Feels Like We Only Go Backwards'. - - - Tame Impala are set to play the following show: June |
Ravi Shankar Passes Away
| Legendary sitar player Ravi Shankar has passed away at his home in San Diego at the age of 92. Ravi Shankar was born at a time when India had not yet gained its independence, when Indian culture was scattered across several states, several disparate movements. Passing away yesterday (December 11th) at his home in San Diego, the musician leaves behind a global legacy. The youngest of seven brothers, Ravi Shankar joined a local dance troupe who took him across India and through into Europe. Learning Western customs, the sitar player began absorbing other forms, other disciplines alongside his knowledge of traditional Indian methods of musicianship. Helping to popularise the sitar and Indian culture, it was not until the late 50s that Ravi Shankar began to reach a wider audience. The Beatles famously became fans, with Shankar helping George Harrison to begin his study of the sitar. Touring across the globe, Ravi Shankar continued to experiment while finding renewed inspiration in the traditions which spawned his music. Later settling in the United States, the Hindu reports that Ravi Shankar passed away at his home in San Diego yesterday (December 11th). Wife Sukanya and daughter Anoushka Shankar Wright were at his side when he died. "It is with heavy hearts we write to inform you that Pandit Ravi Shankar, husband, father, and musical soul, passed away today," Ms. Sukanya and Ms. Wright, said in a separate statement. "As you all know, his health has been fragile for the past several years and on Thursday he underwent a surgery that could have potentially given him a new lease of life". "Unfortunately, despite the best efforts of the surgeons and doctors taking care of him, his body was not able to withstand the strain of the surgery. We were at his side when he passed away," the joint statement said. "We know that you all feel our loss with us, and we thank you for all of your prayers and good wishes through this difficult time. Although it is a time for sorrow and sadness, it is also a time for all of us to give thanks and to be grateful that we were able to have him as a part of our lives. His spirit and his legacy will live on forever in our hearts and in his music." Our thoughts are with his friends and family. |
Track Of The Day 12/12 - Sukh
| Medicine and rock 'n' roll are odd bedfellows. The connection between visual art and modern music is well known, which a number of artists - Bryan Ferry, Alex Kapranos - have earned a living teaching in schools. Yet medicine remains forever on the sidelines, a career removed from the hustle and bustle of the musical world. A trained dentist, Sukh - real name Sukhdeep Krishan - is the exception. The rising Manchester songwriter matches his medical career to a love of music, managing to find the time to write, arrange and produce his debut album all by himself. The results are a surprise. Refusing to sit back, Sukh continues to push himself into new territories. Armed with an acoustic, the songwriter recalls the more pastoral, up beat moments of Sufjan Stevens with a country tinge that is informed by Neil Young (think 'Harvest') and even less hip names such as Cat Stevens. It seems that the Manchester artist is confident enough to write songs - great big, hulking things which groan under the weight of the emotion contained therein. Take 'Kings': for someone whose daily life is so consumed by the body, it plunges head first into the world of the imagination. "And your conscious it grows Listen to it now. - - - Sukh's debut album 'Kings' is out now. |
12/11/2012
Alabama 3 - Live At The Forum, London
| So this is a joke, right? Right… At least we're clear on that. Aren't we? If you've witnessed the all-singing, all-dancing identity crisis that is Alabama 3 before, they need no introduction. If not… you've got a lot of catching up to do. Walking into The Forum to see this techno country rock band (you read correctly) is like walking into the arms of Billy the Kid himself. On acid. In Kentish Town. The place is awash with cowboy hats, stuff with fringe on it and full-time taches (no fair-weather Movember efforts here). But there's also the odd family of four, a North Face fleece or two, and a woman wearing a tiara thrown in for good measure. Needless to say, there are some vigorous pat-downs on the door. It's easy to judge Alabama 3; they're very, very silly. They're an acid-house techno country blues electro-reggae trip-hop band from Brixton who sing songs about the KKK (against, FYI) in fake Texan accents while dad-dancing. The founding members go by the stage names Larry Love and The Very Reverend Dr. D. Wayne Love, and they got their big break when their cracking track 'Woke Up This Morning' was chosen to soundtrack the opening credits on 'The Sopranos'. Tonight, there are at least eight of them, with Larry Love, The Reverend and the rather pretty Aurora Dawn making up the foreground. None of this trio actually plays an instrument, mind. The Reverend has a dabble on harmonica but mainly it's about the drama: the costumes, the bright lights and the showmanship. The three frontiers (we're not sorry) wear '70s-style tuxes and sunglasses, and Larry Love sports one glove: it's a bit like Elvis meets Bono meets Michael Jackson circa Billie Jean, but hey, who said ridiculous fusion was restricted to the songs? While Larry Love cavorts about showing off his chest hair and The Reverend does some intelligible spoken word, the band behind do a lot of work. There's possibly some lap steel going on (Larry keeps jumping up and down so it's hard to be specific), drums, synth and guitars, and it's all pretty tight. Dawn's vocals are strong but aren't utilised enough – she could be much more than the novelty girl on a stage of sweaty dudes. The songs are independently unmemorable and blur together to create one big party atmosphere, though special note must be given to 'Hello... I'm Johnny Cash', which is performed with feeling. As the night goes on, the rattails of packet-bleached hair are loosened: "Can you believe how young we are for over-50s?" shouts a group of three euphoric women over the din. People start smoking indoors, there's an on-stage wedding, the band-brand condoms on the merch stand sell out and I'm pretty sure some tramps sneak in and make what can only be described as a hoedown pit. It's a proper hoot. The fact is, Alabama 3 are impossible to ignore – but are they a joke or aren't they? Dr. Love and co would indubitably argue that this is the point – their blending of genres and styles suggest they do not wish to be boxed, and more power to them. But, after 18 years together, it's unclear whether even they know if they're a joke anymore. And are they being laughed with or laughed at? We're as undecided as they are. So sure, there's some psychologically dodgy, deep-rooted attention-seeking going on here; and yes, they have the British fascination with America; but hell, Alabama 3 know how to put on a good show. Their faithful fans seem to be laughing with them. And as for the rest of the world – who gives a hickory dick? Words by Mia Bleach |
Stealing Sheep - Live At The Deaf Institute, Manchester
| Clocking up an impressive number of European dates, Stealing Sheep arrived at Manchester's Deaf Institute full of folksy sparkle and vigour. Having spent the first third of their 'Into The Diamond Sun' tour sitting comfortably in the shadow of, albeit, a pretty impressive band (Mercury prize winners anyone?), they finally stepped out of the support slot and into the headline for the remainder, and they more than step-up to the role. For a three-piece they manage to fill every inch of the stage with an impressive array of electronics, a vast collection of percussion and a whole load of sequins. Despite the stationary nature to their set-up – Rebecca Hawley has a stack of keyboards, Lucy Mercer a stand-up multi-percussion zone and Emily Lansley a Fender guitar and amp combo, sounding more Hank than Hendrix – Stealing Sheep are sensually kinetic. Watching them live has the effect of deconstructing the tones and textures explored within the album and reforming them before your eyes in a way that allows you to appreciate them in an acutely more observed way. Central to this is the complete lack of creative and performative ego. All three members are at the forefront sharing equal limelight and delivering almost as a tri-front-woman act. While this could instil competitiveness in lesser skilled bands, Stealing Sheep use it as a platform from which to each individually shine. Their delicious blend of intricately tribal and ethereal psych-folk has been knitted from widely varying influences. Sonically they form an alloy that is much stronger than the sum of its multi-genred parts. Technically they are faultess. Songs such as 'Circles' easily flit between an intensely gossamer, feminine drawl to an upbeat '60s girl garage band and back again. Its tricksy timing plays out easily as though all three members of the band are tied together by some internal metronome. Lucy Mercer's fantastic percussion provides the basis upon which the sounds can layer without faltering. Her stand-up dashboard consists of two floor toms, a snare drum, cymbals, tambourines and a line-up of cow bells. It presents a visually dynamic element that truly enriches the show and makes you think that the traditional back-of-stage drumming slot should really be reconsidered. Playing 'The Garden' Emily Lansley renders both intricate finger-picking and stretched-out, raunging fret slides. Her guitar throughout the show constantly hints at the discordant – accentuated by her use of chorus and her deft string bending and tremolo arm techniques – providing an almost oriental-eqsue lilt to the sound. Slightly more introverted, she strikes an impressive figure and is all flowing haired and fretboard focused. Both Lansley and Mercer provide impeccable vocals that are solidified by Hawley's slightly more dark and intent tones. Collectively they harmonise with such rich facets as to hypnotise you into addictiveness. Hawley plays both Casio and Yamaha keys, and fills the sound with everything from intricate flute melodies to deeply rich synth bass lines. She embellishes proceedings with high-pitched, angelic Nintendo chimes and delightful Bontempi chord rhythms. The eclecticism that has brought Stealing Sheep together unites into something strong and thoroughly convincing on stage. They mirror fantastic sonic dynamics with a performance that is organic and exciting to watch; extremely feminine and delightfully rich in texture, tone and technicality. Words and photos Anne Louise Kershaw |
Depeche Mode Album News
| Depeche Mode are set to release their new studio album through Columbia in March 2013. It's far from the best kept secret in British music. Depeche Mode have openly admitted to working on new material, with the band attempting to craft a follow up to 2009's fan pleasing effort 'Sounds of the Universe'. Now the band have outlined a few concrete details. The album will be released in March, with Martin Gore and Dave Gahan said to be shouldering the bulk of the songwriting. "I am very happy with how the album turned out," Gore commented. "The music has a similar vibe to 'Violator' and 'Songs of Faith and Devotion' and I think there are a few songs on the album that are among some of the very best we've done." For his part, Dave Gahan was in a confident mood. "The album has a very organic and direct feel to it. It's not a blues record, but it definitely has a soulful vibe" he said. "During the recording process we really tried to get the elements of performing and the live show into the album more." Here's a clip from the studio. - - - Depeche Mode will release their new album in March 2013. Fancy some more insight? Here's an interview with Dave Gahan from earlier this year. |
Rebellion Xmas Bash - Live At The Ballroom, Birmingham
| For most people Christmas means too much food, a man in a big red suit, and Noddy Holder on constant repeat in the background. But thankfully for the punks of this world it means the Rebellion Xmas Bash - three stages, over thirty live bands and performances running from 12pm through to 2am. As we make our way through the doors of the venue, we're thrown into what can only be described as a punk circus. People are constantly weaving in and out of the building, buying drinks and moving towards the choice of stages. Merch stores and bars consume the balcony, where people are gazing over to get a better view of the main stage. A few bands in and it's time for Vice Squad. Beki Bondage's hair blows in the wind that has suddenly begun moving to the stage so that she and the whole band now look like a set of superheroes. As the night draws on the crowd are still going strong, knocking back drinks and skanking away. UK Subs and The Exploited tear the crowd apart with their explosive songs. There are so many punk legends here today it's hard to keep track. The time finally arises for Rancid. The room is absolutely crammed, and people are getting last minute drinks just in time for the start of the show. For many fans today has just been a warm up for this moment, and as the band storm the stage a massive circle pit fills the floor. Rancid are really on form tonight. The band gives a strong performance, playing hits such as the amazing 'Roots Radicals', 'Maxwell Murder' and 'Salvation' powering through their songs to their faithful audience. Right now, there's not one person in the room who's not moving. Bar the guys passed out on the floor. And even they're rolling over every now and again. The room has become more of a party than a gig. 'Red Hot Moon' chills out the atmosphere and allows people to have a quick breather before continuing the party. As the band leave the stage, their audience demands more. They aren't ready to calm down just yet, some could (and will) carry on all night. It's not long before the band return with two of the best tunes from '...And Out Come the Wolves': 'Time Bomb' and the amazing 'Ruby Soho'. Tonight, some will stay to see the main event, punk legends Cock Sparrer, some will even stay to the after party that goes on until 6am, but for this reviewer, it's time to leave in the classy Brummy style: getting 95p chips from a dodgy takeaway round the corner and stumbling home. Words by Sophie Sparham |
Amanda Palmer Postpones 2013 Tour Dates
| Amanda Palmer has been forced to pull all of her upcoming shows, writing a note to fans by way of an apology. Amanda Palmer has caused ripples throughout 2012. Returning with her new solo album, the songwriter decided to bypass the traditional label structure by employing a Kickstarter scheme. Causing schism with other artists - notably Steve Albini - the issue helped to force the media to debate the area of crowd funding. Organising a number of worldwide tour dates, Amanda Palmer has now been forced to cancel all upcoming shows. Penning a note to fans, the songwriter opened the missive in straight talking fashion: "this is not exciting news." Retaining her upcoming New Year's Eve show - alongside those Kickstarter parties - the singer will postpone all other dates. Seeking to re-arrange as many of the performances as possible, Amanda Palmer explained that despite this some shows would fall by the wayside. With regards to European shows, Palmer wrote: "at the moment- we are not certain when these shows will be rescheduled. i DO plan to make up the tour, hopefully within a year. if you wish to hold onto your ticket, it will be valid for the rescheduled show. but we understand you may want the refund as the future is vague. to obtain a refund please contact the outlet you purchased your tickets from directly. they will handle the refund for you. sadly, the ticketing outlets cannot refund the actual booking fee, only the face value cost of the ticket. i'm really sorry about that one, but it's just the way the business works and its out of our hands. i really wish there was more we could do there. thanks for all your understanding, and let's all pray for the future of ticketing to change." The reason for the postponement? Amanda Palmer has decided to help one of her best friends through cancer. "i have decided to postpone/cancel my upcoming tours so that i can stay in boston with my best friend anthony, who has cancer and just started treatment. we don't know what the outcome will be." Full details HERE. |
Download: The 1975 Remixes
| 24 date tour confirmed... The 1975 have only released 2 EP's thus far in their short career but they've already completed one sold out UK headline tour and have scheduled another 24 date behemoth trip around these sunny isles for early 2013. The Mancunian lads are currently holed up in the studio with Mike Crossey, who's manned the mixing desk for the likes of The Arctic Monkeys and Foals, and are working on their debut album which will be released next year. The 1975 followed up their debut EP 'Facedown' with sophomore effort 'Sex' and they've provided some remixes of the tracks to download for free. Parisian producer Andrea, whose previous work includes a stonking remix of The xx's 'Angels', reworks 'You' and Liar provides a new version of 'Sex'. Check out both remixes below, as well as the original EP, which is available to stream, and all 24 of those tour dates... The 1975 Tour Dates 2013 Jan 22 Newcastle Think Tank Hoults 23 York Fibbers 24 Leeds Cockpit 2 25 Newcastle-Under-Lyme Full Moon 26 Edinburgh Electric Circus 27 Glasgow King Tuts 28 Sheffield Soyo 30 Bristol Exchange 31 Guildford Boileroom Feb 1 Aldershot West End Centre 2 Birmingham Temple 4 Cambridge Portland Arms 5 Exeter Cavern 6 Chelmsford Hooga 7 Kingston New Slang 8 Brighton Green Door Store 9 Southampton Lennons 11 Liverpool Shipping Forecast 12 Middlesbrough Mixtape @ Keys 13 Nottingham Bodega 14 Chester The Compass 15 Preston 53 Degrees 16 Manchester Deaf Institute 18 London Borderline Tickets for all the shows are available to buy HERE. |
Sebastien Tellier - Live At Coalition, Brighton
| Sebastien Tellier recorded his most recent album 'My God Is Blue' in a "shamanic trance in L.A." Tellier told The Line Of Best Fit: "There were no words or sounds, blue pixels morphed into bricks of blue nuances. And it was after this trance that I started to construct my inexpressible truth." Nothing too bombastically over-egged by the Messianic Frenchman, then. Tellier is part clown, part faux-philosopher and, thank God, fully tongue-in-cheek. His live schtick involves long periods of rambling eccentric blether and occasional bouts of knowing egomania – the music is very much a backdrop to his well-rehearsed class act. Sounds irksome, but it actually works. The sleazy cadence and cheesy synths of 'My God Is Blue' lend themselves well to some mild theatrics. Opener 'Pepito Bleu' is spacey and apocalyptic, perfect music to arrive on stage to, arms outstretched, trademark sunglasses perched in place. He immediately casts his net for some sappy adoration from a rabid fanbase, lurching on and off stage like a sexy coiled spring. Predictably, sex is a consistent theme throughout the night, from the phallic striplight stage decor, to the early addition of lead single from 'My God Is Blue', 'Cochon Ville' - ye of naked nightclub video infamy - to what seems like a wholly ad-libbed setlist. His drummer and keyboardist take the backseat, but facilitate a full and dramatic sound. Songs from 'Sexuality', 2008's Daft Punk-produced masterpiece, provide highlights. 'Sexual Sportswear' is a sleaze-laden treat, with its urgent synths and clashing neo-disco drums. Tellier shines brightest when he strips things back a notch. When classical keys substitute the sleazy, his music is altogether more meaningful. Magnum opus and universal success 'La Ritournelle' is a prime example. Our clownish protagonist paints on what passes for a serious expression and settles down at a keyboard, his creepy hands skimming it effortlessly. The epic strings of the album version are lost, but the song is stripped back to basics - the normally-shrouded bassline emerges as funky and integral, while Tellier ekes the song out to the fifteen minute mark, interrupting the piano hook with some wild ramblings. He's still wobbling on when the lights go up - aided by a constant flow of vodka shots throughout the evening - and stubbornly parks himself on stage, a scamp and a rascal until the very end. Tellier may veer dangerously into the realm of parody, but you can't fault him for his swirling electro circus pop and capacity to completely create his own weird rulebook. Words by Natalie Hardwick |
Ben Folds Five - Live At O2 Academy, Brixton
| The first of this two-night residency is brimming with anticipation and middle-aged men in band t-shirts. It's exciting. As soon as Mr Folds enters the stage, looking like an Apple executive, these men turn into the equivalent of Miley Cyrus fans, but with deeper cheers. There's a lot of love in the room. And so there should be. The greatest hits from Ben Folds Five's back catalogue are punchy and flawless. There are taps and nods, loud singing and many a jump down memory lane from the crowd. On stage, the piano playing is raucous and manic in a way that only Ben Folds can play, standing and jumping at the keys while his band create a massive sound with just drums, bass and harmonies. There's no doubt that Ben Folds is still the nucleus of the Five – or three – but there's a definite special feeling in the air having the old group together on stage again. 'Missing the War' is pretty subdued for such an early number in the night, but its Beach Boys melody and harmonies stuns the crowd to silence and we're pretty sure a few fist shapes were thrown, maybe even some things in eyes. 'Jackson Cannery' soon restores crazier order with its thumping percussion and bluesy keys, which remains for new-ish number 'Erase Me', showing that these are some die-hard fans taking the new with the old tonight. The mellow opening dives head first into a chorus nostalgic of the old days, with fuzz bass and a rollercoaster of vocals. It's brilliant. The old vibe remains with new material throughout the night, like the amazing 'Do It Anyway', slightly glam, slightly protest punk, slightly cabaret, but whole heartedly Ben Folds with the catchiest of choruses delighting first ears and simply eye-wateringly amazing piano playing. But most of tonight is about the old songs, from 'Alice Childress' to the lovely 'Landed', like an early Elton song when the drugs still made him interesting. This was not a gig to shush your neighbour and the mass singalong continued to fill the roof of Brixton Academy for "Battle of who could care less," the harmonies as great as ever and Ben Folds' voice still as perfect as the smart shirt wearing angsty pot smoker of the mid '90s. The boogie woogie of 'Uncle Walter' and the heartfelt tones of 'Brick' continues the love-in before 'Song for the Dumped' – the best break-up song ever, featuring the best line of any break up song: "Give me my money back you bitch," shouted tonight with such enthusiasm. There was singing, there was standing on pianos, there was fuzz, there was a jazz interlude. There was so much happiness among the venom! 'Kate' and 'Underground' are just huge and it makes you wonder why these guys ever went their separate ways. With four marriages behind him, I guess Ben Folds is just a bit of a tricky guy. Tonight, he can do no wrong. The three-part psych falsetto harmonies have thousands of new voices joining them. It's a racket, but oh. So. Much. Fun. Everything's happy in Brixton! Words by Gemma Hampson Photos by Rachel Lipsitz |
Laura Mvula Outlines Plans For Debut Album
| Laura Mvula is set to release her debut album 'Sing To The Moon' on March 4th. A graduate from the Birmingham Conservatoire with a degree in composition, there's nothing trained, or educated about Laura Mvula's music. Obviously, she can't escape her conservatory background but the singer's output thus far feels incredibly natural, incredibly unforced. It seems that the public are beginning to agree. Laura Mvula has enjoyed a terrific week, with the Birmingham talent being nominated for the Critics Choice Award at the BRITs and landing a place in the BBC Sound of 2013 long list. Now the singer has outlined plans for her debut album. 'Sing To The Moon' will be released on March 4th, and - aside from breakthrough single 'She' - the bulk of the material should be almost entirely new to fans. Tracklisting: 'Sing To The Moon' is set to be released on March 4th. Here's 'She' shot in South Africa. |
Listen: Everything Everything - Kemosabe (Com Truise remix)
| Electronic work out... Com Truise has stepped in to remix Everything Everything's new track 'Kemosabe'. Everything Everything must be a difficult proposition to remix. The band's dense songwriting shifts between time signatures, chopping up various styles to create something deeply idiosyncratic yet increasingly accessible. Upcoming single 'Kemosabe' is a case in point. Borrowing a word from old Western serials, the track skips-yelps-howls along at a frightening pace with Everything Everything demonstrating the visceral touch which floods through forthcoming second album 'Arc'. Amusingly titled Com Truise supplies a remix for the flip. Stripping apart the stems of 'Kemosabe' the producer floods the track with bass frequencies while the rhythms almost border on disco-house. Can Everything Everything become disco divas? Check for yourself... - - - 'Kemosabe' is set to be released on January 14th. Everything Everything are set to play the following shows: February |
Listen: Jessie Ware - Sweet Talk (Cyril Hahn)
| New single and tour announced... Jessie Ware has had an absolutely stellar 2012 so far, scoring a top 5 hit with her debut album 'Devotion', a record that also gained her a nomination for the Mercury Prize. Signed to PMR Records, a label that's also home to another of the stars of 2012, Julio Bashmore, there seems to be no resting on her laurels from Miss Ware as she's already scheduled her first single to drop in 2013. 'Sweet Talk' is taken from 'Devotion' and has already amassed nearly 300,000 hits on Jessie's official YouTube channel despite not yet having a video. Having only just completed one successful UK tour, Jessie has also released a set of dates for March next year, again stopping off all over the UK but this time appearing in larger venues. The London show at Shepherd's Bush Empire sold out in a ridiculously short period of time so a second date has now been added, check out the full list of venues below: March 2013 tour: We've got the Cyril Hahn remix of 'Sweet Talk' for you to listen to below. This guy has already reworked the likes of Destiny's Child, Solange and HAIM, showing he's got a penchant for an infectious pop hook... |
Eminem To Play Reading & Leeds
| Eminem is set to headline next summer's instalment of Reading and Leeds. Reading and Leeds is bigger than ever. One of the largest outdoor music events in Europe, it returned this summer with headline performances from Goth icons The Cure, Leicester rockers Kasabian and Foo Fighters while Green Day played a surprise set to shocked fans on the Reading site. A difficult bill to top, yet organisers are already putting plans in place. Speculation is already rising around the line up for next summer's event, with Reading and Leeds announcing another one of their headliners this morning (December 11th). Eminem is set to perform at next summer's instalment of Reading and Leeds. Marshall Mathers, the real Slim Shady will return to the UK for a headline slot which will draw on the full force of his record breaking back catalogue. The rapper previously played a headline slot at T In The Park in 2011, which saw a historic crowd descend on the main stage - containing over 65,000 punters, this remains a record draw for any act at the enormous Scottish festival. In a previous announcement, Reading and Leeds organisers confirmed plans for a headline slot courtesy of Deftones, while Mercury winners alt-j will appear on the Radio 1 Stage while Sub Focus and Boy Better Know will take their place on the newly expanded 1Xtra Stage. Early bird tickets are on sale now at 2012 prices. Reading & Leeds runs between August 23rd - 25th. |
The xx Present... Night & Day
| The xx are set to unveil a series of one off live events under the Night & Day banner. By now, The xx don't need to play standard shows. The trio returned with their second album 'Coexist' earlier this year, and played a series of shows around the country. Grand events, the band were even invited to take part in a one off show with the BBC Philharmonic. Now the band have unveiled plans for a new series of live shows. Using the banner Night & Day, The xx have pieced together plans for a number of day long events which made their own output to creativity from friends in the music, food and art worlds. "Night + Day is a series of events, curated by us, to start in the summer of 2013. We searched high and low for unique and beautiful locations to stage these shows and picked the artists that we most respect and admire to join us. The events will run from early afternoon, with some of our favourite music (and food) to take you from day into night." Dates are as follows: 5th May 18th May 23rd June Tickets for all three shows go on general sale on Friday 14th December and full details can be found at thexx.info/nightandday. In addition to this, there will be an exclusive mailing list pre-sale for Night + Day tickets on Thursday 13th December at 10:00AM GMT. In order to sign up to the mailing list click HERE. before 20:00 GMT on Wednesday 12th December and you will receive a unique ticket code and link on Wednesday evening that will provide access to the pre sale on Thursday. |
Track Of The Day 11/12 - The Deer Tracks
| The Deer Tracks seem to run less on structure, unity and more on emotion. Kicked off almost by accident, there's a sense of chance, of risk running through their material. As David Lehnberg once stated: "The universe has its own way of course connecting." Completing two albums of quite remarkable pop music, the duo (completed by Elin Lindfors) are set to return early next year. 'The Archer Trilogy Pt.3' will be released on February 12th, and completes the three part series which runs through the spine of the band's work. Opening with an EP, 'The Archer Trilogy' then continued with a full length statement from The Deer Tracks. Containing nine tracks, it seemed to find the project's mixture of lush, dreamy pop music and fractured electronics settling into one, coherent mass. Now 'The Archer Trilogy Pt.3' aims to complete one project, and start another. Another quote from David Lehnberg: "We're always adding things and doing things differently... We're always changing…never satisfied. Everything is unfinished!" 'Okta Crash' certainly follows in this aesthetic. Open ended songwriting, it seems to peer at the horizon and invent a fresh landscape. All twinkling glitches and soft harmonies, the song teases out its own discourse before finishing without finding any real sense of fulfilment. It's something you'll want to play over and over and over again... - - - 'The Archer Trilogy Pt.3' is out on February 12th. |
12/10/2012
Band Of Skulls - Live At O2 Academy, Brixton
| Undoubtedly Band of Skulls look the part. Pointy cowboy boots, check. Tight trousers, check. Leather jackets, beards, long hair. Then there's the sound: pleasingly fuzzy, overdriven guitar; choppy, cut-up riffs; a twanging, bluesy air, and Russell Marsden and Emma Richardson's dual vocals. Opening with the slow, half-time riffing of the title track from this year's album 'Sweet Sour', the sound is dense, the stop-start guitars growing more growly with each verse until Russell takes his guitar off to rub up against the amp for a feedback-filled wig out, before leaping straight into the more considered but equally slow 'Bruises'. The crowd are a sea of assertively nodding heads caught in the sweep of the stage lights during 'Patterns' from 2008's debut album 'Baby Darling Doll Face Honey', the vocalists calling out to each other and Marsden leading the crowd into singing the final verse: "A pattern, there's a pattern/there's a pattern there to follow" they sing. And they're not wrong, as for track after track Band of Skulls' set list rolls but never seems to rock. The three, muscular minutes of 'Bomb' and Matt Hayward's clever, insistent drumming on 'Wanderluster' bring some needed bombast to a set that threatens to fall flat, but even that track interrupts itself to wallow in 32 bars of soft-spokenness, and is immediately followed by the long and directionless 'Navigate'. The Skulls' apparent requirement that each track have a breakdown (or two) creates drag that prevents things ever really taking off. It's like the warm-up opening number that never gets beyond warm. After 45 minutes it falls to 'Hollywood Bowl' – the only track from their days as Fleeing New York still in rotation – to cause a stir. From here on they pick up the pace, from the clever rhythmic wordplay on 'I Know What I Am' ("Flick flack/No slack/I got the wit that my enemies lack") to the rock-out riffing of 'You're Not Pretty But You Got It Goin' On' and 'Death By Diamonds And Pearls'. Such Americana-influenced blues-rock is a well trodden path, in Black Rebel Motorcycle Club, The Dead Weather, Queens of the Stone Age or The Kings of Leon to name but a few. It is admirable that not every track on their albums sounds the same, but at the same time they sound too much like everyone else. "We're Band of Skulls from Southampton," deadpans Marsden, to cheers from the band's fervent front row fans who have long followed them around the country. These days they play big venues, the Reading Festival's main stage, win over the SXSW crowd or embark on US tours, but there is still a humility that recognises how speedy their 'Twilight' and 'Gossip Girl' soundtrack-powered ascent has been from club circuit toil to being heralded as the latest saviour of rock and roll. The trio have worked hard for ten years to get here, but now they have, do they know what to do with it? Words by Michael Parker Photos by Richard Gray |
Introducing... We Are FSTVL
| Brand new one day event We Are FSTVL is set to launch next year. The festival season is more crowded than ever, with the summer of 2012 witnessing more failures, call offs and rain-sodden disasters than fans might care to remember. However as long as new events keep popping up, Clash will hold off signalling the demise of the great British outdoor event. We Are FSTVL is a new addition to the festival calendar, and it seems to have more ambition than most. A one day dance event, We Are FSTVL will take place on a 122 acre site at Damyns Hall Aerodrome, a functioning former WWI air base in Upminster, Essex. In all, more than seventy acts will perform at the festival, with organisers currently plotting ten bespoke structures and arenas. Amongst the themes areas on show, We Are FSTVL will boast Cocoon Heroes (featuring Sven Vath and Ricardo Villalobos), Kehakuma, Crosstown Rebels, Secret Sundaze and more. Each stage has been carefully thought through, often using unusual designs. Mulletover, for example, are planning to host a rave in a crop circle with appearances scheduled from Kerri Chandler, Joy Orbison, Huxley, and Waifs N Strays. Early bird tickets are on sale now. We Are FSTVL takes place on May 25th. |
Local Natives - Live At Hoxton Square Bar And Kitchen, London
| It's December, that time of year when we all contemplate what we've been listening to and compile our list of the best albums from the previous 12 months. Tonight we get a sneak preview of what we have to look forward to next year with Californian's Local Natives playing a one-off headline show ahead of their long anticipated second album 'Hummingbird' set for release in January. Based on this gig, indications are favourable that it's most definitely going to be a good start to the year. Opening song, the first single from the new album 'Breakers', with its intro of jangly guitars before an explosion of beautiful harmonies is like a summer dream compared to this cold December night. The enthusiasm from the audience is palpable as they power straight in percussion-heavy 'Wide Eyes' from the debut album. Now that they have a firm grasp on the crowd's attention, bearded singer/guitarist/percussionist Kelcey Ayer modestly states, in case anyone had any doubt, "We're Local Natives from Los Angeles. We have a lot of new songs to play for you," and introduces 'You & I' from 'Hummingbird'. Local Natives' 2009 debut 'Gorilla Manor' came to fruition as a self-funded, self produced project with all band members collaborating on every aspect from song writing, to production and even the artwork. Released in the UK months before the US, the album was well received by fans and critics alike and spawned an impressive six singles. When it was finally announced the long wait for a follow up was nearly over, 'Hummingbird' has become one of the most highly anticipated releases of 2013. Co-production credit on the new album comes from The National's Aaron Dessner, who makes a special appearance on stage tonight. Reverentially introduced by moustachioed singer/guitarist Taylor Rice as "...our great friend who has helped us with the new album," Dessner joins the band for excellent new track 'Heavy Feet'. Their brilliant cover of Talking Heads track 'Warning Sign' (heard and approved by David Byrne, no less) gets an airing this evening but the best moment of the night is the crowd participation on 'Who Knows Who Cares' where if you close your eyes, you could briefly imagine you were at a Wembley size gig and not a bar in East London. The excitement carries through to set closer and crowd favourite 'Sun Hands'. Old and new songs are represented in equal measure throughout this set and fit well side by side. Soaring harmonies mixed with indie guitars, keyboards and awe inspiring percussion is what we love about Local Natives and they haven't strayed far from that formula on the new tracks. The distinct difference is the new songs are much bigger and much more sophisticated. They've obviously spent their last three years perfecting this folk, rock, psychedelia sound that we embraced on the debut album and its pure joy to hear it coming close to epic levels on the new songs. 'Hummingbird' will be released on 28 January 2013 on Infectious and Local Natives will be back for a UK tour in February. Words by Alison Kerry Photos by Rosie Wadey |
Kurt Vile And The Violators - Live At The Forum, London
| Those in attendance tonight ain't half lucky bleeders. Not only do they have respite and shelter from the torturous northerly winds and rain for a few hours but they are also treated to a line-up oozing with indie kisses. Support tonight comes from from Dark Dark Dark and Lower Dens who, like tonight's main act, played at this weekends All Tomorrow's Parties curated by none other than The National. Furthermore, it's a rare outing for Kurt Vile and his Violators who are currently hibernating in the studio for Vile's fifth recording which, we're told, sounds like "Fleetwood Mac without the cheese." First up on the bill this evening are Dark Dark Dark who have crafted themselves quite a live reputation which, to their credit, has brought quite a few of tonight's sold-out crowd down earlier to check them out. They play a brand of jaunty avant-garde pop which is tonight peppered with accordions, classicial piano and tales of separation able to raise goosebumps of even the hardest of men. Their sharp melodies are topped up by Baltimore's Lower Dens, who compel the audience with purring bass lines. We almost forget who we have come to see as our unassuming headliner saunters onto the stage and starts to tune up. Without a word we're reminded as the band launch into the noise-drenched 'Hunchback' which might have come as a surprise to those who only know Vile for the tender acoustics on 'Smoke Ring For My Halo'. A supremely talented guitar player himself, Vile's merry band of Violators are all masters of their instruments, offering long-hair and guitar licks rather than on stage thrills and wizardry. Vile's modest on-stage persona is particularly charming for when the band leave him to his own devices following a raucous rendition of 'Jesus Fever' which abruptly finishes with a wild thrash at the guitar. The solo acoustic section of the set really stands out and Vile silences the audience with some superb playing with an American drawl that transports the audience from drizzly North London to the American outback. Better yet is 'Peeping Tomboy' which, with added vocal and guitar patterns, makes, for the first time in the evening, those in attendance stand back and appreciate the talent of the meek and mild guitar hero in front of us. Our cockles are thoroughly warmed in time for the Violators to return trading in the folky acoustics for three layers of guitar and distortion drenched psychedelia. The set finishes with fan favourite 'Baby's Arms', which for how acoustic it sounds on the album is transformed with the use of an amplifier and fuzz pedals. The trio of guitars come together for an emphatic finish with each member on their knees trialling different sounds on their pedals lost in a cloud of reverb and distortion. The band return for an encore and appease the crowd by switching from the planned 'Smoke Ring For My Halo' to the garage-rock tinged 'Freak Train' which members of the crowd had been calling out for all evening. Comparisons to Neil Young, Tom Petty and Bob Dylan are easily made and the set suitably comes to a close with a rendition of 'Knockin' On Heaven's Door'. A cliché finish perhaps, but the band speed it up and perform it with gusto, partially making up for the omission of 'Runner Ups'. Words by Andrew Darby Photos by Rachel Lipsitz |
Florence And The Machine - Live At The O2 Arena, London
| It's an irksome fact of life that, upon reaching a certain level of success, our favourite artists end up playing behemoths like the O2 Arena, a more soulless, cynical venue it would be hard to find. Die-hard fans of Florence & the Machine probably long for the days of pub gigs and intimate venues when their heroine on the stage looked bigger than an ant. Sadly, those dog days are truly over and this sold-out show cements Welch's journey to mainstream superstardom. As the cavernous space slowly fills up, Haim, must be thanking the gods of stadium arenas and watered-down beer for such a golden ticket. With just one, solid EP to their name (and a list of enviable support slots), they're clearly making the most of the moment, rocking out in true, teenage-bedroom style. The sisters from California have already been cast as a baby Fleetwood Mac, but this is certainly not where their influences begin or end. Sure, on 'Better Off' there's a familiar 4/4 beat driving some Mac-esque chord progressions, but elsewhere there's a smattering of grunge, some Led Zeppelin-style riffs and even a couple of cock-rock guitar solos. In 'Forever', the girls sound like no-one so much as Cyndi Lauper of the 'Girls Just Want To Have Fun' era – which pretty much sums up Haim's approach to the show. They conclude with a wonderfully bratty drum finale - a precocious, brazen herald of great things to come. Exactly twenty minutes later, the rest of the stage is unveiled to reveal a striking, art deco back-drop through which Florence emerges to a rapturous audience. Dressed in a diaphanous, black number slashed to the waist, she's a cross between something from an '80s fantasy film and a sexy raven. Billowing dramatically, she proceeds to sprint around the stage with impressive energy, pausing every so often to throw some picturesque shapes with her arms. Despite the portrayal of wilful abandonment, it's hard to shake the impression that this is a perfectly executed, precision-planned performance given by a highly professional artist. It's visually striking, beautiful and even awesome – but a marked contrast to the evening's earlier, youthful exuberance. For an album characterised by its expansiveness and theatricality, 'Ceremonials' was always going to stand up well to the space, coming alive in ways that are not always so obvious on the record. The highly orchestrated 'Only If For A Night' rolls out over the crowd with a gothic inevitability, Welch's inimitable vocal easily surging over the top, while 'What The Water Gave Me' strikes a chilly, ethereal tone as Florence throws herself into ever more convoluted shapes. She's in fine voice, rarely missing a note even when haring the width of the stage at 100 mph. In moments of relative stillness, her vocal is quite remarkable and utterly distinct. It has to be said (begrudgingly) that F&TM do some pretty impressive things with the gargantuan space. For 'Shake it out', a red wash descends over a stage now hung with parlour curtains, turning it into the largest harlot's boudoir in the world. More surprisingly is how earlier, more intimate work also stands up well. 'Dog Days Are Over' is a fitting finale and brings the most joyful, natural part of the set. A glance at the audience, bouncing in unison, shows a total absorption in the moment. Arenas are a tough gig, but the woman with the flame-red hair has well and truly pulled it off. Words by Theresa Heath Photos by Natalie Seery |
Night Works Announces Debut Album
| Night Works is set to release his debut album 'Urban Heat Island' on March 4th. Once a member of Metronomy, Gabriel Stebbing is now ready to focus on his own voice. Using the name Night Works the producer began releasing new material earlier this year, forging a mixture of chilling electronics, fractured R&B, disco and more. Typically imaginative, Gabriel Stebbing describes the songwriting as "finding yourself in a foreign city, and meeting characters who are desperate to tell you stories – people who have played high stakes and gambled it all away". Debut album 'Urban Heat Island' is set to be released through Loose Lips on March 4th - check out the tracklisting below. 1. Boys Born in Confident Times On the same day, Night Works will release new single 'Long Forgotten Boy'. Stream the radio edit of the single below: |
Nas & GetOnDown.com Ready The 'Illmatic' Premium Collection
| Make a hip-hop head's Christmas... When 'Illmatic' dropped in April 1994 whole landscape of hip-hop changed in one moment with its all-star production (from the likes of DJ Premier, Q-Tip, L.E.S, Pete Rock and Large Professor) and, more importantly, the amazing lyricism from a young Nasir bin Olu Dara Jones. Eighteen years later Nas' debut is not only considered THE quintessential hip-hop album but an important piece of musical history, so it only makes sense that the good folks at Get On Down have released the 'Illmatic' Premium Collection to celebrate this landmark LP. The premium collection is available to purchase online today and includes: - 24k Audiophile Gold Disc CD with re-mastered audio, housed in a "Cherrywood Trophy Box" with gold plaque. A must own for hip-hop junkies, anyone who grew up during the often proclaimed 'golden era' and – of course – Nas fans, it's the perfect Christmas gift. You can buy the 'Illmatic' Premium Collection from GetOnDown.com by clicking here. Words by Jerry Gadiano |
Download: Sweet Baboo - Let's Go Swimming Wild
| First taster of his new album... Sweet Baboo is giving away new track 'Let's Go Swimming Wild' ahead of his upcoming album 'Ships'. Working on the fringes for some time, Sweet Baboo sits in that great Welsh psychedelic folk lineage. One to file alongside Gruff Rhys, H. Hawkline and Gorky's, the songwriter nonetheless has an idiosyncratic streak that gives him a niche of his own. At home on Moshi Moshi, Sweet Baboo is currently plotting his fourth album. Seemingly a brass laden pop effort, the material was laid down earlier this year with long term collaborator The Voluntary Butler Scheme. Due for release next year, the album will be preceded by upcoming single 'Let's Go Swimming Wild'. Out on February 11th, it's a sweet, chirpy, upbeat track with Sweet Baboo intoning some adorably innocent lyrics. Listen to it below. - - - Sweet Baboo is set to release 'Ships' in April. The Welsh songwriter has lined up a handful of live shows: December February |
The Breeders Reform, Toast 'Last Splash'
| The Breeders are set to reform for a number of shows toasting the 20th anniversary of their album 'Last Splash'. It all fell into place with remarkable ease. Kim Deal, Kelley Deal, Josephine Wiggs, and Jim Macpherson formed The Breeders in 1992, playing their first show together in a snooker hall behind Warrington Rugby Club in the north of England. Within days they were supporting Nirvana, within weeks they had performed at Glastonbury and kicked off work on their debut album. Released in 1993, 'Last Splash' remains a stunning listen - immediately accessible, there is an adventurous edge to the material which still startles. Recently hooking up, the four members of The Breeders decided to get back into rehearsals. Kicking off in November, the group made plans to celebrate the 20th anniversary of 'Last Splash' with a series of concerts around the globe. Set to play ATP (curated by Deerhunter) in June, the one off festival show will be followed by more headline dates. Alongside this, 4AD are set to release a deluxe, 20th anniversary edition of 'Last Splash' in April. Here's 'Cannonball'. |
BBC Sound Of 2013 Long List Unveiled
| It's here... The final long list for the BBC Sound Of 2013 poll has been announced - find the results below. Well, it's finally here. The BBC Sound Of... poll is compiled using votes from critics, broadcasters and more and aims to represent an accurate view of where those in the music industry believe it will travel over the next 12 months. After countless votes, counts and re-counts the BBC announced the long list for the Sound of 2013 poll this morning. There are more than a few Clash favourites on there, alongside more mainstream fare and the odd curveball. It's an intriguing list - before we offer commentary find it below: AlunaGeorge So... King Krule features on the new Clash Magazine cover, while Angel Haze is a former Ones To Watch. Laura Mvula is included in our Ones To Watch for 2013, while Savages, CHVRCHES, Kodaline and Tom Odell have already been covered extensively on the site. Are The Weeknd truly newcomers? Should they be included in this poll? Let us know your thoughts below? |
Track Of The Day 10/12 - The Pictish Trail
| So welcome back, then, The Pictish Trail. Johnny Lynch has sat at the heart of the Fence Collective for over a decade, in which time the likes of King Creosote, KT Tunstall and more have gone on to enjoy widespread critical and commercial success. The Pictish Trail, though, seems to be a rather more niche, cultish concern. Perhaps that's down to his lack of adherence to the album format. Releasing a string of CD-Rs and other paraphernalia, The Pictish Trail released 'Secret Soundz Vol.1' back in 2009 marking an attempt to try something rather more concrete. Now it's time for a follow up. The Pictish Trail - now located on Eigg - has been beavering away on new material, which reflects both the geographical and emotional shifts in his life. 'Secret Soundz Vol. 2' is out on January 21st, but ahead of this the songwriter is set to take part in a split seven inch single. Sharing a slice of wax with Kid Canaveral - listen to their offering HERE - the single showcases two very distinct acts. The first sign of his second album, 'The Handstand Crowd' opens with the warm, wheezing tones of an accordion, while Johnny Lynch's voice is soft yet distinct, evidently Scottish yet open, universal. It's an impressive effort. 'The Handstand Crowd' stretches to five minutes, yet each note, each word seems to have its own place. Economic rather than sparse, it unfolds at its own pace and finds The Pictish Trail sounding more confident in his approach than ever - obviously autobiographical, there's a tenderness here which is difficult to thrug off. Listen to it now... The Pictish Trail / Kid Canaveral split single is set to be released on December 17th. |
12/08/2012
An Evening With Rough Trade and Mute - Rough Trade East, London
| This week Rough Trade East hosted a triple bill of DJ sets from Mute labelmates on a wet December evening. Founded in 1978 in the wake of punk, Mute was one of the first British labels to show that you didn't need a massive corporation behind you, their DIY aesthetic arriving abruptly with The Normal's 'Warm Leatherette / T.V.O.D.' 7", a single inspired by J.G. Ballard's controversial novel. The Normal's solitary single was an electronic blow to the head, fusing grainy synths that belonged on a Suicide record with the motorik groove of Can and detached, wry vocals. Mute would go on to become one of the most successful UK indies alongside Rough Trade and 4AD, with artists like Nick Cave, Depeche Mode and Moby calling the label home, those big-ticket artists sitting alongside a plethora of cult and obscure acts that fired the imagination and challenged musical boundaries. Daniel Miller, the man behind The Normal and the founder of Mute, played a set that fused retro electronica with minimal techno, along the way taking the opportunity to throw in a few gems from the Mute back catalogue like 'Back To Nature' by Fad Gadget, 'Join in the Chant' by Nitzer Ebb and 'Behind The Wheel' by Depeche Mode, as well as 'Sun Flight' from his Silicon Teens album. Miller was followed by Patrick O'Neill, who runs Liberation Technologies, a sort-of Mute sub-label focussed on underground dance music. O'Neill was standing in for Tom Cohen from goth-rockers S.C.U.M who couldn't make the event, and his set was dominated by alternately noisy and clinically precise industrial techno full of punishing beats and beautifully ear-bothering sounds, at the same time showcasing some of Liberation Technologies' 2013 releases. The final set came from James Chapman, better known as electronic producer Maps, who is on the cusp of releasing his third album via Mute. Chapman's set was a strange stew of funky sounds mixed with more laid back beats, at times moving toward a sort of electronic sci-fi theme music and at others toward a hypnotic Kompakt-style disco-pop. 2012 has been a really strong year for Mute, following a recent return to independence after being owned by EMI. On the strength of the new material played out this evening, 2013 could be another very interesting year for the label. Words by Mat Smith Photos by Andy Sturmey |
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