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ALMIGHTY DEFENDERS

2009-10-25T10:45:00.002Z

That's what you mean isn't it? The Almighty Defenders...

Release date

2009-09-29T17:18:00.001+01:00

What's the deal with US and UK album release dates?

Why can't I get my next favourite record the same time as everybody else?

Off the beaten Tracks

2009-08-21T17:31:00.006+01:00

Friday is a good day.

It's a day to dream of shenanigans that lye ahead over the coming weekend. It's a day to switch between doing work you get paid for and the various tabs you've opened on your desktop...Facebook anyone? And it's just the best day to take advantage of said slackness and discover the brand spanking new music that sit's unexplored across the vast vastness of the blogosphere.

Here's a few i've inadvertedly stumbled across today:

Warm Heart of Africa-(Feat Ezra Koenig):-Just when you thought Ezzy couldn't be more like Paul Simon...

We Ar e Water-Health: Taken from 'Get Color', their forthcoming second full length. It duly makes light of '2nd album issues' in just over 4mins of pure, unhinged glory.

T o The Dregs-Wavves: Nang, sick, ill, heavy, deadly, dope.

Dominos-The Big Pink: Undoubtedly my favourite new British band. One listen of this and you'll be humming the shit out of it for weeks.

DEFINATELY YACHT

2009-08-10T23:29:00.005+01:00

YACHT are a Portland band I'm sure I'll be sticking with for much longer than a summer.

Signed to James Murphy's DFA records, home to LCD soundsystem, Prinzhorn Dance School, Hercules and Love Affair and Holy Ghost!, the embarrassingly talented duo of Jona Bechtolt and Claire L Evans make the dreamiest most trippingly positive music around. And every single person in the entire music industry that actually matter, adores what the duo are putting out.

Like a new age healer, Bechtolt produces triangular stimuli that incorporate a collection of ever changing elements. Live music, PowerPoint visuals, immersive audio and shamanistic video's. It's an experience that goes way beyond any thing produced on stage today and it's a forage into a brave new world that looks nailed on to succeed.

New Mystery Lights, their debut album, marries the pure hedonism of Animal Collective and the forward thinking drive and funk of Eno and ESG. It's a masterpiece in physical form and it's out now to own. Released 4th August.

A DUMP AND CHASE. WARM UP THE BUS HOCKEY. OR SHOULD THAT BE YACHT?

2009-08-10T20:45:00.003+01:00

Since May I've seen Portland 4 piece, Hockey not once, not twice, not thrice but four times. It's been a blast. Mind Chaos, their brilliant debut record, is due out August 24th and it really is very very good. I wont be getting it though. If truth be told, I'm bored of the band. Our relationship is as stale as that 3 day old slice of Hawaiian beside your desktop.

Bare in mind I've only known the band all of 4 months max and have invested time, effort and dollar into them. Just when the fruits of their labour should be budding an overwhelming sense of overkill has dampened any excitement i might have for perhaps the most important month of their time as a band.

It's sad and i fell kinda bummed but in the 4 months together I've not paid for a single gig, all were free, and I've heard every single track off the LP more times than perhaps any record I physically own.

The problem for as far i can see, you may think otherwise, is that Hockey have been way too accessible. Their first London gig was in December 2008 and they've since moved to the capital for what can only be described as a full on UK, record label, chart assault. Of course, it's worked a treat. They've played not only IOW, Glastonbury, Great Escape, Camden Crawl, Levi's sponsored shows and worst of all T FUCKING 4 ON THE FUCKING BEACH. I guess that shows the width of audience they're aiming at and why not. They'll chart well and sell truck loads of records but I, and i guess a fair few others too, wont be sticking around to dangle the teet.

RETURN OF THE (ball)SACK

2009-08-10T18:51:00.004+01:00

I could just write an article on my favourite new band and let the fact that I've not posted anything on this blog since May slip by the wayside, just like our much-mangled, almost non-existent summer has. That would, however, be very rude and I do like to think/hope/pray that out there somewhere is a dedicated follower of our inconsistent scribbings.

For me personally this sunless summer has been heavy busy. It started with three sick days in Brighton for the Great Escape festival and finished with a week long gig-fest that saw me take in and review five shows in five days, all of which were sprayed across the musical blogosphere like the territorial piss of an alley cat. You can find them all here and here on Levi.com so have a butchers and let me know what you think.

It's not all been work though. I managed to survive the violent brain-cell hammering of Glastonbury which, it has to be said, was my favourite of all time. The Big Pink, Bon Iver, Fucked Up. Crosby, Stills and Nash, We Have Band, Man Like Me, Alberta Cross, Kap Bambino, Florence and the Machine, Animal Collective and Blur were all bands I'd, for one reason or another, had never got to see until one glorious weekend in Somerset. RAD.

And that has pretty much been that. Same old really. We caught some other live shows over the past couple of months, most noticeably the Black Lips and Mika Miko in Camden, Crocodiles nang show at Bardens and Wavves at the Old Blue before his lame ass breakdown at Primavera. Pussy.

You'll get to read about those and a whole host of other crap that I've got lined up over the next few days so hang tough and keep tuned.

Stop Fucking Ruining Music You Talentless Fucks In Suits

2009-06-18T21:16:00.005+01:00

"Speakeasy / at the link it's easy" is probably the benchmark of favourite records becoming the property of the snarling, soul less, gack hoofing ad execs. One day Joe intern comes in to work whistling a tune and Farquad McSuityprick goes, "You know what the tune really summarises for me? That's right... the sweet sensation of chemically induced alpine freshness" and bam, The White Stripes are advertising toilet bleach.

The White Stripes were lucky though. They got away with an imitation, royalties avoiding, tribute to 'Hotel Yorba'. Shed Seven on the other hand were gripped by the afformentioned ad exec douchebag, and whilst noshing on his coke shrivelled dick Rick Witter uttered the immortal words at the head of this post. That has to be the tipping point for selling out. Shed Seven re-recording one of their few really good songs for a mobile phone shop staffed by a tricked out Nova's worth of garage and RnB loving wankers hopefully pursuaded any bands who could smell the greenbacks that you could go too far. It hasn't stopped it happening though, and it's understood. For every Shed Seven there might be a Jose Gonzalez forging success from oblique and inventive commercials.

The only execptions to the rule - doing an advert = loss of all credibility, respect and rock n roll heritage - were Levi's and maybe now Sony. Do a Levi's / Sony ad and not only were you garunteed a number 1 single (when that counted for something) but also a place in rock n roll legend. Give me a man on the street who doesn't know the wolf whistle on the Steve Miller Band's 'Joker' or knows Handel’s ‘Sarabande’ without actually knowing that's what it's called.

Recently Jonathan Richman and The Modern Lovers ended up advertising Weetabix with 'Egyptian Reggae', The Sonics started hocking something along the lines of sanitary towels with 'Have Love Will Travel' and now just to really fuck the world inside-out Langhorne Slim is selling Pedigree Chum. Pedigree 'Dog Feeding' Chum? It's no Levi's Launderette that's for sure. So Langhorne may not have actually said 'Woof' himself but someone's made that call and he's pocketed the fee. Does it air in the USA, or is it specifically for the UK so he'll never have to face it? I'm sure it's not going to stop his following turning out but they'll remember it, some will definitely lose sleep over it and others will be set off on an unsatiable dialogue that followed a sleepless night wrought with emotion and a loss of faith in things they held dear.

When will Levi's start doing TV ad campaigns again?

Mika Miko 'We Be Xuxa'

2009-06-02T17:30:00.007+01:00

I was right. Mika Miko and No Age sitting in a tree, et cetera. Proof is two Randy Randall produced tracks on the latest and most polished from Mika Miko. To say they were the strongest tracks on the album, 'We Be Xuxa', would be a) unfair and b) untrue. 'Sex Jazz' and 'Keep On Calling' carries No Age, New York no-wave, new-wave out the end of an album that has many strengths.

I hoped not to mention the Ramones or post-punk in this review, but quite blatantly have. Thing is they do sound that way and are honest about it. Throwing Ramones covers into live sets and reaching deep into the post-punk bassline sack for tracks 'Totion' and 'I Got A Lot (New New New)' is a pretty obvious call out. 'We Be Xuxa' is, in actual fact, a great gateway album to old bands - The Gun Club, James Chance and the Contortions, The Ramones, The Au-Pairs, The Bloods and numerous other bands you can find on Rough Trade's Post Punk Volume 1.

The barking between the two distinct vocalists is alluring, Jennifer sometimes sounding like she has a singer trapped inside a hardcore punk while Jenna keeps her cold shouldered vocal chipping away. Musically the guitar throughout invokes jealousy in the same way as The Slits claiming they had no musical ability (the only mention of them by the way) with naive riffs and scales. Jennifer and Michelle chop and change guitar responsiblity live and the same occurs on the album. Massive credit has to go to Seth and Jessica, drums and bass respectively, who lavish the album with popping basslines and frenetic rhythms that lock the chaotic mix of styles into something somewhat danceable and the reason post-punk will continue to crop up, whenever they are brought up.

I'm toying with a simile to sum up the album, but it's gross. Something around the notion that this is a quickly executed album that doesn't necessarily look pretty (in an visualization of the sound kind of a way, because actually, the album photography is splendid and the typography, while confusing, is entirely beautiful), but in the moment is so completely satisfying that you might feel guilty after listening and with consideration know it was somewhat degrading but hope the opportunity will definitely arise to do it again, and soon.

Adventures in iPod: The Best Songs With Blue In The Title

2009-05-21T16:42:00.004+01:00

Before the slew of Great Escape related reviews and hedistic nostalgia I wanted to get an update on the iPod A-Z.

It's taking longer than I'd anticipated and currently has stalled at Bu. But (haha) Bl. passed a while ago and made me realise that there are a fuckload of songs with 'Blue' in the title and it would be rude not to compile a 'Top 3 Songs With Blue In The Title'.

Naturally this top 3 will be definitive so no arguements.

Number 3 - 'Blue Flowers' by Dr. Octagon
Back in the 80s Kool Keith was pure skill. Leader of the Ultramagnetic MCs who originated samples that later flicked the switches of the Prodigy (Kool Keith owned 'Smack My Bitch Up' long before the not so cool Keith and Liam adopted it). Dr. Octagon was one of many alter egos KK took on in the late 90s and the story goes that Dr. Doom (another ego) brutally murdered Octagon. Produced by Dan The Automator and released on Mo' Wax, the album this track comes from is stuff of conceptual legend. The Doc, a gyneacologist / surgeon, travels through time and space, WTF?

2. - 'Blue Boy' by Vincent Vincent and the Villains
I concede that there could be hundreds of tunes that would better fit in the number 2 position. 3 and 1 are so definitive that they can't be moved but 2 is a toughie. It's come down to the fact that VV&TV are defunkt now. I believe V is going it alone. We used to go crazy to this ditty, despite none of us could harmonise anything like the boys do.

1. - 'Blue Moon' by Elvis Presley
You've heard of him right? This song, so bizarre. I can't really get my head round the idea of this song first being released. It's so haunting yet such a standard country ballad. My idea is confused by it's appearance in the movie 'Mystery Train' (named after another Elvis classic) by Jim Jarmusch, where the song provides the red thread of four intertwining stories in Memphis occuring one night.

DAY ONE, THE GREAT ESCAPE

2009-05-14T10:28:00.004+01:00

Well clamp my nipples and call me Susan. Today is the day Isthereanything... say bye bye to the heaving, smog filled skies of London and hello to the sunny seaside backdrop of Brighton (err, have you seen the forecast-Rich). That's right, day one of the Great Escape Festival and I'm about as steady as John Terry on wet Moscow evening.

It seems like only yesterday I was hyperventilating about the Great Escape Festival on this very blog. The promise of meeting the Black Lips, catching up with Mika Miko and blog favourites KASMS and generally running wild along pebbled shores of the south coast was almost too much for me to take. But, as they say, good things come to those that wait and right now I'm reaping the benefits of not kidnapping Peggy Sue and getting them to perform in a pebbled filled basement. Er, Police please.

So this is post one. In just a few hours we'll be bouncing on our hotel beds, raiding the mini-bar and updating the blog on every opportunity we get. Expect photo's, reviews, stories and some good ol banter as we go balls deep into the single most exciting end of the week/weekend of the year.

A Certain Reformatio...

2009-05-07T20:41:00.009+01:00

The tangible excitement whipped up by Devo after last nights show at the Forum (See post below) meant their surrealist-cum-mad scientist-evolutionary-escapism fell bang in line with a band of post-punk brothers that have returned to stages of late.

With as much guise, poise and essentiality as their younger legs yielded, Devo's Triumphal execution of 'Are we not men...' draws heartening comparisons to the recent Ether theatrics of Byrne and Eno, the brute recrudesce of Wire and Magazines cyclopean resurrection.

In comparison, the stagnant and bloated cash-cow comebacks of the Sex Pistols, Led Zeppelin and The Who make the live re-emergence of Devo and Co look like the second coming. Whether it's their art school upbringing or DIY ethics it's evident Mark Mothersbaugh, Brian Eno, David Byrne, Howard Deveto and Colin Newman have lost not a smidgen of integrity or significance. John Lydon however promotes butter.

Next week we have the promise of Gang of Four's seaside soiree to look forward too as well as scheduled shows for The Slits and A Certain Ratio this summer. Keep your peepers peeled to Isthereanything for all the latest updates.

Devo at The Forum, London, 6/5/09

2009-05-07T09:01:00.003+01:00

The premise for tonight's gig - 5 overweight, middle-aged, big-in-the-eighties men in yellow boiler suits playing their debut album in its entirety, to an audience of overweight, middle-aged, were-young-once men in yellow boiler suits - is absurd.

Until, after the exhibition of Devo's original 'The Complete Truth About De-evolution' (which can't be found on Youtube), Devo take the stage and own it from there in.

If you're not familiar with Devo I'm disappointed. They carried the flag of surrealist humour, charting the de-volution of man in regression to their ape-like roots. Back in the day as a the first American signing to the British label Stiff records - home to Elvis Costello and the legendary Ian Dury to name but two - and forerunners of the post-punk slew of eighties bands, making bizarre music videos as the MTV generation developed.

It was all there tonight, the stage show - tearing away the yellow signature Devo boiler suit to reveal the signature Devo black shorts and t-shirt - just like they used to. The music - you can't fault those guys as great musicians, especially when you take into account Mark Mothersbaugh's continued success as writer of film scores and mastery of the stage - was perfect, heavier than on record but delivered without pretension.

It was calmly reassuring on the trip home to overhear discussions between fathers and sons about how great they were and how the record (vinyl no less) was going to wake the neighbours when they got home.

The truth about de-volution is that Devo can play out a fantastic gig to long term fans reliving it through a new generation of fans without ever appearing tired or dated.

A Bout De Souffle to Zurich Is Stained

2009-04-24T15:23:00.005+01:00

For some reason I can't now recall, I decided to listen to my iPod by 'songs' without shuffle. In other words, A-Z through the 6034 songs on my iPod. I understand the time involved and can't commit myself to that one task alone (I do have to listen to the weekly podcast for instance) but I am prepared to see it through.

There is - I can assure you so far - nothing to be learned from this adventure. In acknowledgment of this here is my top-ten 'songs on my iPod beginning with A(in no particular order)':

1. Absolutely Sweet Marie - Bob Dylan: the hotch-potch cachofany of Dylan going electric from 'Blonde On Blonde(1966)', great hammond organ and flirtatious lyrics.

2. Adventures Close to Home - The Slits: couldn't find Slits version on YT so this is The Raincoats (which I have to admit to starting to enjoy a little more).

3. Age of Consent - New Order: they're just fucking brilliant on 'Power, Corruption and Lies(1983)'. Kraftwerk via Manchester. n/b about the video, some people have too much time on their hands.

4. Air Travel - Jerry Seinfeld: Seinfeld basically leaves no leftovers for comedians in his wake. n/b - in the video 4:15 before "air travel" section.

5. All Tomorrow's Parties - Velvet Underground and Nico: New York. Art rock. The Beginning.

6. Always Late With Your Kisses - Lefty Frizzell: it's the little steel pedal intro that gets me and the way the end of each verse segways beautifully into the chorus.

7. Amalgam - The Dudley Moore Trio: yes Dudley Moore. I love in Derek & Clive the story where he got blown straight up Joan Crawford's...

8. Anthrax - Gang of Four: sends shivers done my spine... "I feel like a beetle on it's back / and there's no way for me to get up".

9. Archive From 1959 - The Buff Medways: Chatham's finest, Billy Childish, with a song that sounds a little bit like smashing through Billy's loft without a torch.

10. Atlantis to Interzone - Klaxons: it's about the first time we heard it. So completely new yet familiar. Despite awards, atrocious live performances and general middle class intellectual twattery, still sounds completely mental.

Predictable? Maybe...but I'm Starting Over

2009-04-03T12:18:00.009+01:00

If there's one thing you can expect to see on 'Is There Anything...' its the obligatory Black Lips post.

I know it, you know it, everyone knows it, we champion the Black Lips and I can be as sure as hell that those boys, those lovely bloody boys appreciate every single miss-spelt, factually inaccurate word we cast upon this very blog.

So, in what I'm desperate to call 'Black Lips Watch' but will refrain in an attempt to keep at least a handful of followers, I'm gonna post every ounce of news-worthy or not so news-worthy news on the Black Lips in the lead up to the Great Escape festival. A festival in which we will meet the band. That's right, MEET THE BAND. I've got wet.

As a dynamic blogging force, the Great Escape will be our first festival together so expect plenty of shenanigans being recorded for your reading-the-blog-while-you-should-be-filling-in-Health-and-Safety-inspection-sheets-or-something-along-those-lines pleasure. We'll upload news, photo's, anecdotes and maybe the odd interview as we indulge in three days of satirical seaside silliness.

So, to get us started, below is a link to the festival plus the excellent video to 'I'll Be With You' the second single to be released from 200 Million Thousand, Black Lips second UK album.

Great Escape line up.

I'll Be With You.

I already know what my next Black Lips post will be so keep tuned and I'll be back in a jiffy. Peace out homes.

VG 4 SL-When we say we're in love, you best believe we're in love, L.U.V

2009-03-24T21:34:00.016Z

When you spend enough time with someone who, like Cher, would rather ‘Turn Back Time’ than let's say, ‘Push Things Forward‘, like Mike the Brummie your gonna start investing your ear time in music that’s old. Of course, when your passionate about music the origins of your favourite new bands influences are just as important as their own releases.

Which is why, when the Vivian Girls hit up our record shops, stages and blogs in late 2008 the influences behind their Surf Rock, harmony led Girl-Group vocals were an intriguing insight into what shaped their self titled debut LP.

Now Vivian Girls, it must be said, have had ‘Is There Anything…’ in a bit of a pickle of late. On record, in interviews and in pose form, we love em'. Live however, we were turned to cheddar and our big, yellowy, dairy filled heads were grated right off our considerably chipped shoulders.

When they supported the Black Lips back in February we did our homework. As each day passed their Brooklyn-baked output only served to heighten our excitement. 'Tell The World' had us transfixed as if we were driving down a pitch black, deserted road 10 hours into a mammoth road trip, while the sweet, honey-glazed 'Second Date' made for a perfect swoon. All was gearing up for a perfect night, until, that is, they plundered the stage, pins in hand, bubbles in sight.

The performance came and went with much monotony. Barely a pulse was raised, hardly a swoon in sight and neither knees nor hearts were swayed. Vivian Girls clarity and sun-soaked cooings never pierced the fuzz and drone of reverberating guitars and stark, bare and bruising beats. AND as for the banter, stopping the start of a song to ask someone to show a 1000 strong crowd a Japanese handkerchief the size of a...well, HANKERCHIEF did and still does makes my teeth do a grind of nails-on-chalkboard severity.

In other words, we were bitterly disappointed. But in all reality, the worlds fatality is in no way threatened because Vivian Girls had an off night on stage. And lets be fair, it could have just been an off night. There is, as in most cases, a silver lining. They still sound great on record and more importantly we've been re-introduced to one of a our favourite bands of all time thanks to the girls influences.

The Shangri-Las. The portrayers of teen drama induced pop of an all-girl variety. Formed in the 60's the Shangri-Las sound tracked millions of teenage lives and broke hearts the world over with 'Walking On The Sand' and ‘Leader Of The Pack'. The influence they had on a generation of adolescents was obvious, the influence on today’s bands however, not so.

The most obvious is the Vivian Girls. The harmonies and tambourine glistened drums are a direct connection to Shangri-Las, in particular 'Tell The World'. Perhaps not so obvious is the sway the band has on the likes of the Black Lips, The Horrors and a whole host of punk bands dating back to the 70's.

'Good Bad, Not Evil', the 4th LP released by the Black Lips takes it's title direct from 'Give Him A Great Big Kiss', a song which includes the line 'When I say I'm In Love, you best believe I'm In Love, L.U.V', the same line used in 'Looking For A Kiss' New York Dolls 1971 recording.

With regards to musical output, the Black Lips have used '200 Million Thousand' to showcase their influence further. 'I'll Be With You' is more than just a nod in their direction, as is the continual use of a Shangri-La-like drum beat, so beloved of everyone, throughout the record.

As for Blondie, they twice covered 'Out In The Street'. And most surprisingly of all is the pull the Shangri-Las have on The Horrors. Sited as an influence even before 'Strange House', the promise from the band and hacks alike, that the new record is peppered in Shangri-La kissed tambourine and spoken vocals is in equal parts bewildering and brilliant.

So beg, borrow or steal a copy of 'Leader Of The Pack' and it's quality and legend will hit you in the smacker. The class and panache that glistens throughout will leave you in no doubt that the Shangri-Las are a class apart. Hell, if this post and it's ramblings of quality bands don’t, nothing ever will.

Don your Canadian Tuxedo, Mika Miko are coming to town.

2009-03-24T20:21:00.008Z

Followers of our blog will know we kinda dig Mika Miko. We've got History. It started when I wrote an article on The Smell, continued when 'C.Y.S.L.A.B.F' and '666' blew our socks off and stepped up a notch when shows at The Dome and Bardens Boudouir saw us take to the stage and divulge in a two hour long cock-block of a conversation that left both of us steaming if not for very different reasons.

So you can imagine the excitement when we heard the news yesterday that not only is a new record on the horizon but so too are UK dates. And when we then found out those UK dates will be in support of the BLACK LIPS we vomited, pissed, shat, orgasamed, hyperventilated, died and was born all at the same time.

The tour kicks off at the Luminaire, London on May13th and comes to an end at the Electric Ballroom, London on May26th. You can also see the girls take to the stage in Glasgow, Brighton and all thats in between throughout the month.

The album, We Be Xuxa, released on Post Present Medium, will hit the UK on May 4th and the US on May 4th.

KASMS, here to Bone You. PT1

2009-03-24T12:33:00.009Z

Back in the heady days of 2008 this very blog predicted big things for a scene of the very darkest nature. A scene we brilliantly called Dark Wave. Basking in the cast of it's gloomy shadow, we marvelled at the brilliance of Televised Crimewave, S.C.U.M, Lord Auch et all. One Dark Wave band however were and are firm favourites of 'Is There Anything...' and that band is Kasms. As spell-binding as they are scintillating and as seedy as they are sultry, from day One,
Rachel Mary Callaghan (Vocals), Gemma Fleet (Bass), Scott R Walker (Guitar and Drums) and Ex-Testicicles Rory Brattwell (Drums and Guitar) captured our hearts, made love to our ears and made us weak at the knees.
Dabbling in the dark arts, Kasms have emerged from the scene as the main pretenders. Cross breading post-punk with sharp and sensual shriekbeat the London 4-piece are stealing a march into the spring of 2009.
With their already finished and as of yet untitled debut album due for release before the summer Kasms are preparing themselves for a busy year of ‘ones to watch’ proportions. Already headlining gigs across Europe, including Paris and Milan the band are playing gigs throughout the months of April and May and are taking in two festivals in that time, Camden Crawl and The Great Escape.
We caught up with the band in the new year at a deserted gig in North London to talk albums, ex-bands and Echo and the Bunnymen.

It must of been weird tonight, sparse crowd?
(Scott) Yeah it was a little bit quite. I feel like we didn't do much to publicise tonight so its our own fault really.
(Gemma) It's a full moon so its a very strange night.
(Rory) All our friends were down the road watching a band called Vivian girls. They’re really good you see and way more important than us. Everyone else was watching Coldplay at the O2 arena.
(Scott) Actually Shakin Stevens was playing the O2 I checked earlier, not that I wanted to go(Laughs) So all our fans were down there. Shakin stevens at indigo. Kasms 0 shakin stevens 1. Or 2000 really.

Tonight must have been a perfect opportunity to try new stuff out and experiment a bit?
(Rory) Yeah it was. I enjoyed tonight as it goes. We got the chance to play a new track, we haven't named it yet but it was good to give it an airing. We kind of umed and ared about it anyway and we said we’d see on the night. So it all came good.

Was it a track off the new album?
(Scott) Yeah its the last track on the album and the last we recorded.

It must be harder to play in front of a crowd like tonight than a packed venue in a way?
(Scott) It was horrible. We all said it was a bit nerve racking before we went on and that doesn’t normally happen to us. I used to get nervous but now I'm just eager to start but tonight i felt nervous. Which is strange because your more nervous when there’s less people. I suppose its that impending feeling you get when there’s a lack of sound after each song. You just go oh god I'm gonna tune my guitar in total silence. When we first started we played some really small, quite gigs and everyone seemed to really hate us. They were the worst ones, nothing like tonight though.
(Gemma) Your making us come across really well in this interview!
(Scott) Its a day of honesty. And i suppose that's what kasms are all about. Its true we've played some brilliant gigs and some big gigs but there's also been times when we could have walked of and no one would have cared. At least tonight we weren’t shit.
(Rachel) Yeah we’re not completely shit anymore.

So do you feel like you’ve improved as a band then? It's been over a year now since your first gig.
(Rory) Yeah when we first started we were all quite novice. Rachel hadn’t sang in a band for 4 years, I hadn’t drummed in a band before. Scott hadn’t played guitar for about 40 years(Laughs) and Gemma had never played bass before. So we were a little bit shambolic but shambolic in a good way.
(Rachel) We’re never going to be a really tight band.

Is that a conscious decision?
(Rachel) Yeah it is. When we get to a point when we feel we’re getting tight we mix it up a bit and try something a bit different (For half the gig Rory and Scott played each others instruments).
(Scott) I think if one of us makes a little mistake or if we decide to deviate from the original path we’ve got to the stage as a band were we can carry on or pull it off. Before, it would be more obvious and we’d have to start again because we couldn’t finish the song. We all definitely feel more confident playing these songs and being members of Kasms.
(Rory) Absolutely. Because of the album we’re much more confident and its made us better as a band especially live. I think we’ve improved a great deal in a year.

And how has your first year together been?
(Scott) Yeah its been good fun. I was saying its definitely just something we do that’s fun and that’s how it started. Just something to do and enjoy.

So Kasms isn’t a career?
(All) No.
(Rory) In the sense that it has gone quite well and very quickly we’ve been lucky really because very quickly we got a label, we played New York, Milan, Paris and everything sold out, including our first singles and EP. We all started the band not really knowing how to play instruments and we instantly sounded good. Even with the new record everything was really quick. During the recording of the album we wrote two songs.

Do you have a process of writing? Do you all have a go at it?
(Rory) Yeah we do. In older bands there was a process but not in Kasms. We kinda just turn up and someone will play something then we’ll repeat it, add to it and we’ve got a song.
(Scott) It all feels a bit too easy at the moment. We have rehearsals and when we need to write a song we always do.

Maybe that’s a testament to how good you are as a band. How close you are. (Scott) Yeah maybe we don’t want to admit how close we are but yeah I guess it does. We all live together, we’re like a family.

How did you meet?
(Gemma) Dancing! I met Rory on the night I met my boyfriend dancing at a New Years party. I met Rachel dancing and I met Scott at a party.
(Rory) And I met Scott at a gig. We got banned, injuring people, wind milling at the front, bring back those days!
(Rory) Gemma, tell him how you met your boyfriend?
(Gemma) Oh I was at this New Years party, all my mates we're off with there boyfriends and I was bored so I saw this boy and just asked him if he liked Echo and the Bunnymen (giggles all round). As soon as he said yes I just jumped on him. We've been together ever since.

Echo and the Bunnymen are one of your influences are'nt they?
(Gemma) Yeah I guess so. They’re a bit noisy but we definitely take influences from them.
(Scott) It’s funny when you say influences because I don’t really think we sound like them and we don’t go out of our way too. We just take inspiration from them.
(Rory) I like more heavy punk bands, American post hardcore stuff, not really heavy but a bit darker and soggier.

Obviously tonight was hard to gage, whats a normal kasms gig? And is there a typical kasms crowd?
(Scott) Well we usually have more people, honest (Laughs). We really haven’t had a quite night like this for a while. I don’t know what our normal audience is but all these trendy Shoreditch kids that are supposed to like us just stand arms folded looking a bit bored. But when we play to men with suits on they go mental.
(Gemma) Yeah business men. I don’t want all these trendy cunts dissin us i want bald business men saying we make them feel like they’re 17 again and are having the time of their lives.
(Rory) At 93 feet east we had business men going nuts and these 3 dreadlocked French dudes telling us they were our biggest fans. Its normally the gigs we think are going to be great when we fall flat on our faces and the gigs we think will be rubbish that end up being mental.

Keep checking the blog for part two were I discuss with Rory his former band, Testicicles...

Oh, one last thing. The photo's were taken by fellow blogee Richard Anderson. We all think they're ace which is why we made em large. Just look how friggin good they are...

Oh the Horror...

2009-03-24T09:50:00.003Z

is what I'm guessing your reaction to me posting about the Horrors was. Fair enough I guess. Unless your a 14 year old Topshop-goth with a penchant for hairspray and eye-liner the thought of wrapping your lugs around Rotter and the Gangs congealed goth-tinged garage mutant might send you running to the soft embrace of the podgy one out of the Wombats.
BUT, dear followers ,if you've actually clicked on the link you'll know something of a change is in the air.
Sea Within a Sea is by all means a departure of gargantuan proportions. I mean, it's all Shoegaze and that innit. And it's all, mature and stuff.
Now I know it's just one song from their immanent follow up to Strange House but as word goes, it's a fair taster of whats to come from Primary Colours.
Vice have already given the album a 10 out of 10, The Fly had this to say in their blog and the NME, perhaps giving the more detailed analysis said this...

New Horrors Album 'Primary Colours' - The First Listen
By Emily Mackay
Posted on 13/03/09 at 05:01:20 pm

Not much shocks us here at NME Towers. We’re all cool and cynical, you know? Slap us in the face with an echidna, we won’t even flinch. So the moment this album first hit our stereo like a blizzard in the summer, the dropped jaws and cries of "Shut up, this is NOT The Horrors… it can’t be!" were something to behold.
Here’s our first impressions of this year’s biggest surprise (due for release in May)…
continued...

Mirror's Image
Beginning with a low, ambient, throb that’ll make you check you haven’t stuck ‘Music For Airports’ on by accident, after a minute of gentle pulsing it kicks in with an impossibly sultry Mary Chain bassline, big Cult drums and Faris’ declamatory, goth vocal booming "walk on into the night" before a ‘Killing Moon’-ish guitar solo (really) shoots for the heavens. We are definitely not in Shoreditch anymore, Toto.

Three Decades
Ominous, doom-laden bass and clattering drums are swept up by a banshee wail of synth and swoony MBV-style guitars. Gothgaze? Shoekraut? Who knows, but it’s amazing.

Who Can Say
Geoff Barrow’s cavernous production is amazing, Faris' clean, shriek-free vocal cutting through rumbling, droney bass over a steadily driving beat as a high, sweet synth line like the ghost of lost love coos miles above, with the only trace of the band they used to be in a tambourine-kissed Shangri-Las spoken word mid-section.

Do You Remember
This one is again more shoegazey, with a gothy groove like very early Stone Roses, or Echo And The Bunnymen at their slinkiest. The romanticism of the lyrics is another surprise, Faris earnestly crying "I will cross the ocean, I will be with you soon".

New Ice Age
Probably the scariest of all the tracks, this dark psychedelic dirge recalls Bauhaus via the rabid aggression of Killing Joke, ending in a wash of funereal organ.
Scarlet FieldsWith a throbbing bassline oddly reminiscent of U2’s ‘With Or Without You’, this is romantic and shoegazey, with screes of MBV/Sonic Youth guitar textures, as sweet as they are scouring.

I Only Think Of You
With that BOOM-boom-boom-chick ‘Be My Baby’ beat so beloved of shoegazers the world over, this is a doomy ballad from the edge of obsession, Faris booming "you know if I lose you I’ll go mad" like a young Ian McCulloch.

I Can't Control Myself
An unstable psychobillyish cousin of Spiritualized’s 'Come Together', as sexy as it is psychotic.

Primary Colours
The most upbeat and traditional of the tracks, this has something of Interpol-via-Asobi Seksu about it, but much, much cleverer than that.

Sea Within A Sea
An eight-minute Spacemen 3-meets-Neu! odyssey of ominous motorik rhythms, Faris’ mournful incantations and an expanding starfield of synths.

So, as we click our Cuban heels into spring it looks like The Horrors have sprung the biggest surprise of 2009. Primary Colours is released on May 5th and with it I'm sure will be a whole host of opinions clinging to it's coat-tails. I'm fairly sure, judging by Sea Within a Sea it's gonna be full of bangers but as we're dealing with the most Marmityish of bands It will never to far away from it's haters, aint that right Richard?

Just a couple of things...

2009-03-23T20:32:00.005Z

This...

The Maccabees-No Kind Words

and this...

The Horrors-Sea Within a Sea

Yeeeeeeaaaaaahhhhhh booooiiiiii!

USA-The Underground State of America

2009-03-23T20:13:00.007Z

There was a time last summer when you couldn't throw a half-eaten pretzel in Brooklyn without hitting a check-shirted Indie-boy square in the smacker.
Likewise, in LA you couldn't lob a diamante collared Chihuahua without flattening a Z-listed heiress.
From the outside world the parallels between the two cities seemed vastly different if not non-existent.
Brooklyn was rife with individuality and soon, musically, it became a hub of creativity. Band after band emerged from an underground scene laced with talent and broke into the consciousness of not just the industry but fans alike.
In the space of a few months Vampire Weekend, Yeasayer and MGMT all released critically acclaimed albums, played festivals worldwide and took American alternative music by the scrotum and gave it a lease of life not seen since the emergence of The Strokes circa 2000.
It was an extraordinary time for music and in-particular Brooklyn. Not for decades has a city reveled in such a rich vein of form when creating a vast array of music and bands of startling quality.
If the same was being said of LA however, it was being done by those in the know. On the surface the Plastics, Arnie's Army and those still clinging on to the hope 'Chinese Democracy' was on the cusp of brilliance were still polluting the Hollywood air.
Scratch below the surface though and it was evident something special was simmering. A community was forming; a creative community that was light years apart from the celebrity culture that filled the gossip columns and stunk up uptown.
At the forefront of the movement was The Smell, a community orientated art and music centre. Open to all ages and devoid of all alcohol, The Smell conformed to only its own rules and in doing so became a venue as vital as any in America.
Its sole purpose, to create an environment of creativity and artistic innovation and freedom meant it became a hot bed for raw talent to grow as artists and a place to hang for those disillusioned with a town teetering on the edge of tedium.
Founded in 1998 by Jim Smith, a union organizer, and two partners, The Smell took the occupancy of an old Mexican grocery store and dedicated its principles to the ethics of D.I.Y. Those ethics are still as much alive today as they were 10 years ago. Completely non-profitable, the venue is run by volunteers who have a hand in everything from working on the vegan stall to doing sound for gigs. This freedom, one that allows anyone to try their hand at anything, is inevitably why there's such a wave of creativity and diversity that submerges The Smell. And this creativity and diversity is no more evident than in the musical output it creates.
When classing The Smell as a community centre, which it is, the one thing you do have to consider is it’s like no other on the planet. In no other city in the US and in no town in Britain will you find a band better than No Age emerge from a youth club/community centre.
No Age are The Smell's darlings. Formed six years ago as Wives, a hardcore punk band inspired by LA's 80s hardcore scene, Randy Randall (Guitar) and Dean Spunt (Drums) played their first proper gig at The Smell as No Age in April 2006 and from there they grew from strength to strength as did their relationship with The Smell. Randall told music journo, Drew Tewksbury "The Smell is where we got to experiment and find what kind of a band we wanted to be. It pushed the boundaries of whatever ideas we had about music and we had the community to try these new ideas".
And these new ideas were unashamedly linked to The Smell in every which way. On March 26th 2007, No Age recorded five different limited edition vinyl singles and EP's releasing them on five different record labels. As well as being a different colour, the back of each sleeve portrayed a different letter that, when you collected them all, spelt out No Age. Within three months of releasing the singles and EPs the band released their debut album Weirdo Rippers, a collections of songs taken from the EPs and freshly recorded tracks. Released on Fat Cat Records, the cover of the album featured the exterior of The Smell, re-painted and re-designed to spell out No Age and Weirdo Rippers. Although never officially done as a gesture of thanks to the band, the act showed how tight the community and No Age were and still are. The exterior to this day still bares their name and with more and more exposure coming the venue's way Randall recently helped mine trenches in the venues concrete floor so that a second bathroom could be built to accommodate an ever expanding crowd.
Weirdo Rippers received rave reviews and it wasn't long before a battle to sign the band materialised. Emerging from the scrap victorious was Sub Pop. Famous throughout the 90's for being home to Nirvana and the heavyweights of the grunge scene. From there No Ages popularity and abilities grew from strength to strength.
A 23-date tour with New York band Liars saw them play venues bigger than they've ever played and to crowds as far removed from LA underground scene as imaginable. And a return to their spiritual home saw the band showcase the scintillating shoegaze-punk sounds of Nouns, the bands eagerly awaited second album, with a gig at The Smell that will go down in LA music’s folklore.
In the crowd that night were The Smells new breed and a collection of bands that have grown with No Age amongst the confines of the venues graffiti strewn walls.
Mika Miko, Abe Vigoda, Health, BARR and The Mae Shi have all shared stages, record labels, tours and the success of being under the most prolific radar this side of the 21st century. While The Mae Shi have previously slipped under said radar, the growing success and emerging recognition of the venue means they could be on the verge of penetrating the underground, even though they're already 6 years and 4 albums into their career.
Abe Vigoda and Mika Miko on the other hand are, along with No Age, the scenes rawest talents.
Deeply ingrained in the fabric of what makes the LA music scene tick, Abe Vigoda and Mika Miko are the best punk bands coming out of the US let alone LA. And it's a brand of punk that could only ever be contrived from the reaches of the freedom and accessibility LA affords its young musicians and artists.
Abe Vigoda have been spreading their tropicalyptic punk nuggets to the deepest darkest parts of LA, taking in the un-traditional venues but always keeping the community allegiance with Mika Miko and No Age. A week rarely went by without all three bands sharing the same bill and even taking to the stage together. The sheer volume of videos on You Tube will pay testament to that.
Coming on like the demented alta-ego of Vampire Weekend, Abe Vigoda have ridden The Smell’s waft to Europe and beyond on the back of Skeleton, their third LP offering. Dense with atmospheric percussion, chilling ambience and a steel drum afro-pop layer, Skeleton has been Abe Vigoda’s golden ticket.
Opening for Vampire Weekend for their autumn tour, December now see’s them taking to the streets of London, Paris, Berlin and beyond for a much anticipated winter tour.
And following in their footsteps will be Mika Miko a bunch of girls as equally beautiful, brash and brutal as any you’re likely to see on the streets of LA. While No Age, Mika Miko’s self professed band of brothers, are the most accomplished band to come out of The Smell, Mika Miko are undeniably the most exhilarating live. Rarely comprehensible yet always mesmerizing. Their concoction of The Slits-cum-Germs scatter-punk leaves you on the verge of a panic attack but drags you back with its slick rhythm and driving raw power.
Formed in 2003, the band has gone through a number of line-up changes but has recently settled on group as tight as Beth Ditto in a sub-merged spandex g-string. Jessie Clavin, Jenna Thornhill, Jennifer Clavin, Kate Hall and Michelle Suar now make up the 5 piece band who, with Abe Vigoda, will be hitting up Europe this winter in the lead up to what looks to be an exhausting year of tour the world and releasing their third full-length LP.
So, move over Brooklyn. It seems there is life beyond Brooklyn Bridge after all.
When thinking of musical movements you’d be hard pressed not to reminisce. With alternative music now being so accessible thanks to the internet and the ever growing popularity of Indie music. It seemed impossible for another movement to ever capture the excitement and buzz the LA underground scene has today. In recent years we’ve had to contend with the bland schmindie of the Kaiser Chiefs, The Kooks and all those other dour lifeless bands that fill the supermarket shelves and blast out the Topman stereo. Now, thanks to the incredible spirit, work ethic and values of bands, promoters, venues and record labels we finally have a culture to be proud of and a movement we can relate to and submerge ourselves in.
If you ever thought anything cool could ever come out again? Or if you’ve prayed for a scene you can believe. The City of Angels have, in the most spectacular way possible, answered those prayers.

Daniel Wade

Richard Swift, The Borderline, London 24th Feb 2009

2009-02-25T10:41:00.002Z

Where did all the Americans come from tonight? After bemoaning the fact no one danced and that he'd have to tell 'the folks back home' Swift asked how many Americans were in the audience and as turned out nearly everyone was. It might have only been the few locals in the crowd who understood the irony.

Swift's support came from First Aid Kit who delivered a duet of sweet Joanna Newsom vocals, tributed the ubiquitous Fleet Foxes and 187'd Dylan. Also supporting were the polished and stripped down Leisure Society looking like credit-crunched-banker-folkers and professionally surging through some of the worst titled songs ever opening with Pancake Day But seriously, Leisure Society did put in a great effort as support, lilting rhythms flecked with flute and an array of stringed instruments.

Swift himself was clearly carried on a wave of self-confidence. Every step and line calmly assured and flanked by his band with a similar sense of confident stagecraft. As the current catalogue of Richard Swift crosses musical genres the set swayed from the slower jumpy numbers saturated with LA smog into coarse swamp rock leaving the crowd with no particular pace to follow. Perhaps the boldest move on Swift's part was to leave us on a down tempo one song encore which unexpectedly pulled the gig back from a dissappointing sub-Al Green end.

I'll post some pics when I find them.

The musical revolution will be blogafied...if we can be bothered that is.

2009-02-12T22:56:00.019Z

If there was any proof 2008 was a year replete with fantastical and grandiose music our top five list was it.

The sheer range of exciting and diverse albums picked by you, the readers, told a story of a thousand words and indicated that as we venture further into a nanny state where we are constantly told what to wear, eat, listen to and watch.. Your taste in music is utterly dependent on no one but yourself and that is, in no uncertain terms, a marvellous thing.
Maybe it’s because music is so accessible now but the success of some albums by bands rarely given the light of day by the most cloth-eared of publications shows that we’re constantly striving for that something new, untested and forward thinking.

‘Saint Dymphna’ by Gang Gang Dance coming in at number two is a prime example as is the emergence of Abe Vigoda’s ‘Skeleton’ at number three. The fact Abe Vigoda have only emerged in the past 6 months due to the success of a community centre in LA shows how far and wide we’re searching for good music.

Of course the likes of Kings Of Leon, Elbow, TV On The Radio and Radiohead frequenting our list is obvious but they are, in their own right, good solid albums and fully deserve to grace any list published in the past month or so.

One trend that was evident throughout 2008 was that all the best music was made by our friends over the pond. Vampire Weekend, MGMT, Fleet Foxes, Santogold and White Denim were just a few of many that not only made our list but lists of publications on both sides of the Atlantic.

Just as pant wetting though was the goings on in a local community centre situated in downtown LA. ‘The Smell’ unequivocally produced the most exciting, hip and awe-inspiring scene this side of the Twentieth century.
Existing on a foundation of volunteers of all ages and a spirit of innovation and creativity up-held by everyone from the bands to the doormen via the vegan stall venders to the sound engineers. The Smell sprang to prominence in 2008 as a hub of magnificence and excellence showcasing a rosta of bands so good it made the Old Blue Last look like a breeding ground for the next Wombats.
Of the bands hitting up Hollywood three emerged as the main pretenders. Abe Vigoda, No Age and Mika Miko all made music fresher than any released before them. Check out the blog this weekend for an article that I wrote for Seven over the festive period dedicated to the The Smell and all it’s wonder.

As for 2009? Well if a chat with a A&R man for Rough Trade records was anything to go by then all the right noises will once again come from the US.
While some publications cling to the tailcoats of doom mongers White Lies and the shoulder pads of 80’s obsessed La Roux. Those with just an ounce of class will realise the DIY ethics of Micachu and The Shapes, let’s Wrestle and Televised Crimewave are where it’s at. Although, the fact it took me 20 minutes to even come up with those says it all.

The States however have Women, Wetdog, Telepathe and King Khan and the BBQ Show to name but a fucking Trillion to make your knees go all wibbaly wobbly. It’s not fair is it? But you shouldn’t give a shit. You’ll still get to hear em and I’ll put my hat on them smashing up our shores throughout the year.

So what you need to do is keep checking the blog for our definitive guide to the best British and American bands to make sexy noises in your ear ‘oles this year. HIGH FIVES YA'LL!!

Soundtrack to the Winter

2009-02-10T19:52:00.003Z

Err... where did January go?

I spent mine mostly holed up indoors. Log fire, Sailor Jerry's, Articulate, crossword, Playstation and (to get to the point) DVD player.

Usual form is to watch a movie then get obsessed with it's genre for a week and scour eBay for others of it's kind. Most recently the post-apocalyptic-last-man-on-earth-is-not-alone genre has become the focus - it started with 'The Omega Man (1971)' with Charlton Heston and hasn't finished yet. For the best part of January - and with credit to an enthusiasts... enthusiasm (...er?) - it was John Carpenter.

You've seen so many John Carpenter movies even if you missed the clue in the title of nearly all of them - 'John Carpenter's... (197*)' - and the more you see the greater the bond between them. The hook for me was (getting to the point again) the soundtrack. Every one, including the ones he didn't compose the music for, has a distinct sound that becomes something of a signifier for his work as an auteur - incidentally the music for 'The Thing (1982)' is composed by soundtrack legend Ennio Morricone.

For the most part you find sustained analogue synths accompanied by seventies style guitar licks, eschewing the gratuitous porn style for something far more atmospheric. Considering the mystical, supernatural vein of Carpenter's work the soundtrack conveys the message. It's akin to other classic horror scores - notably Italian band Goblin who were commisioned for Romero's 'Dawn of the Dead (1978)' - in that as standalone music it plays beautifully against the Krautrock sound so prevailent in that era but lacks a commercial tone.

Having said that John Carpenter does stray into camp eighties Giorgio Moroder territory. Even releasing a bit of it for the infamous Kurt Russell-fest 'Big Trouble in Little China (1986).

Now, as the seventies comes back around as a forecasted trend this summer, the sound is filtering into new music. Zombie Zombie have a krautrock style well appropriated to a Paris-Shoreditch movement - their post-modern G.I.Joe/The Thing video kick-started a lot of this post. A proper slow burning disc for me has been Principles of Geometry's album 'Lazare (2008)' (French too), it has all the hallmarks of a John Carpenter score but with the introduction of polite MC-ing and collaboration from Eurovision's own Sebastien Tellier. Further, the guy from MVE (who has begun putting aside the random Italian bootleg Goblin CDs for me) put me onto Delia Gonzalez and Gavin Russom 'The Days of Mars (2005)' from DFA. They have clearly squirrelled themselves away for a few years, and aren't exactly shop music, with a 4 track album of 12 minute songs using multiple samples of live keyboards.

Hopefully amongst the new albums out this year they'll be a bit more from these retroactive-progressive artists and it'll be interesting if us Brits have anything too. It would mean a lot more to sink teeth into and an opportunity to broaden the adventure.

So long Astoria

2008-12-22T21:00:00.002Z

Well, this is it folks. London's Astoria, a live performance venue since 1976, is to close its doors for good on Thursday 15th January.

In March this year, then mayor Ken Livingstone confirmed rumours that the theatre was to be bulldozed to make way for the Crossrail underground line, despite loud protests and a petition of more than 35,000 signatures. Livingstone alleged at the time that a new live music venue would be built in the area to replace the Astoria, but will Boris Johnson honour that promise.... don't hold your breath.

In a double blow, nearby flea pit the Metro is also to close. Organizer of their infamous Blow Up night, Paul Tunkin, told NME, "At present we are looking for new premises to relocate the venue to but have yet to find one suitable. Ultimately it is another nail in the coffin for central London's live music and club scene."

You'd been hard pushed to find a music fan in greater London who has never been to the Astoria, first built as pickle factory and converted into a cinema in 1927. The legendary venue has hosted early gigs by the likes of Nirvana and Radiohead and is first choice for big names such as the Rolling Stones who are looking for a more intimate spot than their usual stadiums and cattle sheds.

Barry Hyde, the lead singer of the Futureheads, spoke thus of the venue: "Venues should be dirty, they should be a bit smelly because smelly things happen in venues. Sweaty people had fun and the Astoria was always something you’d look forward to."

***UPDATE***

And the last ever party at the Astoria is going to be hosted by..... Manumission?!? You mean infamous Ibiza party night Manumission? Really?!? Apparently there's going to be "a fusion of rock and dance acts" (for "dance" read "90s era rave") and "a carnival of cabaret", presumably with their standard "bleeding edge sexuality". See you there... or not.

What Is The Best Album of 2008?

2008-12-18T20:20:00.005Z

I really wanted to do a top 5 albums of 2008. Every magazine / website / blog has done one to at least 50. All I wanted was 5. I asked 68 people for their top 5 in order to get some balance – the NME did so with their writers and metacritic did it with every review available – and no one would commit to an order of preference. I completely understood when Dan and I were pushed provide our own submissions.

The problem with, and beauty of, this method was that the selection was pretty broad including artists I’d never heard of, records I’d decided I just wouldn’t like, some obvious inclusions, drum and bass, releases from 2007(?), and John Legend. I certainly didn’t predict the results.

I’ll cut to the chase. The list.

The Album of the Year!!

TV On The Radio ‘Dear Science’

Second Best Album of the Year!!

Gang Gang Dance ‘Saint Dymphna’

Third Best Album of the Year!!

Abe Vigoda ‘Skeleton’
Fleet Foxes ‘S/T’
Lil’ Wayne ‘Tha Carter III’
Metronomy ‘Nights Out’
MGMT ‘Oracular Spectacular’
Santogold ‘S/T’
Vampire Weekend ‘S/T’
Zombie Zombie ‘A Land For Renegades’

Fourth Best Album of the Year!!

Benga ‘Diary of an Afro Warrior’, Born Ruffians ‘Red, Yellow, Blue’, Danny Byrd ‘Supersize’, Death Cab For Cutie ‘Narrow Stairs’, Deerhunter ‘Microcastles’, Elbow ‘The Seldom Seen Kid’, Empire of the Sun ‘S/T’, Flight of the Concourds ‘S/T’, Goldfrapp ‘7th Tree’, Grace Jones ‘Hurricane’, Harvey Milk ‘Life… The Best Game In Town’, The Hold Steady ‘Stay Positive’, John Legend ‘Evolver’, Jose James ‘Dreamer’, Justice ‘The Cross’, Kanye West ‘808s & Heartbreak’, Kings of Leon ‘Only By The Night’, Langhorne Slim ‘S/T’, London Elektricity ‘Syncopated City’, Marnie Stern ‘This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That’, Neon Neon ‘Stainless Style’, Nick Cave and the Bad Seeds ‘Dig Lazarus, Dig!’, Radiohead ‘In Rainbows’, Rosin Murphy ‘Overpowered’, These New Puritans ‘Beat Pyramid’, Veronica Maggio ‘Och vinnaren är’, Vetiver ‘Thing of the Past’, White Denim ‘Workout Holiday’, Why? ‘Alopecia’

That's right, 29 albums drawn for 4th place.

What is clear is that 'Best of...' lists are a good example of bad journalism, wasting ten pages in an issue of The Word or NME just to rehash reviews from earlier in the year. You never agree with their No. 1, often it's tough to agree with anything in their top 5 depending on the publication, even when it's unbiased - metacritic summarised Coldplay as the best album in 2008 and it's not even in our list neither is Bon Iver.

Hopefully what our list will do is remind some of us of those albums we never got round to getting - I finally bought Neon Neon after weeks of drifting in and out of Sister Ray Records - and convince us to give some time to those we cast aside - I will give Fleet Foxes a chance, I promise.

Thank you so much to everyone who dedicated 5 minutes of their time.

Peter Gabriel ft. Hot Chip 'Cape Cod Kwassa Kwassa'

2008-12-18T18:54:00.003Z

Never thought it would happen?

Wondered what it would sound like if it did?

Been to this link yet at prettymuchamazing.com?

Peter Gabriel covers Vampire Weekend

Oooh.

Jay Reatard – Matador Singles 08

2008-12-12T10:19:00.003Z

Although not on the same level as Dylans electric Judaic betrayal, Jay Reatards musical progression on Matador Singles 08 has been met with a din of discontent by a selection of fans still content with him smashing out his manic Memphis spazzed-out punk. You know, that same spazzed-out punk Reatards relentlessly fired out since the age of 15.

Now 28, Lyndsey (real surname), has used ‘Matador Singles 08’ to showcase his new direction of musical evolution and venture into the shiny world of pop. Presumably staking a claim as the long lost protégé of Berlin Bowie as he does it.

In some quarters it’s been described as wimpish-twee and a sacrilegious act against the punk ethics of which Reatard has abided to for many years. In others it’s been hailed as Jay Reatard’s coming of age and a record that’s both brave and entirely inspiring.

The album is, in itself, a brave concept that from beginning to end is devoid of all convention. Comprised of six singles, B-sides in tow, and a cover of Deerhunter’s ‘Fluorescent Grey’, ‘Singles 08’ not once follows the conventional path of a purposely made album.

Instead of a subject matter unravelling as each song passes, it unequivocally documents the rise and growth of an artist in transition. All the singles featured are the six released in the short space of 6 months by Matador and feature on the album in the same order they featured in your local record shop. Or, in true Jay Reatard fashion, on Ebay for extortionate sums.

Much in the same vein as ‘Singles 06’, ‘See Saw’ and ‘Screaming Hand’ explode out the traps and ensures ‘Singles 08’ comes on like an extension of its older, more dangerous brother .As does, rather disappointingly, ‘An Ugly Death’. A track only memorable for its nerve shredding repetitive lyrical delivery ‘For you, for me, for all to seeeee’. Shudder.
Its heartening then that ‘Always Wanting More’ shows the first sign of Reatard rearing his pop head before next track ‘You mean nothing to me’ indicates said evolution with a bewildering blend of pure pop sensibility that rides a wave of punk undertones, ultimately providing the record with its foundation to manoeuvre it’s way between the genres; punk, pop-punk, pop and twee-pop. Phew.

Portrayed with a pinch of paranoia and teeming with tribal, trance-like drums ‘Fluorescent Grey’ marks the albums middle ground and acts as somewhat of an interlude. Written by Reatard’s buddies and fellow compatriots Deerhunter, the fourth single of six, serves as a departure from the first three by clocking in at 4 minutes and 40 seconds. A mere marathon compared to previous efforts, and an expedition compared to ‘Trapped Here’, ‘Hiding Hole’ and ‘DOA’ (Dead on Arrival). The blistering salvo to the second half of '08 Singles’.

At just over five minutes combined and complete with fuzzy, fraught and unrelenting venomous riffs the trio come on like the Reatard of old and allow for a moment to reminisce of a time when bashing out Ramone style punk-nuggets was all we expected from the man from Memphis. Now of course its nuggets of a pop variety we want and right on cue they’re perfectly formed in what’s arguably the strongest indication of Reatard’s growth as a pop-star in the making.

Heartbreaking, intimate and painfully revealing, ‘No Time’ unravels the hardship of being on the road and out of love. “It seems I never have the time to make my mind feel fine. Just locked inside this glass box looking out the window for you”. Set to the backdrop of an acoustic guitar it’s a heart on the sleeve moment that, while taking time to adjust too, will melt the hearts of new and old fans alike.

As will the twee tinged ‘You Were Sleeping’ a continuation of acoustic Reatard and as Bowie as we knew he could be. ‘I’m Watching You’ an ode to New Zealand songsmiths The Tall Dwarfs effortlessly rounds off the album in entwining, melodic style whilst slipping in the word “C***” to remind us all that yes he may have evolved into a pop star but he’s still a hooligan at heart. A sweet and tender one at that mind.

Daniel Wade

Upset The Rhythm presents Abe Vigoda and Mika Miko, The Dome, London, 2/12/08

2008-12-03T11:14:00.021Z

Apparently there is this youth club in Los Angeles where instead of playing ping-pong all the kids in flannel shirts dance to funky New York post-punk and instead of setting fire to bins they forge scene-defining bands. That would be 'The Smell' then. Substitute glamorous LA for winter in Tufnell Park, The Smell for The Dome and the kids in flannel shirts for, well, even more kids in flannel shirts and find yourself witnessing another stop on the, Upset The Rhythm promoted, 'Zeitgeist Bands From America You Wish You'd Heard Of First' tour.

If that sounds vitriolic, I apologise. Upset The Rhythm are just an amazing group of kids who over the years have developed a knack for coaxing some of the most amazing niche American artists across the pond to play gigs in some of the most interesting venues I'd never been to. Now they have brought over Abe Vigoda (see scatter-shot-spunk-tropic-aholics and other creative adjectives) and Mika Miko on the same bill. And I wish it had been me.

The three piece, Anavan, warmed up the church hall style venue with their odd brand of drummer/laptop led punk and gave the first and last offering of synth to the event.

Without ever looking like they were ready to play David Reichardt, Gerardo Guerrero, Michael Vidal and Juan Velazquez - the boys from Abe Vigoda - piped up. Crashing headlong into album opener 'Dead City/Waste Wilderness' it was clear that they've lovingly crafted a sound that bears no comparisons. Too uncontrollable to be compared to Vampire Weekend, too twee for No Age and, in fact, indefinable amongst their peers. Sadly something was lost at The Dome. The popping delayed guitar lost to the acoustics and all but drowning the stand out vocals of 'Bear Face' and 'The Garden'. Still the presence of Abe Vigoda's album, 'Skeleton', was clear and alive, laced together brilliantly by Guerrero's astonishing drumming and visually by the dexterity of Vidal, Reichardt and Velazquez. The performance was never going to be a verbatim reproduction of something so taught and precise, it pushed away the glistening jewel case to expose the pits and code of a band that perhaps had to reign in a ferocious beast to put on record. Vidal assumed the role of unleashing the beast back at the crowd until the climactic final throes of their set when Velazquez encouraged the feedback and delay crescendo we'd all hoped was coming.

It seemed fitting somehow that for the gig Velazquez had donned an Elastica t-shirt - the girl group with drummer boy Wire covers band who's lead singer, Justine Frischman, was part of the Britpop regency - before supporting Mika Miko. It would be a magic internet rumour if either of Mika Miko's lead singers, Jennifer Calvin or Jenna Thornhill, were dating No Age members - then fanzines could start referring to them as Jenna Miko and Randy No Age and music could become a soap opera again - but that said I don't know for sure they're not.

Anyway, Elastica wore their influences on their sleeve in much the same way as Mika Miko. A core diet of American hardcore bands manifested in an transatlantic new-wave punk (hold on, Elastica referred to themselves as the new-wave of new-wave, this is going too far) akin to the Bush Tetras and Au Pairs, often compared to the Slits - although the cod-reggae, dub housing of Ari Up's amazons is missing from Miko's bag. On stage the band are beautiful, full of awkward youthful posturing and androgynous charm. Michelle (guitar), Jessica (bass) and Seth (boy) provide a veteran turn as the backing band to ping-ponging vocalists who goad the fighting crowd and jerk through a collection of immaculate punk.

It can't be avoided mentioning that Jennifer's telephone microphone appears gimmicky but does add a characteristic layer to the girl's live performance. It could have been a melange of sloppy downtown LA via Hackney punk yet they slipped confident Ramones covers in with stand out songs like 'Business Cats' and as Jenna broke out the saxophone later on and exclaimed "45 minutes? This must be the longest gig we've ever done" it was obvious that Mika Miko are not a band to be cast aside by comparisons, derivatives and scenes. They really shone above a roster of apparently mature artists and might themselves mature into punk regency.

Black Lips on Pitchfork.tv

2008-11-24T11:33:00.002Z

Black Lips in glorious moving pictures with sound:

http://pitchfork.tv/juans-basement/black-lips-part-1-of-2

New song? Notice too that there is a 'part 2' which should be up there now.

Concise enough?

Electric Ladyland

2008-11-23T11:16:00.001Z

Electronic music, by virtue of its very provenance, is never going to be especially warm and human. For Ladytron, this issue both defines their menacing, industrial sound and made their recent live show at Shepherd’s Bush Empire an oddly remote and lifeless experience.

Hailing simultaneously from Glasgow, Liverpool and Bulgaria, Ladytron have been peddling ominous electro since 1999. Their most recent album Velocifero has garnered some ecstatic reviews, vaulting the band from supporting Nine Inch Nails to selling out numerous dates on their own worldwide tour.

Alas the London date of said tour doesn’t quite get off to an explosive start. Thanks to the misjudged bass rattling our ribs and overwhelming pretty much everything else coming from the stage, opener Black Cat doesn’t quite pack the punch it does on record. The exotic Bulgarian lyrics do manage to lend a considerable degree of foreboding to the opening proceedings, but Ladytron fail to blow the crowd away as they had probably hoped.

As they work their way through Velocifero, the band maintain an icy aloofness and fail to conjure up much in the way of stage presence. Although no doubt crucial to their dark and brooding image, this approach means the first half of the set feels oddly flat. Whacky, attention-grabbing stage antics are obviously not what makes a good live show, but I had expected Ladytron’s futuristic electroclash to be more engaging. Not a smile, not a move, they could well be robots, but then that’s kind of the idea with the ‘tron…

Their cold otherworldliness is exemplified by Ghosts, in which Helen Marnie dispassionately and unapologetically articulates ‘doesn’t mean I’m sorry’. Her flawless diction and nasal voice are quite distinctive and a linchpin of Ladytron’s sound, but lack any glimmer of humanness. Tracks like Runaway, however, reveal the emotional vulnerability beneath the detached exterior, the lyrics detailing twisted relationships and emotionally desolate lovers.

It is only as the show passes the halfway mark that some of the magic (and light) of Ladytron’s music starts to shine through. Kletva sounds positively dreamy and evocative, whereas in set-closer Seventeen singers Marnie and Aroyo really start to look like the formidable team they’re often billed as, alternating between staring each other in the face and looking blankly out into the crowd in a seamless visual display of cohesion.

It is in the encore song Destroy Everything You Touch that the band finally seem to take off, having spent the entire rest of the set slowing and ponderously gathering momentum. Marnie for one leaps up and down and finally dares reveal that she’s enjoying herself.

Ladytron certainly have the tunes and by all accounts the touring experience, but alas this cyborg takes a long time to warm up.

Photo by Hidden Shine on Flickr

Is There Anything Playlist MK1

2008-11-22T10:40:00.009Z

If you haven’t heard already, this weekends going to be colder than the shoulder of Terry Butcher.
So the perfect opportunity then to stay indoors and submerge yourself in the best new music out there.
Here’s the first of many Is There Anything Else...Playlists to keep away the no money, recession biting, shivering like a shitting dog blues.

Chairlift – Bruises

Oh Brooklyn. Not content with giving us Vampire Weekend, MGMT and Yeasayer. A whole set of new bands are set to steal the hearts of music lovers once again. Chairlift? Genre-hopping, psychedelic brilliance. Check them out at Madame Jo Jo’s Nov 25^th.

Telepathe – Chromes On It

Sorry to sound repetitive but Telepathe are from Brooklyn too and their Shoegaze, grime death disco beats are the future. They play Catch on Nov 24^th.

Mika Miko – Capricorinations

Not from Brooklyn but the other hub of creativity over the pond, LA. Born from The Smell scene, their scatter-punk bullets will leave a little wet patch in your panties and heart as heavy as a ten-ton truck. Catch them at
The Dome, Tufnell Park Dec 2^nd.

Ox.Eagle.Lion.Man – Thy Will Be Done

Theatrical, biblical, essential. Frederick Blood-Royale and his disciples are making melodramatic music like it’s the end of the world as we know it. Hey, perhaps it is.

Dead Kids- Snakes

One listen and you’ll be dancing on the ceiling. A stunt performed on a regular basis by these bonkers East London head cases. Playing Astoria 2 Dec 6^th.

Jay Reatard – All Over Again

Punching kids in the face aside, Jay Reatard’s brand of surf-punk will shatter your brain like tiny shards of quavers. Presumably from the packet Reatard stole from your sobbing brother. He’s ace and so are his live shows. Catch him at The Old Blue Last Nov 24^th.

Primate Scream

2008-11-20T14:52:00.007Z

Tonight see’s the Levi’s Ones To Watch bandwagon roll into its spiritual home as Fight Like Apes headline the Camden Barfly.

After kicking off the tour at the Brighton Audio last night the female fronted Dubliners will unleash their Synth-Grunge concoction on London before headlining a further 4 shows, culminating at the Glasgow Barfly on November 24th.

Already hyped and buoyed by a recent support tour with the Ting Tings. The Ones To Watch show will give Fight Like Apes more valuable stage time before they head off on tour with Prodigy throughout December.

With the imminent release of their debut album, ‘Fight Like Apes and The Mystery Of The Golden Medallion’, due out January 26th on Model Citizen Records, expect a set-list laden with new tracks as well as previously released singles ‘Jake Summers’ and ‘Something Global’.

Support tonight comes from a band as buzzed as any right now, The Electric City. Although unsigned the London 5 piece have signed a management deal with the same team behind Franz Ferdinand and the Kaiser Chiefs and will be looking to work their Scuzzy-prince-ish dirty disco anthems in front of expectant industry big wigs.

These are the remaining LOTW dates:

Thurs 20th Nov Camden Barfly - Fight Like Apes, The Electric City

Fri 21st Nov Birmingham Barfly - Fight Like Apes, The Electric City

Sun 23rd Nov Liverpool Barfly - Fight Like Apes, The Electric City

Mon 24th Nov Glasgow Barfly - Fight Like Apes, The Electric City

Weds 26th Nov Soho, The Fly - FrankMusik, The Brute Chorus

Last weeks Ones To Watch show took on a more raucous feel as Pulled Apart By Horses and To The Bones brought some raw power to The Old Blue Last in Shoreditch.

Arriving in the nick of time, Leeds 4 piece Pulled Apart By Horses put traffic troubles behind them as they unleashed a volley of aggressive, angular riffs on a bewildered crowd rammed into the tiny venue.

After enjoying recent Radio One coverage and an eye catching performance at this years Reading and Leeds festival. A media melee at the front of the stage did nothing to distract a band clearly enjoying the fruits of their amp-melting labour. Soon to be released ‘Meat Balloon’ showcased exactly why the media and industry big boys are getting their panties in a twist as every frenetic-foursome yelp tangled its way around scratchy riffs and pulsating bass lines.

As the temperature rose and ears bled, To The Bones did nothing to stem the noise. Originating from Bolton, their savage cross breed of manic melodies and righteous reverberating riffs closed proceedings fittingly. Playing tracks from their critically acclaimed debut album ‘Duke Type A’ To The Bones Pixies-cum-Motorhead mongrel rock left a lasting impression on a wide-eyed crowd…even if it was just a ringing in the ears.

These are things I have listened to recently

2008-11-12T13:07:00.012Z

This could be the start of a sporadic post for me, an insight into just how blinkered my view of music really is. I might call it something like, ‘this is things I have listened to recently’.

Next week: ‘these are things I refused to listen to recently’ (thanks, Dan).

Avett Brothers ‘Mignonette’ – The Avetts won best newcomer at 2007’s Americana Music Association Awards despite the duo having been producing bewildering two part harmonies and sentimental contemporary bluegrass for 7 years.

Abe Vigoda ‘Skeleton’ – Named after the “who is that guy?” character actor from the first two Godfather films, these are the bastard sons of Vampire Weekend with a brand of scattershot-punk-tropicalia emanating from the The Smell, LA.

Bob Dylan ‘Live 1966’ – The erroneously titled ‘Albert Hall’ gig at the Free Trade Hall, Manchester. The one where a heckler, disgruntled with his storming leap from acoustic to electric shouts “Judas”, to which Dylan simply retorts, “you’re a liar”.

Collings and Herrin Podcasts – Yeah the Adam and Joe podcast, with catchphrases and songwars is great, but Andrew Collins and Richard Herring do an hour of unscripted bollocks looking at the last weeks news that I relish every Monday morning.

Crystal Stilts ‘Alight of the Night’ – In the Jurassic way my mind works Crystal Stilts were supposed to sound like a cross between The Slits and Crystal Castles. They don’t. They are better than that.

Langhorne Slim – For a couple of days previous and everyday since the Borderline I have been ploughing through everything I own from Langhorne and finding stuff I don’t. Check out Daytrotter.com for 5 free session downloads.

The 52nd BFI London Film Festival

2008-11-09T21:03:00.012Z

Friday (31st October) saw the 52nd BFI London Film Festival draw to a close after yet another fascinating insight into what promises to be a stella year for cinema.

As well as showcasing the works of internationally renowned directors the festival celebrates the emergence of rising talents and continues to revel in the staggering quality of independent films.
Among the obvious choices of films such as 'Quantum Of Solice' and 'The Other Man', the latest offering from award winning director Richard Eyne (Notes Of a Scandal). A selection of pictures soundtracked by the bands we adore stood out during the 15 day event. Here’s our pick of a very good bunch.

First up is the Giles Borg directed '1234', a heart-warming witty film that captures the independent spirit of starting a band.
Enduring the burdens of a job he despises and wallowing in the self pity of life without a girlfriend. Stevie and his drummer pal Neil start a band with Billy Dixon, an experienced and driven individual who helps the pair exceed the fortunes of previously failed attempts.
Grappling with success of the band and tensions between the members, the film creates an honest and original feel, something that’s previously been lacking in films of a similar nature. The Soundtrack effortlessly matches the independent spirit of the film, referencing Yummy Fur, Prolapse and Comet Gain while shamelessly rocking out with the backing of The Stooges, Pixies and Velvet Underground.1234 trailer

Next up is another British picture, directed by Pat Holden, ‘Awaydays’ sees Paul Carty (Nicky Bell) do he’s upmost to evade the tedium of a 9-5 existence. Whether he’s chasing skirt, fighting, going to the Football or taking drugs, Bell resists all normality and executes his role down to a tee. Carty, who’s left feeling bereft by his fraught family life and dull job, becomes friends with Berlin Bowie romantic Elvis (Liam Boyle), someone who shares his passion for old records and Echo And The Bunnymen, played during the film by The Rascals. Throwing himself into The Pack, a gang of Football hooligans Elvis finds it hard to distance himself from, Carty absorbs himself in boozy train journeys, violence and endears himself to The Packs general, John Godden (Stephan Graham). Set to the backdrop of the Wirral, a town suffocated by the iron grip of the Thatcher reign, Awaydays is an intelligent and superior document of Hooliganism, something that other films in recent times have tried and failed to portrayal. The film is as frantic and compelling as its soundtrack, a series of Post-Punk classics that accompany a deep and brutal story perfectly.

Telstar, a film documenting the life of genius producer Joe Meek, is peppered throughout with Pop cameos and a soundtrack so befitting of its 50s, 60’s setting. Written and directed by Nick Moran, Telstar is adapted from the stage to the big screen effortlessly and loses none of its original spark. From a flat on Holloway Road Meek developed techniques in recording that had never been seen before, produced a succession of hit singles and became the biggest producer in Britain during the late 50’s and early 60’s. Moran captures the essence of the story perfectly as well as doing justice to the hits such as ‘Just Like Eddie’, ‘Johnny, Remember me’, ‘Have I The Right’ and ‘Telstar’. Below is the Soundtrack to Telstar:

1. Theme From The Traitors
by The Packabeats
2. Johnny Remember Me
by John Leyton & The Outlaws
3. Swingin’ Low
by The Outlaws
4. Telstar
by The Tornados
5. Don’t You Just Know It
by Screaming Lord Sutch & The Savages
6. The Isle of Capri
by The Fabulous Flee - Rekkers
7. Play it Cool
by Billy Fury
8. Jack the Ripper
by Screaming Lord Sutch & The Savages
9. Been Invited to a Party
by Heinz & The Saints
10. Be - Bop - A - Lula
by Gene Vincent & The Bluecaps
11. The Bee Song
by Arthur Askey
12. Just like Eddie
by Heinz & The Saints
13. Three Coins in a Sewer
by Alan Klein
14. Temptation Baby
by Gene Vincent & The Bill Shepherd Orchestra
15. Have I the Right
by Honeycombs
16. Night of the Vampire
by The Moontrekkers
17. Crawdaddy Simone
by The Syndicats
18. Please Stay
by Duffy

Love You More preview from Matt Cooper on Vimeo.
Love You More, a short film inspired by 70’s punk band The Buzzcocks centres around the day in the lives of two teenagers, Peter (Harry Treadway) and Georgia (Andrea Riseborough). A day in which they meet at the record store, discover their love of The Buzzcocks, fall in love and lose their virginity. Directed by Sam Taylor Wood, Love You More has already been showered with critical acclaim as well as being endorsed by Peter Shelley (Lead singer of The Buzzcocks). During filming Shelley visited the set and in he’s own special way thanked the cast with a rendition of an Elvis classic.

Apparently made for those who have tried to woo someone with a mixtape, Nick and Norah’s Infinite playlist borders on the sweetly/sickly taste in the same way Juno did. Starring Michael Cera (Juno) as Nick and Kat Dennings as Norah, the film see’s the two of them thrown together in the course of a New York evening. Nick, a ‘straight edged’ bass player in gay indie band ‘The Jerkoffs’ is struggling to get over his ex, that is, until he meets Norah, a complicated music obsessive, at a gig and their relationship grows in the course of the evening as they search for a secret gig of their favourite band. Directed by Peter Sollett, Nick and Norah’s playlist is AMERICAN there’s no doubting that but with a soundtrack comprising of the likes of Vampire Weekend, Band Of Horses and Modest Mouse to name a few its well worth gander.

Langhorne Slim, The Borderline, 5/11/08

2008-11-06T11:27:00.001Z

It’s the best I can do to keep from yee-harring after Langhorne Slim at the Borderline on Manette Street. It’s been a full 2 years since last seeing him play at the Knitting Factory, NYC, where he obligingly let two ticketless mates in on his request. That gig converted two staunch indie kids, fresh off their rights-of-passage-tour-of-the-world, to the dapper hillbilly-folk-country of Langhorne Slim.

Anyone new to the sound and exhilarating live performance he brings with the War Eagles (as his long standing backing band are now credited) will tonight have been converted too. From the outset with ‘The Electric Love letter’ to the crescendo of ‘And If It’s True’ Langhorne strutted and peacocked, hitting glorious high notes as well as he roused bar-room sing-a-longs. With no conceited mention of the previous days election result, modest acceptation of local adoration and a subtle approach to audience participation the set segwayed older, Dylan-judas-period-esque, folk tunes ‘I Will’ with produced and rounded newer efforts ‘Colette’.

By maintaining a close and personal relationship with his fans Langhorne was able to pause and hold the audience teetering on the breath of a next line before 'cutting it down' or shoo away the War Eagles for an intimate rendition of 'Worries'. Maybe one of the most endearing qualities a Pennsylvania born anti-folk, pro-folk, country-picking, nashville-hillbilly in a world of homegrown and imported shit-gaze, dark-wave, revivalist indie music is that every inch of his performance is believable. Never looking for one moment like he'll ever stop enjoying what he does.

It's not unusual to feel cheated by new material and hanker after older personal tunes but tonight no one did. Everything from the more recent self-titled album, and new unheard material shone like burning coal and welled up an emotional holler from anyone close enough to care.

Langhorne Slim ‘Rebel Side Of Heaven'

Levi's One's To Watch, The Fly, 28/10/2008

2008-11-04T22:18:00.001Z

Past Ones To Watch shows have seen the likes of The Kooks, Editors, The Wombats and more recently Foals emerge from Camden’s sweaty-armpit that is Barfly to play under the bright lights of Brixton academy. A transition that comes mere-months after treading the beer-stained stages for LOTW shows. A fact that in no way went un-noticed by an excitable crowd packed in tight to see openers A Grave With No Name. How much of the excitement was down to the band and not the seasonal weather peppering the streets above is hard to tell but the Mt Jade Three piece certainly made a case for themselves.

Revelling in reverb, AGWNN’s shoe-gaze dirge filled the atmospheric air with every slight strum of bass. A bass which vibrated deep within the heart of every transfixed punter and added to the glow of red light that soaked the venue in a warmth. Stand out track, ‘And We Parted Ways At Mt Jude’ captured the essence of AGWNN perfectly. A searing wall of white noise only punctured by the beauty of entwined lost melodies.

Next up were Broadcast 2000, the brain child of musical visionary Joe Steer.
Backed by a group of friends armed with instruments very rarely seen on your average indie tour, the band wasted no time in endearing themselves to the expectant crowd. ‘Don’t Weigh Me Down’ a we say you say call to arms briefly stirs the tune appreciation glands within but it’s not until ‘Get Out and Go’ is unleashed that we see any real visual signs of excitement I.E feet moving in different directions and hands up in the air like they just don’t care. Check your bad self’s.

Broadcast 2000 really are a band to behold. They command attention with every passing second of their woozy Anti-Folk frivolities. Glistening with pitch perfect production and sprinkled with the ting and tangs of the Xylophone ‘Run’ closes a spell-binding set in the best way possible.

And so, with two scintillating performances in the bag Rogues are left with the unenviable task of closing tonight’s proceedings and boy they do it with panache and swagger. They have, in ‘Not So Pretty’ and ‘Carnival’ two cracking pop tunes that showcase their New Order –esque 80’s invention and hooks plucked from the deepest darkest depths of Julian Casablanca’s soul. It’s new-wave as we know it and undeniably love it.

Much can be said for the emergence of 80’s inspired bands this year. Mystery Jets, Ladyhawke, Friendly Fires, Late Of The Pier and Calvin Harris ...err ok not Harris but you get the picture. It’s been a stella year for donning shoulder padded blazers and spunking out hits from synths of desires. So much so every Dom, Rick and Barry’s jumped on the Ford Capri bandwagon with the belief they’ve got the key and the secret to actually being any better than the next band on the production line.

So how refreshing it is then that Rogues, four beautifully crafted chaps from Aberystwyth, emerge from the wintery fag-end of 2008 and stake a claim for the most exciting prospect of 2009.

Photo's courtesy of www.louiseroberts.co.uk

Now the stripes are red

2008-10-25T23:46:00.000+01:00

A few years ago there was this new band - just a drummer and a guitarist, girl and boy - that had everyone talking. Fast forward to 2008 and there's another band of the same configuration doing the rounds, and with a not totally different colour scheme.

OK, so comparing Blood Red Shoes with the White Stripes is pretty unfair - the similarities end with the line up as the music is totally different. Whereas White Stripes always sound quite sparse and stripped down, Blood Red Shoes manage to create a dense, textured sound that belies their limited numbers. Disaffected lyrics, buzzing guitars and deadpan 'oh oh's are a few other characteristics that set Blood Red Shoes aside from their American counterparts.

We inadvertently missed the first few tracks of their recent show at Astoria 2 and burst in as Laura-Mary n' Stephen were burning their way through You Bring Me Down from their debut album Box of Secrets.

Blood Red Shoes have famously clocked up an incredible number of live gigs since their inception in 2004, and it showed in their performance. The two were astoundingly tight and performed their interlocking vocals intuitively without barely shooting a glance at each other.

Their bijoux stage was decked out with red lampshades, but unfortunately no one thought to put Stephen's drumkit on a riser. This, combined with the terrible layout of Astoria 2, meant it was near impossible to catch a glimpse of him throughout the gig.

Laura-Mary, on the other hand, was centre stage and soaking up all the adoration. With her overlong fringe and moody demeanor, she seemed to be channelling a bit Chrissie Hynde, a bit Cousin It. She played the guitar incredibly well and with gusto, making it easy to believe the Blood Red Shoes manifesto of playing so hard and fast that they bleed.

In fact, couldn't quite believe that the two of them could make such a full-bodied racket and kept craning to see if I could spot any back-up guitarists in the wings, but incredibly they did seem to be doing it alone.

During the encore Stephen invited everyone onstage and members of the audience clambered over each other to stake their place during ADHD, but there was never much of the atmosphere of anarchy or chaos that the band no doubt hoped to induce.

Thanks to their somewhat limited repertoire the show was over less than an hour after it started, a particularly savage and self-flagellating version of I Wish I Was Someone Better and a tense, menacing rendition of Try Harder a couple of the highlights. Overall, I have to say it was a shoe-perb performance.

Photo by +++ponyrock+++ on Flickr

Le shoegazing est bien, non?

2008-10-24T23:08:00.000+01:00

I always kinda thought that M83 was an electronic version of Mogwai - dense, interpenetrate music; sparse use of lyrics; colossal, ominous and sometimes dizzying. Then I listened to their latest album 'Saturdays = Youth' and feared that in fact they were a bit like Air - French; breathy female vocals; poppy electronica. So I went along to their show at the Scala to find out.

'Their show' is, of course, in some ways incorrect as the band technically comprises only monsieur Anthony Gonzalez, but on tour he was joined by another keyboard player, a guitarist and, weirdly, a drummer in a crudely-fashioned greenhouse. These physically enthusiastic musicians helped to conjure up a bit of stage magic, as this show could have quite easily comprised just one man fiddling away at his laptop and a couple of synths.

M83's songs really do need to be played full volume in a dark room to be appreciated, so the live setting is pretty appropriate. Many of the songs seem to blur into one and it's easy to get completely absorbed in the music, to the point that it's quite startling to get bumped by another gig goer.

The celestial themes in M83's songs are conductive to this kind of reverie, the band is after all named after one of the most conspicuous spiral galaxies in the sky, Messier 83. Add oscillating melodies, languorous tempos and effects-laden guitars, and it really did feel as if we were a world away from grubby King's Cross.

On the other hand, some of the cod philosophy 'big think' lyrics grate a little. In Graveyard Girl, for example, the precious protagonist murmurs, "I'm fifteen years old, And I feel it's already too late to live, Don't you?". Vomit-inducing.

The majority of Saturdays = Youth gets played - although being less familiar with their older stuff I could be a bit biased - with pop track Kim & Jessie getting one of the biggest cheers of the night.

The band curiously all take to center stage once they have finished to bow and wave at the crowd, pantomime style. Within minutes they are back and provide an utterly immense version of Couleurs for the encore. Beats slamming, strobes flashing, it's almost a full-on rave as the crowd start moving and leaping about having stood reverentially still for the rest of the gig.

M83's cinematic sound was pretty mind blowing live, so perhaps I was right on with my original Mogwai comparison...

Photo by adman_jamjar on Flickr

A rootin' tootin' barnstormer of a show from Jenny Lewis and co

2008-10-18T18:42:00.000+01:00

The talented and beautiful indie queen Jenny Lewis has long held me rapt with the beautiful poetry of her songwriting. The depth and richness of the characters in her songs is quite something and I have tuned in to hear the travails of these individuals right back from Man Me and Jim in her Rilo Kiley days all the way through to the equally detailed portraits in Rabbit Fur Coat, her solo debut.

Here in Camden Lewis ditches the enigmatic but gimmicky Watson Twins who propped up Rabbit Fur Coat and trades them in for a band who could've walked straight off the set of Brokeback Mountain. It is with this talented and cohesive group of musicians that she regales we urban Londoners with the atmospheric folk tales of her new album, Acid Tongue.

Clad in a matador-style jacket and wide brimmed hat, Lewis initially takes to the piano to open with the first of many tracks from this record, Jack Killed Mom. Throughout the show she pretty much steers clear of soul and gospel tracks from Rabbit Fur Coat, bar renditions of You Are What You Love and Rise Up With Fists.

Instead we get the far more upbeat alt-country songs of Acid Tongue, such as The Next Messiah and Bad Man's World, ramped up to hoedown. Overall the cracking setlist strikes good balance between these fast-paced songs and Lewis' more melancholy ballads.

Drummer Barbara Gruska is quite a sight to behold, eyes popping she thrashes the living daylights out of her kit, gurning demonstratively all the while.

A particular highlight of the show is the song Acid Tongue, during which Lewis takes centre stage with just her guitar while her band gather in a Bohemian Rhapsody-esque configuration under a set of spotlights to provide the gospel harmonies.

Quite unexpectedly, the Koko soundsystem allows every nuance of Lewis' expressive voice to come through clear as a bell. Simultaneously tender and cruel, her refrains evoke ambiguous emotions and her lovesongs come barbed, case in point being Black Sand, "Who’s going to love you buried underground?".

Throughout the show the charismatic Lewis has the audience wrapped around her finger - so much so that the enraptured crowd are quick to cheer at any quip that passes her lips. It is officially impossible not to be charmed by her.

In the encore, guitarist and boyfriend Jonathan Rice joins her for a heartbreaking stripped-down duet of Roy Orbison's Love Hurts, which is followed by an equally poignant version of Godspeed, one of my favorite tracks from Acid Tongue. Lewis looks almost vulnerable as she sings at the piano of "When I was in bad shape", and shoots the perilously high notes of the chorus out the side of her mouth like they've been squeezed all the way from the depths of her soul.

The show comes to an absolutely thundering finish as the band go all out with the driving See Fernando, Lewis clambering on top of her piano no doubt to flag down the passing locomotive evoked by this song.

Quite frankly anyone would need to have a heart of stone not to love Jenny Lewis after this show, as melt our hearts she certainly did.

Photos by Lorne Thomson on Flickr

Q do you think you are?

2008-10-09T12:58:00.000+01:00

Hey, we're a massive music magazine right? We've got a huge readership of music lovers? And we've got the oportunity to reach out to those readers and do something progressive, forward thinking and tap into what's at the fore-front of every REAL music fans minds right now? Then let's use our power and industry status to celebrate whats been so great about music in 2008. How about at this years Q Awards, we really honour those who have released inivative music that laughs in the face of mediocrity, performed a live set so awe-inspiring people's whole weekends are made in just the space of an hour and lets celebrate the birth of a new band making waves in the sea of dull, dull, dull. BRILLIANT idea Mr Rees! Who do you have in mind? Only these bad boys...

BEST ACT IN THE WORLD-COLDPLAY

BEST ALBUM-VIVA LA VIDA, COLDPLAY

BEST LIVE ACT-KAISER CHIEFS

BEST TRACK-'SPIRALLING' KEANE

BREAKTHROUGH ARTIST-DUFFY

BEST NEW ACT-THE LAST SHADOW PUPPETS

How can a magazine so successful produce a list of bands and artists that's so incredibly off the mark. This is just wrong, absolutely wrong.
It pains me to think that this is what they actually think constitutes as good music and A part of me hopes it's all done so when the likes of 'Viva La Vida' is picked of the shelf at Tesco's, Q gets to go for a ride in yummy mummy's trolley too.

In a year when Elbow, Kings Of Leon, Foals, Vampire Weekend and MGMT just to name a few have stepped up to the plate and produced albums and live performances of the astounding quality that they have it's remarkable Q, in one clean sweep, can mis-judge a stella year for music in such spectacular style.

Mind numbing shiteness is what Q magazine is, just don't expect that to change any time soon.

Blog on the run

2008-10-07T20:36:00.000+01:00

I have no idea what happened to our blog. Who's idea was it to make it green? Why does justifying everything to the left make such a fantastic difference? How did the list of favourite blogs appear down the right hand side, and who controls which ones get on there?

Taking into account the last point I had to post this:

The single blog I am completely addicted to is Complicated Dance Steps. On which 'Blackeyed Donkey' regularly posts concise, informed and intriguing reviews of consistently obscure, fantastic albums spanning an eclectic spectrum of genres. Not only that but there is always a link to download the music referred to, fleshing out the review and negating the annoying habit I have of listing albums I want to hear but never buy because the list is too long and the price of records restrictive.

Subscribing to blogs is something I am hesitent about doing. I subscribe only to my brothers photography blog My Absolute Present, in which he posts monthly photographic journals which sometimes include a picture of our family and are often my only indication of what is going on in his confusing life, and CDS.

I guess, in a vain and hopeful thought, if Blackeyed Donkey is reading our blog I'd like Him (or Her) and you to know what a massive effect that blog has had on my life and record collection. I discard some music reviewed there and don't always rate the stuff He (or She) does but have found myself some great new albums and bands. Most of which I have wanted to review here but couldn't have done justice.

It was the first place I heard White Denim, Zombie Zombie and broadened my taste for kraut-rock 70s techno (if that is a genre). Check out the Jeans Team (who I'd never heard of, liked the name and has grown on me since) from earlier posts for some refreshing electro, the Marshall Tucker Band (who I'd never heard of and are f**king brilliant) for LA country rock and the intelligent Thomas Function (who's album cover is shit but are great).

I don't know who you are or where you're at but THANK YOU.

Band on the run

2008-10-05T23:32:00.000+01:00

Last week it was proven that listening to music can increase exercise capacity. Good news for Simian Mobile Disco then, who have produced a running soundtrack in collaboration with Nike. The track is imaginatively called Run and is 27:37 in duration. For the less athletic of you, there's a 5:42 free "edit" on iTunes so you can have a taste of the track when stationary. The pounding beats sound a bit slow to me and I'm no Usain Bolt, although according to the top fitness gurus at NME the pace of the track is the ideal bpm for runners.

SMD are following in the footsteps of LCD Soundsystem, who made the track 45.33 for Nike in November last year.

Richard Swift

2008-09-28T15:02:00.000+01:00

Richard Swift got a mention a few weeks ago so it seems appropriate to elaborate on him a little and specifically around his most recent release, Richard Swift As Onasis.

From previous work, The Novelist; Dressed Up For The Let Down and Walking Without Effort, Richard Swift has a nostalgic, if hazy, air of Randy Newman or Harry Nilsson. Bubbling pianos blended with infected balladeer story telling make up the majority of his work. Yet buried in the heart of this troubled crooner is a soul of blood curdling rock n’ roll. Like Jerry Lee Lewis tearing him a new hole.

Sounding like it’s been recorded in a small corner of a derelict meat packing district warehouse Knee-High Boogie Blues, a storming hand-made call and answer number, introduces Swift, As Onasis. Onasis continues delving through a sack of danceable garage rock n’ roll, tasting like Dirtbombs guitar and anonymous without vocals until, through echo and more distortion Swift delivers with a snarl.

Without warning, or hesitation, As Onasis turns to the further reaches of rock n’ roll as he’s come to know it. Twisting through experimental heavily doused punk and post- drifting back through his piano driven bubbles of brilliance.

As Onasis is a huge album from a man relatively underrated yet wonderfully prolific. Although lo-fi it never sounds cheap or shoddy and successfully bridges modern blues like Seasick Steve to our antifolk favourites spanning 60’s LA and 70’s NYC along the way.

Before starting this post I checked to see if there had been a new release since Richard Swift As Onasis, not only so I would be focussing on most recent work but moreover that I want more he has so far let me have. In doing so I discovered there is a little something on Secretly Canadian's website, a digital only EP called Ground Trouble Jaw.

As expected...

2008-09-25T13:00:00.001+01:00

the Internet is rife with the goings on of last weeks 'Gig Of The Year' at Heaven.

NME hack Alex Miller, who I spotted at the side of the stage, posted the story on NME.COM as well as denouncing security and bigging up the kids on the publications blog.

Vice proudly shower their boys with praise as expected and You Tube, although strewn with the usual flaky mobile footage, has a couple of gems including a 5 minute masterpiece capturing the carnage of set closer 'Juvenile'.

Watch closely and you'll be able to spot yours truly being dragged along the stage floor by the meatheads. It's roughly around 28 seconds in. Enjoy.

Check out www.blacklips.co.uk for more on the gig and a chance to win a signed poster made especially for the gig at Heaven.

Black Lips, Heaven, 16/09/08

2008-09-17T00:50:00.000+01:00

This cant be a genuine review I'm afraid. I've been taught never to write in first person and always to be subjective but those of you who've read this blog will know I'm a fan of the Black Lips. Those of you who really know me will know I'm more than just a fan and those of you who were crammed into Heaven last night will now know I'm a complete an utter obsessive.

Last night happened to be the gig of my life. A totally moronic thing to say and a stupendously generic repost from someone as fanatical as me but I cant pretend. In fairness though, a huge amount of people streaming out of the venue were of similar mind.

Hindsight is a wonderful thing. If I had sat down at my computer last night and attempted to write this it probably would have read something like this, 'aaaaaaaaaaaaaaaagggggggghhhhhhhh, Black Lips, Bad Kids, me on stage, singing with Cole, willies, Nazi security, stage diving, dragged by the hair, headbutted, 13 bruises, 2 cuts, time of my life, aaaaaaaaaaagggggggghhhhhhhhh! The ramblings of a retard I'm sure you'll agree.

Now however, I'm calm if not still on a bit of a buzz and able to fully appreciate and hopefully capture in words how last night propelled my gig going experience on to a completely different level. A level way beyond anything I'd ever experienced before and beyond anything I'd ever hoped for.

It's rare when a band can forge a relationship with their fans that's akin to a gang mentality but the Black Lips manage to conjure a bond with theirs that's as tight as any that's gone before them.
Throughout their existence they've remained incredibly assessable. Not only have they released a succession of records but they've toured almost continually since they signed to Vice Records in 2006. Scour the Internet and you'll find video's posted of the band on holiday, backstage and on tour. Give the 'Black Lips Hotline' a call and you'll be able to talk to them while they're touring. They never hide behind their success and that's why tonight the unity between both band and crowd made for the most raucous gig of the year.

Before the band had even taken to the stage the tone of the night was set in spectacular, debauched style with Cole Alexander rushing the stage during King Khan and The BBQs set with trousers round ankles and penis in hand. A lot's been said about his willingness to get his willy out and to actually see him do it is almost a privilege. Almost.

From that moment the bar was set and what followed was a night of pure rock and roll carnage. By the time you read this I'm sure the nights events will have been covered so I'm going to leave it here. A lot happened to me at the gig but it was all about the band and the send off they gave to their wonderful, dedicated fans.
All I can say is what unfolded at Heaven will undoubtedly go down in Black Lips history. They wont be back in England for a while but what they've left us to remember them of was a gig that was special for so many reasons. The incredible set, the fat-fucking Nazi security, the crowd interaction, playing guitar with a penis and the riotous atmosphere.

I know 'gig of the year' is used all to frequently by some parts of the media but the night Black Lips played Heaven will always be known as 2008's GIG.OF.THE.YEAR. Fact!

King Kahn and The BBQ Show - Heaven 16/9/08

2008-09-16T23:36:00.000+01:00

So i would theorize that the BBQ Show refers to the idea that if King Kahn turned up to play your, afternoon thru evening, barbeque (weather permitting) this is the line-up he'd bring - the King himself and one little chef in a turban. Rest assured no-one would miss your do again regardless of how badly your attempt at foil wrapped salmon turned out.

Paring down a ten piece band into 2 guys, 2 guitars and a deformed drum kit should make for a terrible sound, but these guys teased and satisfied a baying crowd with relative ease. King Kahn melded the glorious punk rock'n roll of the current garage trend with pure unadulterated doo-wop 50's influences and showboated his way into the hearts of a hundred kids with freshly topiared moustaches.

Filling the, very few, gaps with surreallist pornographic banter, inspired American in London references and a little stage invasion by the headlining act The BBQ put on a show that felt it was on behalf of ten men.

Oh, the sound, right! Imagine, if you will, the Monkees singing Stepping Stone while a skinny asian dude sprays the effects of an undercooked sausage in their faces, kicks them off stage and then drops to his knees crying. You can imagine that? Try and see King Kahn and The Shrines/BBQ etc...

I'll find a picture from the gig, steal it and post it later!!!

Ever feel like your not making the most of your face?

2008-09-15T08:34:00.000+01:00

Constantly looking in the mirror and wondering how the hell people don't vomit at the sheer sight of it? Tried accessorising with beards, sunglasses or even those fake faces with a plastic nose that puts Ricky Tomlinson's to shame? Well ladies and gentlemen if you've said yes to all of the above worry no more because Sleeveface is here to make faces interesting again.

If you've got a vinyl sleeve...

and a face...

then you could have a Sleeveface!

That's right, your face+sleeve=Interesting face. Its a concept dreamed up by a few mates that led to them posting 15 images on their website, www.sleeveface.com. It's now grown to over 11,000 images being posted, coverage on national news, newspapers and a 'how to' video hosted by Huw Stevens of Radio 1 fame. Have a look at it now, it's well funny.

http://www.youtube.com/watch?v=NVt4jOasujc

Psycho Soul At Its Most primitive

2008-09-13T21:49:00.001+01:00

Shit... I take my hands off the computer for 2 minutes and Helen and Dan hit the blog up with a tirade of anti-folk and ridiculous nut-rave 'isming.

Without very much to add, and very few words in my bag of words to use, I would like to stand up for raw-garage-surf-soul-rock-and-roll and say something staid like, "I love a well used blues riff".

El mucho cojones Dan Sartain; Black Lips; King Kahn; The Dirtbombs; Beehive and the Barracudas; Link Wray; Richard Swift; Billy Childish; and The Sonics.

They're in the bands i wanna be in, but I'm not skinny enough; young anymore; talented; wearing a moustache.

I promise to say something better next time...

Anti Folking hell it's good.

2008-09-07T22:18:00.000+01:00

I'm not sure whether it was the whole falling under the spell of Peggy Sue but of late the musical genre that is Anti-folk has well and truly lodged itself deep into my Grey matter and barring a drill to the head Saw 3 style it aint-a-comin-out.

Our love-in was confirmed on Wednesday night in deepest darkest Bethnal Green where Laura Marling,with her swelling heart and mercury shortlisted album in tow , produced the gig of the year to a awe-inspired audience, Anit-folk it has to be said, stepped it up a notch.

With the likes of Marling, Noah and The Whale, Peggy Sue, Jeramey Warmsley, Mumford and Sons and Johnny Flynn all making big moves in the 'game' this year, it wont be long until Anti-folk's taking over your life and you'll find yourself in the New Forest with an acoustic guitar making up songs about superhero's, crazy burgers and lovers crawling out of the sea.

These are some gems you need to get you ear ol's round:

Peggy Sue-Superman
Johnny Flynn-All The Dogs Are Lying Down
Moldy Peaches-Downloading Porn With Davo
Mumford and Sons-Awake My Soul
Noah and The Whale-Give A Little Love
Laura Marling-My Manic and I

All this talk of Anti-folk does make me feel like I'm cheating on Post-Punk so I found this clip on You Tube of Jeffrey Lewis documenting the life and times of The Fall.

http://www.youtube.com/watch?v=tP_Dk81f9fg&feature=related

Laura Marling bewitches in Bethnal Green

2008-09-04T00:19:00.001+01:00

I should probably start this with a disclaimer: I love Laura Marling. I think she's incredibly talented, has a beautiful voice, and if it wasn't for the obvious biological incompatibility I'd want to have her babies. OK, maybe that's a step to far, but you get the idea.

So when I heard that she was playing a secret Bestival warm-up gig in Bethnal Green I leapt on my bike, set my compass to east and peddled as fast as my little legs would carry me. Thankfully said speed was hasty enough and I was able to join the queue growing outside the Star of Bethnal Green in plenty of time to get into the tiny gig.

This is a solo show in every sense of the word - just Laura Marling and her guitar - and as intimate as you can ever hope to get with such a rapidly ascending star. The hit album, the Glastonbury performance and the Mercury Prize nomination mean it's unlikely she'll be playing many venues of this size any time soon.

A couple of hours and a few beers later I spotted Laura Marling wending her way from the back of the pub through the crowd and onto the stage. The crowd falls into a hushed silence as she strikes the first few chords of 'Ghosts', the inconsiderate bottle clinking of the barman the the only distraction. As a self-confessed fan of small gigs, Marling seems to be quite comfortable in this minuscule venue and totally unperturbed by her isolation on stage, effortlessly holding her fans rapt as she picks her way through B-side 'Blackberry Stone'.

Marling's evocative voice is as clear and sharp as glass as she enunciates perfectly every word of her plaintive poetry, which, combined with her melancholic melodies, envelops the room and spirits us away to a dark and soulful land of trees, rivers and heartbreak.

Single 'Cross Your Fingers' sounds somewhat twee and contrived on record, but in this stripped down setting the folksy charm of the melody shines through. As the song segues into 'Crawled Out of the Sea' a few voices rise out of the crowd and in seconds everyone is singing along like we're at a twilight campfire - real goosebumps stuff. Marling rounds the gig off with the 'Alas I Cannot Swim' ditty that closes the album of the same name and, having thanked her fans, disappears off stage in defiance of calls for an encore.

This up close and personal evening with Marling was as short and sweet as Laura herself, but the atmosphere was magic and the undeniable talent of this tiny 18 year old was all that was needed to generate it.

LOTP tour warehouses, no, where-houses

2008-09-02T13:34:00.000+01:00

Late of the Pier have just announced that they're touring warehouses around the UK in October to promote their new album, Fantasy Black Channel. Guess they got a taste for industrial spaces after their gig in a car park in Old St last June.

It gets better - they're bringing their electro friends with them - Simian Mobile Disco in Manchester, Erol Alkan in Leeds and Birmingham, and Digitalism in Bristol.

But hang on a second, where's the London date? You mean we have to pay to see Kaiser Chiefs if we want to see LOTP this autumn? Or go to the Grim North? You have to be joking.

OK, so APPARENTLY they played London (Somerset House) as recently as 11th August, but I wasn't there, was I?! Better buy a train ticket to Bristol :(

And while your at it...

2008-09-01T08:51:00.000+01:00

you should probably check out White Lies. Theatrical, morbid, epic and better than The Killers, White Lies aren't for those of you with an acquired taste but they're pretty much gonna be everyone's cup of tea and WILL be the biggest band in the world sooner rather than later, whether you like it or not. So enjoy them now before you feel guilty and tell everyone you never liked them in the first place.

You should probably marvel at this while your at it.

Dont be idiots...

2008-09-01T08:38:00.000+01:00

and take Helen's advice. If you think your a lover of new music then get the fuck over to The Hype Machine and download Crystal Castle's remix of White Lies 'Death'.

It's monumental and it needs to be heard right now. So go you diabolical person and be saved by the some proper Hipster magik. Dont fight it.

Do believe the hype

2008-08-30T22:56:00.000+01:00

OMG have you heard of The Hype Machine?! No, not the army of lackeys and sycophants employed by the likes of Coldplay to brainwash the public into wanting to buy their new album, but the music blog aggregator website. OK, I admit it, I'm way behind on this one, given that the site launched way back in 2005, but I HAD to tell someone - everyone! - about it.

The Hype Machine tracks music blogs that post mp3 files and saves the mp3 link on the Hype Machine database. Users can then search the site for their favourite band, for example the Mystery Jets, and use the controls at the bottom of the page to listen to one long playlist of all the tracks from that band that have been posted online.

The website has album and single tracks from stadium fillers like the Kaiser Chiefs to the most obscure of obscure indie bands. In particular, the site is great for remixes, check out this CSS remix of The Cribs 'Men's Needs' if you need convincing. You can also click though to the original blog post to read what whoever posted your new favourite track has to say about the band.

And here's where it gets interesting - with a bit of fiddling round via the original blog post you can download many of the tracks on Hype Machine for free. A bit time consuming maybe, but the music is free you hear me, free! Of course, Hype Machine doesn't condone this kind of behaviour and neither do I, ahem, so you're just going to have to use your initiative and lots of right clicking to get your dirty paws on those remixes.

I. am. addicted. To get you started, how about The Faint's remix of The Yeah Yeah Yeahs 'Y Control'? Or a remix of a certain 'Oxford Comma'? Have fun!

Not for the Faint hearted

2008-08-30T20:23:00.000+01:00

Why aren't indie electro act The Faint everyone's favourite band? Their particular genre has exploded in popularity in the UK, as kickstarted by the Klaxons' Myths of the Near Future in January last year and perpetuated by the likes of Foals, New Young Pony Club, Does It Offend You, Yeah? et al.

Well, The Faint have been very busy, but busy back home in Omaha, Nebraska, the fools - building their own studio, Enamel, starting their own label, blank.wav, and finally making a new album, Fasciinatiion, their first in four years. And with the record comes the worldwide tour and a chance to road test the new songs, including at their show last night in Cargo, east London.

The menacing opening bars of 'Agenda Suicide' announce the arrival of The Faint, their moog-tastic dirty electro and electronic beeps and whines like a gauntlet thrown down for the fresh-faced new rave pups of London town. Donned in a lab coat and welding goggles, frontman Todd Fink takes centre stage, looking like a mad scientist overseeing futuristic experiments in sounds and beats.

To my absolute delight the band play 'Take Me To The Hospital', a sparse and entirely synth-based ode to hedonistic living that is definitely one of my favourite songs, like, EVER.

I initially thought The Faint only had two keyboards on stage but nobody panic, they were packing at least four, most of which were played by Jacob Thiele, who curiously pitches and weaves as if the floor is rocking beneath him while steadfastly keeping his feet rooted to their appointed spots. He gets the chance to run the whole gamut of frequencies on his synthesizer during new track 'Get Seduced', one of their most bleepy and squelchy offerings yet and definitely one of my favourites from the new album.

Interestingly for such a 'dance-y' band, the Faint have a live drummer rather than use a drum machine, and Clark Baechle does a sterling job of mimicking the sterile and precise beats that form the foundation of the band's sound.

Having debuted another couple of new tracks, 'I Treat You Wrong' and the robot-like 'Machine In The Ghost', two of the band's self-professed favourites from Fasciinatiion, The Faint launch into 'Paranoia Attack', the whole room shouting along "Paranoia! Paranoia!" like mental patients on a football terrace.

As the band amble off stage after a devastating rendition of 'I Disappear, the somewhat undemanding crowd chant for three more songs (three? I say play ten!). The Faint don't disappoint and return to what must be by this point the hottest and sweatiest room in the whole of London to play the disturbing 'Birth' - a graphic account of the whole process from conception to the grand finale, as told by the fetus. The show wraps up with a blistering rendition of 'Glass Danse', after which the exhausted punters pour out into the relatively fresh air of the main bar to swap the merch booth and scrabble to buy up the new album.

Having loved The Faint for many years I was beyond desperate to see them play live, and this show was the electronic euphoria I had been hoping for, although to be fair they would have needed to play for at least two hours to get through all my favourite tracks. They're going to be back in London in November playing a show at The Scala on Thursday 20th and I'm already excited to get lost in electro with them again.

For the geeks out there, here's the full set list for the gig at Cargo:
Agenda Suicide/ Drop Kick The Punks / Take Me To The Hospital / Forever Growing Centipedes / Psycho / In Concert / Posed To Death / Desperate Guys / Get Seduced / Worked Up So Sexual / I Treat You Wrong / Machine In The Ghost / Mirror Error / Paranoia Attack / I Disappear
------------------
Birth / The Geeks Were Right / Glass Danse

Peggy Sue, The Social, London.

2008-08-27T15:47:00.000+01:00

"Oh, I'm not going to be able to watch daytime Television, I miss those days", Shrieks Katy.
Welcome to the "busiest week in Peggy Sue's history, ever." A week in which they take to the stage 7 times, play instore's, appear on ITN news and release their debut EP 'Body Parts'.
"I said that not realising it was actually going to be true, I thought I was being over the top but apparently not."
Already today Peggy Sue, aka Rosa Rex and Katy Klaw, have sat through more interviews than they've ever had, which is probably why when 4or The Record turn up at The Social, a cabin-like hot box of a venue, the girls are nowhere to be seen.
You see, the promotion of a bands debut EP wouldn't normally warrant the kind of exposure and excitement that surrounds the latest release from Peggy Sue and the Pictures, so called because Peggy Sue have acquired the backing of Left Of Picture (veterans of the UK folk scene), but this is no ordinary release.
It's one that captures the sound of a scene that’s at the forefront of the industry's thoughts. As well as Peggy Sue, the likes of Laura Marling, Johnny Flynn, Noah and the Whale and Jeremy Warmsley are all flooding through the door Kate Nash and Jack Penaté spectacularly smashed down for them last summer.
It's something the girls are aware of and hugely excited about. During a whirlwind 12 months they were whisked off on tour with Kate Nash, an experience that went a long way in shaping and preparing the girls for what was to come. "Touring with Kate was fantastic but we hardly saw her" sighs Rosa. "She would be like, "I can see you for 5 minutes" and then she'd go off to do another photo shoot or interview. She'd come do her make up with us and then she'd go and that would be our quality time together, poor girl."

It's something they encountered again at SXSW when they hang out with fellow Anti-Folkists and good friends Laura Marling and Johnny Flynn. "Our normal day was a gig or two then we'd kick back, have a BBQ and hang out with Laura and Johnny and watch them go from gig to gig and interview to interview" remembers Rosa. So there must be a part of you that's enjoying the roles being reversed tonight? "Yeah it's amazing, we're so used to being the support and having busier people around us but tonight it feels like we've made the step up" says Katy. And the promotion plans for the EP would certainly back that statement up.

Tonight is just the first of four special gigs organised for what they call as the "4 corners of London". Tonight is West then they take on The Enterprise (North), The Betsy Trotwood (East) and The Windmill (South) Four venue's Time Out magazine cheekily described as central, central, central and central. Not that the girls mind. They just take it in their stride and even find it funny, a humour that’s apparent in their music and no wonder when you discover who their influences are. "Definitely Jeffrey Lewis in terms of Anti-Folk and The Moldy Peaches, we love them” and it's that humour and those influences that they take into 'Body Parts' a record that's an obvious departure from previous release 'Television', a Seven inch they released just after Christmas. "It's a chance for us to explore new instruments and new sounds" beams Katy and "It captures a folky side to us that's always been there despite the punky element that came with our first two singles 'Television' and 'New Song'" finishes Rosa. "The new instruments we brought in, the Banjo and Violin really helped us to bring out that Folk sound as did Left Of Picture. They're a band we've played with a couple a times and we just really love how folk they are. There's loads of Folk out there at the moment but it's all influenced by different genres. Left of Picture however are quite down the line folk and we really love it that we now have that injection in our music" she continues.
As well as the two previous very different releases, the girls had also released monthly incidental recordings that again captured their fun side but only cemented how hard it was to pin them down to a genre. Fully aware of this they realised just how important it is that they've put down on record four tracks that so undeniably spell out the direction they're heading in terms of sound. "Television and New song were at two ends of the spectrum, one being our punky side the other our prettier one. We knew that it never really came across as what we were really like. So with 'Body Parts' we're delighted it says a lot about us and what we do and what we sound like. It’s captured the real Peggy Sue in our opinion" and with that Rosa and Katy look at each other and share a smile that's still evident when they take to the stage in front of a packed out venue.

As each glistening track goes by a swooning audience falls that little bit more in love with Peggy Sue who captivatingly play with their untainted heart on their vintage sleeve and with a passion and exuberance that 4or The Record very rarely comes across. Each track off the EP sound life afirmingly joyous and only adds to the excitement of possible future releases. "We definitely feel ready to make an album but first we're gonna release another EP before the end of the year, Steven Ansell (Blood Red Shoe's) is going to produce it. Plus we may cover Be Your Own Pet for our next monthly recording but that’s only in the pipeline. We've got 30 to 40 songs at our disposal and at least half are good enough for an album" say's Katy "Plus bonus tracks", "Yeah, and Itune releases" giggles Rosa.
It's clear that tonight’s taste of being the busy band has left an impression on Peggy Sue that will only serve in propelling them into major Indie starlets. And with the thump of beating hearts and echo’s of admiration undoubtedly still ringing in their ears from tonight’s breathtaking show, Peggy Sue will be winning overeven more crowds not just over the next three nights but well into the foreseeable future.

Feature by Daniel Wade
Photos by Richard Anderson

The Peggy Sue interview...

2008-08-27T15:24:00.000+01:00

was definately our favourite bit of our really really 'busy week'. I put busy week in speech marks because it really was a busy week for us when you consider two pints and some McCoy's in the John Snow on a Monday night leaves us needing at least two nights in to recover. That's not really true but what I'm trying to say is we don't go out too much. Apart from the John Snow on a Monday night that is.

The night of the interview though was very special. Not only because we got to act like proper Journalist (I technically am one but I wont go there) but because the girls, Katy and Rosa, were top top girls and were very accommodating to my moronic questions.

Here's a link to their Myspace so go check them out...not until you've read the interview though!

1000 Robota. Hoxton Sq

2008-08-27T14:49:00.000+01:00

When a bare chested Joe Lean of Jing Jang Jong fame and a wide-eyed Babyshamble pull shapes in amongst us mere mortals you’d expect even the most star-studded show to be stolen.
Tonight however, deep in the hub of scenester depravity all the Jagger-jiggery and inabition abandonment in the world, let alone Hoxton, couldn’t prize the most ‘Heat’ hardened eyes from the stage.
In what can only be described as a moment of seminality, 1000 Robota ripped through a set of the utmost ferocity that will only hasten their return to England and to an ever-growing fan base that was out in full-force this evening.
It’s hard to believe that a band so young and, well, so German (they sing in their mother tongue) could cause such a stir amongst fans and record labels alike but the sheer brutishness and urgency in which they play to an enthralled audience goes a long way to explaining it.
'Hamberg Brennt', their unhinged, powerhouse of a banger was as marvellous live as we all hoped it would be but it was 'Sachen Erleben' and 'Wir Bauen Eine Neue Stadt', particularly the latter that not only channelled the un-nerving, raw spirit of Gang of Four and Television but their pure fervour made John Lydon look like an ageing Tory (Oh hang on?).
Some may think a devoted audience and an Indie-elite fan club would be enough to suggest 1000 Robota are a shoe-in for further British dates. An opportunity to rest on their laurels? Not a chance. Set closer 'Mein Traum' is played with so much force guitar strings snap, fingers split and instruments get splattered with blood. It’s a thrilling finale that capturesthe pure brilliance of a band your just gonna have to get used to. Just make sure you’re neither squirmish nor star struck.

Review by Daniel Wade

On record, Thomas Tantrum have been described as...

2008-08-27T14:45:00.000+01:00

“melodic-jaunty-pop”, “spiky, guitar-tinged Indie” and “a bit shouty”. Live, however, their expansive hefty sound crushes said adjectives in an instant.
Looking and sounding like they’ve just clambered out of a Sub-Pop melting pot, it’s clear the playful side to their music is backed up by a brooding big brother sized sound that inevitably sets them apart from their Indie counterparts, The Maccabees et al.
The catchy,almost twee ‘Shake it Shake it’ is brought to life by a relentless stomp-athon of a drum beat that drags it’s way round your brain like a dismounted, tangled-up Jockey. And ‘PShandy’ is as close to an original take on a Karen O fronted 3-piece as you’ll ever get.
The standout track tonight however, is the formidable ‘Why The English Are Rubbish’. Miss Megan Thomas’ vocals are as delightfully quaint as ever but it’s the way in which she weaves her words around the run-away riffs that underlies the unique hybridity of Thomas Tantrum. Barnstormingly good.

Review by Daniel Wade
Photography by Richard Anderson

Me and Richard have been busy...

2008-08-27T14:38:00.001+01:00

chatting to girls, criticising and snapping of late for a new music website, www.4ortherecord.com, so we thought we'd post our efforts on here for you all to see and admire, cry, laugh at etc etc.

First up are the annoyingly brilliant Thomas Tantrum...

Making Music Videos is Easier if You Know a Band

2008-08-16T11:35:00.000+01:00

White Denim - Let's Talk About It
Dir. Carlos LaRotta

Cheesey 70s fake moustache and hearse style; uncomfortable tableau style framing and set-up; glorious Texas sunlight; down at the carwash; a fat guy shaking his tits; skewed surrealism; slow tracking camera movements. Sweet.

It took them 3 days to make it, which means low budget but lots of effort. I'm led to understand that the director has done a couple of things just hanging out with White Denim and would probably have had time to thrash out some strong ideas.

Oh yeah, thinking of this as a feature on music videos that are beautifully hand made rather than commissioned by some commercially minded executive I'm reminded of another video...

Langhorne Slim - In The Midnight
Dir. Paul Kermizian

As a constantly touring yet rooted member of the New York anti-folk scene Langhorne is always on the move and this video captured a real truth about his life at the time.

Using a yellow taxi cab, and New York at night, the video is simple yet wonderfully captivating and uses iconography from the artwork of Langhorne Slims album.

Another video that screams low budget to great effect. Either put together by a very canny director or formulated by the director and Langhorne, although as a fan of another of Paul Kermizians video (The Mystery Of Rock Drumming) I have a suspicion it might be the former.

The Moldy Peaches - S/T

2008-08-04T22:40:00.000+01:00

Anyone who hates music has a whole lot of catching up to do. The Moldy Peaches loved to hate on music and somehow channelled that into some of the most fantastic not-music sounding turbulent laments.

Destroying rap, folk, indie and punk in a torrent of obnoxious vocal and sometimes musical songs on a self titled album. Rough Trade agreed to sign the Moldy Peaches in the midst of another American invasion in the early noughties they played joyfully in the showers, while the White Stripes and the Strokes swam the deep end of the pool of commercial success, singing at the top of their voices about crazy burgers (These Burgers Are Crazy), who might they stick their dicks in (Steak For Chicken) and who had the crack (Who’s Got The Crack, sic).

It was only the recent inclusion of Anyone Else But You on, faux-independent American cinema release, Juno that Adam Green and Kimya Dawson saw a kind of success considering they now both operate independently and have an agreement with each other not to play Moldy Peaches songs as solo artists. This agreement might have preserved something that makes this such a perfect anti-folk, get-together, fuck-like-crazy, smash-his-game-boy, wear-her-make-up, matching-fancy-dress-costumes, get-high-and-puke, watch-cartoons, don’t-answer-the-phone, rip-the-piss-out-of-everyone-else kind of an album.

The Peaches’ agreement with you was that you grew up with them, and continued to do so. They painted a picture of the childhood you may have had - illicitly downloading porn, pre-cursing a teenage life trying illegal drugs or falling completely, irretrievably in love. It’s reassuring to find that the pair matured, despite polished productions, as badly everyone else as they released every new solo album full of country mimickery (AG – Jacket Full Of Danger), video game references (KD – Knock Knock Who?) and unnecessary swearing (AG – Friends Of Mine).

Please honour your side of the agreement.

Life on Mars

2008-07-31T23:12:00.000+01:00

Seriously, there is no band around that sounds anything like The Mars Volta. Their musical style is grandiose and takes in prog rock, jazz, psychedelicia and punk rock, while their fondness for indecipherable song names and concept albums baffles all but the most persistent music fan. Being of the MTV generation and having an attention span of approximately three minutes, I've never quite got on with epic 12-minute opuses that make up the the recorded work of The Mars Volta. I was sure, however, that they would put on an unbelievable live show. And having seen them recently at Camden Roundhouse, I was definitely right on that count...

Front Rows, Pits and Pavements

Coming on without any prior support band at the quite unexpectedly early hour of 8pm, the Mars Volta take to the stage in a haze of static and launch into a relentless two-hour audio assault. "Wall of sound" doesn't even begin to describe the density and magnitude of the noise this band make. I frankly have no idea what they played as there was no let-up that would in other circumstances demarcate discrete songs within a set, and many songs seemed to descend into freeform jams as the musicians saw fit.

The stars of the show were without a doubt co-founders singer Cedric Bixler-Zavala - a whirling dervish who leaps on speaker stacks, does handstands and generally throws himself around the stage with abandon - and guitarist Omar Rodriguez Lopez - who wrestles and cajoles his guitar into making the most amazing sounds, all the while gurning and writhing with the effort of it all.

The Mars Volta's ever changing roster of musicians and band members has encompassed the likes of Flea and John Frusciante of the Red Hot Chili Peppers in the past. On this occasion Bixler-Zavala and Rodriguez Lopez were joined by the most ferocious and indefatigable drummer I have ever seen, a couple of guitarists and a keyboard player tucked away in the wings, a dedicated percussionist, and, of course, a multi-instrumentalist wind musician, who whipped out a saxophone, clarinet, bass clarinet, trumpet...

At times the music rose to epic clamorous crescendos with all the musicians furiously beating away at their instruments, but never quite descended into complete chaos, although the lack of clear song structures sometimes made it feel that way. A few quieter moments interspersed throughout tempered the otherwise frantic assault until both fans and band were exhausted and the Mars Volta wrapped it up.

Having procured wristbands from some lackey simply by standing around wondering which bar to go to, my friend and I stroke past several rabid fans haggling with bouncers and into the backstage area to rub shoulders with the Mars Volta. Yes, I have stood next to Bixler-Zavala, admiring how his hair is indeed as luxuriant and voluminous as it seems, and spent no less than 40 minutes trying to think of something less-than-idiotic to say to Rodriguez Lopez, a guitar hero of mine since my geeky sixth form days in which I had very little cool about me except for the fact I loved At The Drive In.

This show was unlike anything I have ever heard, and certainly nothing like a traditional gig. Maybe I'll be giving their albums another go now, and perhaps you should as well.

He May Be Black, He May Be White

2008-07-23T19:24:00.000+01:00

... don't fight.

Wondered if anyone else caught this bit of news from The Guardian via Pitchfork;

According to a statement from Bloc Party's management (originally reported in the Guardian and later confirmed by a publicist), the Sex Pistols were hanging out backstage at Summercase with a bunch of other bands when Okereke decided to ask Lydon if Public Image Ltd., his influential post-Sex Pistols band, would ever reunite. Guess the answer is no. The statement continues, "The Sex Pistols singer became intimidating and aggressive while his entourage responded with a racist tirade including the statement, 'your problem is your black attitude.'

"Kele was then set upon by three members of Lydon's crew who punched him in the face and head as well as attacking people who tried to protect Kele from the assault including Yannis Philippakis from Foals and Kaiser Chiefs' Ricky Wilson. The incident was broken up by festival security and was later reported to Spanish police. Kele also reported the incident to police in the UK after returning from Spain."

Dan recently met Steve Jones and he didn't mention anything to suggest he would be involved in those sort of shenanigans.

Check out pitchforkmedia.com for the full story

Let there be Blood

2008-07-23T00:34:00.000+01:00

Young blood, that is, or, indeed, Youngbloods.

Judging by their recent show at Concorde 2 in Brighton the supposedly ironically titled Black Kids would have done just as well to name themselves after the only actual black kids in the group - the charismatic Youngbloods.

OK, so this suggestion may be a step too far considering the insipid contribution from every member during band's less than raring opening with Partie Traumatic, but the irresistible eighties riff of Hit the Heartbrakes is the kickstart needed to get this gig really going.

While Reggie Youngblood allegedly underestimates his charm there is no danger of making the same mistake when it comes to his sister Ali, who muscles her way into the limelight with each sexy swing of her hips and sultry glance across the audience. The tension between the two is palpable at moments as both clearly feel they should be the center of attention, but Reggie has an unfair advantage with his lion's share of the vocals and undeniably better singing voice.

While Ali's bratty vocals are nevertheless crucial to the band’s sound, any contribution from fellow keyboard player Dawn Watley is soured by her sullen expression – she looks so utterly bored you wonder whether she's on autopilot until she snaps out of it and performs a cursory twirl. Token ballad I’m Making Eyes At You frankly bores everyone though, so she's not on her own for a few minutes.

Throughout the gig Reggie’s lyrical bluster isn’t quite matched by his onstage presence, and he actually looks quite alarmed when he dares to engage the somewhat raucous audience in a mods vs rockers vote.

The band finally seem to be in their element playing their hit I’m Not Gonna Teach Your Boyfriend How To Dance With You, roping the crowd into shouting along ‘1-2-3-4’ as the song ramps up to the chorus. They wrap everything up with Listen To Your Body Tonight and Ali has one last grab at center stage, clearly savouring the saucy lyrics of this tune and supplementing them with a finger wagging refrain.

Ten Reasons (in no particular order) To Like Frank Zappa

2008-07-20T21:38:00.000+01:00

…Though you probably won’t.

01. Läther – 1977 when record label, Warner Brothers, refused to released Zappa’s eight side box-set he commandeered KROQ radio station to play the records back to back encouraging listeners to tape to whole thing.

02. His kids – Moon Unit Zappa, who appeared on record on Valley Girl and recently on TV in Curb Your Enthusiasm. Dweezil Zappa, played guitar alongside his old man live, released an album of his own and starred in seminal Arnie movie Running Man. Diva Thin Muffin Pigeen Zappa, popped up in the Mighty Boosh as a love interest for Howard Moon.

03. Censorship – battling at every level against censorship in music debating on TV, even testifying to the US senate. He may have done more for hip-hop than they’ll ever know.

04. Prejudice – listened to out of context Zappa could be accused of being racist, homophobic, xenophobic, sexist and a whole collection of other isms and phobias. If you did something dumb he was gonna pull you up on it no matter which way your bread was buttered.

05. Alice Cooper – yep, Zappa gave us Alice ‘school’s out for summer’ Cooper.

06. Fastidious-ness – Zappa tore through musicians in an ongoing quest to find players who could play his compositions without mistakes, in one case rerecording his album We’re Only In It For The Money twenty years after it’s original release.

07. Bruce Bickford – you have to see the insane animation Bickford created to bring to life some of Zappa’s music.

08. Parody – throughout his music Zappa cynically ridiculed many musical styles and stars by imitating and deriding them. Devo, Dylan, Punk, Reggae, and Bobby Brown all felt the tongue (and guitar) of Zappa’s pointed criticism.

09. Over fifty albums – not including albums released posthumously. Providing more than enough music for us to delve into and find something that will make us laugh, cry, dance or vomit.

10. The Rest – American ambassador for the Czech Republic; Captain Beefheart; muffins; live albums; concept albums; Steve Vai; Thing Fish the musical; Cal Schenkel and Neon Park artwork; the poodle theory; never doing drugs.

Maybe I’ll do a pt. 2.

Recommended viewing:
Honey Don't You Want A Man Like Me
Zappa and the Monkees
WTF Valley Girl, seriously this baffles me

You know it's summer when...

2008-07-18T16:36:00.000+01:00

a clap of thunder rumbles indiscriminately over Vampire Weekends' Mansard Roof' ceasing any enjoyment of the record from the outset.
This happened yesterday, on a day when the weather was about as consistent as a Glastonbury punters bowl movements.
I tried to listen to the rest of the album but it's sunny disposition failed to sit comfortably amongst rain battered window panes and heavy,brooding skies. So I put on 'Hits' by
The Birthday Party and Nick Caves antagonistic, gothic drawl became somewhat of a fitting repost to a slate-Grey London afternoon that teetered on the edge of pathetic.

Like many bands evolving from the defunct-punk scene, The BirthdayParty reveled in a creative freedom that saw their mutant concoction of punk and jazz-blues vie for space in an already over-crowded melting pot of post-punk, new wave and new-romantic bands.
There distaste for commercialism and insistence for making music on their own terms, i.e. a hybrid of dark-wave and post-punk meant the door that welcomed the likes of The Fall, Gang of Four and Joy Division was held firmly shut in the face of The Birthday Party. This only had the effect of spurring Nick Cave on to push their experimental sound even further,which ultimately made The Birthday Party one of the most influential bands of the last 40 years.

It's only been apparent in the last 2 years just how influential The Birthday Party were.
Int he summer of 2005, The Horrors spawned from the dark breeding's of Cave&Co released their debut LP 'Strange House' to a generation that thought interpol were as dark and dangerous as it got. The album was an instant cult hit and a string of live shows and support slots, notably with the Arctic Monkeys, caused ripple's of discontent amongst the Fratelli loving beer-boys but galvanised the art and book club recluses into kick-starting a scene that reeked of individuality and creativity.Since then, a whole host of bands have not only picked up the baton but they've run with it, passed it on and smashed it round the head of every irrelevant scmindie act out there, leaving them bloody and useless on the strobe light-lit dance floors of the UK.

Here's our pick of the bands that are heading the most exciting scene in music today, Dark Wave:

Ipso Facto

Televised Cri mwave

Lord Auch

KASMs

SCUM

Dust it off and jerk it.

2008-07-18T16:04:00.000+01:00

When bands ask fans to make and send in video's for their latest single, they very rarely exist of anything more than people dancing round their living room, up to their eyeballs in dirty speed whilst chewing on a glowstick.
This shit-hot video however was an entry for a competition Canadian electro-mentalists Thunderheist posted on their website.
It's without doubt my favourite video released this year. Check it out by clicking on the link below.

Jerk it (Contestant cut)

If you don't know The Black Lips by now...

2008-07-17T20:08:00.000+01:00

You will never ever ever know me, ooooaaahh ooaahh. I am, of course, joking... no I'm not actually. If you really don't know The Black Lips by now you really are a massive bloody idiot. A massive bloody idiot with a brain so small, I'm gonna put it at the end of this sentence. Look, there it is, stupid small brain.
I do, however, want people to know about this band so I'm willing to extract little nuggets of tantalising Black Lips trivia and force them upon your being. In doing so, said nuggets will be wedged firmly into your grey matter and render you helpless when the sound of the greatest motherfucking band in the universe wafts into your untainted ear holes. So here it goes then, The Black Lips, your new favourite band, uno, dos, tres, cautro.

Originating from Atlanta, Georgia, The Black Lips are a 4 piece flower punk band and are made up of:

Jared Swilley (Bass/Vocals)

Cole Alexander (Guitar/Vocals)

Joe Bradley (Drums/Vocals)

and Ian St Pe (Guitar/Vocals)

Jared, Cole and Joe met at school and formed the band with another friend, Ben Eberburgh. Tragically Ben died in a freak traffic accident leaving the boys to consider their options. They had just released their self titled album and were gaining a fearsome following on the now legendary Atlanta underground circuit. They carried on with the band, bringing in New Orleans born Ian St Pe. The tragic events of Eberburgh's death inspired the stand out track 'How do you tell a child someone has died' from their latest LP, Good Bad, Not Evil.
From the moment Ian joined the band they never looked back and have since toured for almost 7 years non-stop, playing; underground gigs, house parties, outlaw festivals, basement shows, street corners, roof tops and countless support shows for bands such as The Raconteurs, Be your own pet and Yeah yeah yeahs. They've release 5 albums, one of them being the greatest live record of all time, 2 DVDs, shitloads of 7 inches and have started their own garage rock label, Die Slaughthaus. All this and they're still only 23.
So now you do know The Black Lips you'll be able to enjoy them pissing into their own mouths and setting fire to their guitars on stage, using severed pigs heads as stage props, playing the west bank of Israel, talking to you on their fan hotline, setting fire to fire crackers dangling precariously from Ian St Pe's grill and being the single greatest live act alive today.
This band are truly awe-inspiring live so make sure you check them out at the following UK dates:

20th July-Lattitude Festival
29th August-Surfstock Festival
30th Electric Picnic
31st Connect Festival
16th September-Heaven(London)

And if you didn't believe me, here's links to videos of the guitar igniting Coachella gig, part 1 of a series of Vice video's taken from their visit to Israel and the video to their latest single "Bad Kids".

http://www.youtube.com/watch?v=M2AAKmW3ta8

http://www.vbs.tv/video.php?id=1143372178

http://www.vbs.tv/video.php?id=1519675199

Take your mind off

2008-07-12T00:40:00.000+01:00

...denim for five minutes for chrissakes.

Before going out tonight i figured it was a good time to soak the starch out of my two recent denim purchases, Wrangler 27MW Blue Bell denim shirt like Steve Mcqueen wears in the William Claxton photos and LVC Denim Family sawtooth denim shirt that Levis sold out of and I had to track down at Selfridges. It started pissing down with rain as I was half way through and the first thing I thought of was how was I going to wear my raw 66 501s without them getting soaked. I also wondered how interesting it would have been to have soaked my denim in the torrential rain instead of the bath.

Eventually made it out to the pub in Greenwich wearing the 66s. I spent the night trying to avoid being noticed squirming on whichever seat I used, with every twist of the butt progressing the potential fade in the seat. The phrase geek was thrown at me more than once throughout the evening and I had no reasonable answer, in my friends eyes at least.

Of course the evening endured a couple of Staropramens and I avoided several spillages across the community table. A lift home avoided the rain at a bus stop and now the 66s are left lying in a pile at the foot of the bed. Just think of those creases forming, to be worn in properly tomorrow. I can feel it in my bones, these jeans are destined for great things.

I know nothing about Jonathan Richman

2008-07-11T19:40:00.000+01:00

…and every time I learn something I forget it.

He is the guy who musically narrated the Farrelly brothers’ Something About Mary and I figured he must have been an American folk singer. A review in Vice remarked on how Dan Sartain vs the Serpeintes sounded like the bastard son of Jonathan Richman and Johnny Cash so I bought Not So Much To Be Loved As To Love, the first album I could find, his most recent and nothing like the estranged father of Dan Sartain. He was in a band called The Modern Lovers who recorded a song about Pablo Picasso never being called an asshole, which I heard on Alex Cox’s Repo Man. I saw that movie when I was about 13. The Modern Lovers originally recorded Roadrunner, the song the Pistols cover at the beginning of The Great Rock and Roll Swindle, I had presumed that it was a generic 1950s rock-n-roll number by Bo Diddley. A record I stole off a mate included The Modern Lovers’ Pablo Picasso amongst tracks that inspired The Strokes, I only really played that track.

Despite associations Jonathan Richman existed long before punk and was in fact inspired himself by The Velvet Underground, explaining why Roadrunner sounds like Sister Ray. The original Modern Lovers split up in 1974 before they actually released their, John Cale produced, first album. Instead it was released in 1976 by someone who thought it fitted in with punk and hence sounds nothing like the rest of Jonathan Richman’s back catalogue, where he takes centre stage ahead of an ever changing Modern Lovers line-up. I bought a few records at the same time but mostly ended up listening to one in particular, Rock n Roll With The Modern Lovers, which I think was recorded in a bathroom. Rock n Roll has some shit songs on it that are exquisitely lovable, especially Ice Cream Man, and Egyptian Reggae which is now used on a Weetabix advert. I went to Boston and came home to find out that he was from Massachusetts. I still felt that bit closer to the music and was desperate to see him live when he played a one-off gig at the Shepherds Bush Empire. He was great with just long serving drummer Tommy Larkins, full of Spanish guitar, twisted solo dance routines, multilingual encores and a polite manner declining to play requests for a baying crowd of middle-aged men.

It was there that I realised I knew nothing about Jonathan Richman although I’ve been told he is 56 and he clearly has terrible dress sense.

Is there anything else i can help you with...

2008-07-07T21:21:00.000+01:00

crams the best of Levi's Vintage Clothing and nut bustingly ace music into a little blog and onion pie so glorious you ravenous little cretins can indulge in all our glorious filth.

Each week we'll feature our favourite piece of LVC and scribe about what needs to be heard, seen or danced too in the frivolous world of alternative/obtuse music.

Expect us to recite the most trivial details of any piece of LVC in review or feature form. Then marvel at the way we put together superlative laden sentences in order to introduce new bands as well as posting songs, videos and gig dates.

Of course all this gives you yet another reason to neglect your loyal loved. You know, the one who's upstairs right now, sitting alone in a darkened room watching Big Brother, cursing their monotonous existence and you for being such a useless prick. But remember to tell them when they come down that the workings of Delta 5 and 1967 505's are important and they will understand...right?