'Venus In Furs' was the first Velvet Underground song I heard, I was around 14 and at that age you feel like the whole world is against you, and that no one understands you. It's a conflict between wanting to be an individual but craving a sense of comradeship and belonging. It was also at that point in my childhood where I would hear my Grandparent's stories of the exuberant and exciting 60s. I consequentially thought that I had been born into the wrong era and this is perhaps where my mutual love for history akin to music stems from. I'm pretty sure I lived in 'Venus in Furs' for about two weeks straight, and that was it for me. After that I delved into the rest of their prolific work, and then finally became engulfed in Lou Reed's most critically acclaimed solo album 'Transformer'. It was also around that time I became obsessed with The Beatles and The Rolling Stones. What connects these colossal artists together is that once you become obsessed with one song, you're in. From then on they become an important landmark in your life, and even though you progress to find new bands and fall in love with bands of the moment, you always find yourself returning to where it all started.
Artists like Lou Reed are timeless due to their profound lyrics which are relevant to any individual in any era, be it in 2013 or 1967. Music like this has no expiry date. 'Pale Blue Eyes' particularly spoke to me when I was going through a rather difficult time in a relationship, and has been covered by so many other influential artists, The Kills version of the classic is perhaps my favourite. Despite having little commercial success in terms of selling physical copies (although I am sure that will imminently change) The Velvet Underground have provided inspiration for so many successful bands today. You will find few artists who do not cite Lou Reed as a huge influence, and he has probably inveigled other artists to cover his material more than any other singer/song writer, ever. It was only this morning that I started my day listening to 'Vicious' from the 'Transformer' LP and so to hear of the tragic news this evening was all the more overwhelming and quite frankly, staggering. Whilst the the world of music has suffered an immeasurable loss, his prolific work will continue to inspire future generations and he will certainly not be forgotten. For some one who led such a debauched and turbulent chaotic life, it is actually astounding that he didn't make it into the infamous '27 club' and made it to the impressive age of 71, not that that makes the loss any less calamitous. I'm just searching for some silver linings and i'm sure Lou Reed, of all people, wouldn't want us to feel dispirited.
Goodbye Lou Reed. Thank you for helping me and many others through the hard times.
The quartet from Sheffield played the first of their two highly
anticipated sold out gigs at Earls Court in London last night to a myriad of anxious
and exuberant fans. As I was lucky enough to see their headline set at
Glastonbury back in June, my envisaged expectations were markedly high. However,
it is habitually difficult for bands to transfigure that sacred festival
atmosphere into monstrous and characterless arenas which so often lack intimacy
and can often erect barriers between the indispensable relationship of the band
and the fans. Although as I discovered, Earls Court is distinctively different,
partly due to the huge bands it has played the role of an invaluable host venue
to such as the infamous Oasis gig in 1995, The Rolling Stones and Red Hot
Chilli Peppers. Character and history are crucial imperatives for an iconic
venue and the historic 1930s arena certainly incorporates those components.
The band walked on to
the extended haunting intro to ‘Do I Wanna Know?’ with the
towering, statuesque
letters ‘AM’ illuminated behind the band as Alex delved into playing the instantly recognizable riff, of which the
crowd harmoniously chanted too. If a
riff initiates a mammoth sing-along in complete unison, then that is the
self-evident indication that you have made a colossal hit. Alex and co then
unleashed ‘Brianstorm’ to the increasingly psyched up and zealous crowd, which
soon descended into beer-throwing, mosh pit-induced chaos, to the point where Alex
had to intervene and say ‘You’re going to take care of each other, aren’t you
London?’ then immediately propelled the audience back into chaotic turbulence
by persisting with the rest of the song. The band now had the crowd in their
hands, entranced and anticipating what the rest of the night would entail.
Alex’s enunciated vocals during the set radiated
through the masses of fans, without the dishonourable helping hand of a
pre-recorded vocals, which so many ‘artists’ or what I like to refer to as
‘Pop Puppets’ rely on today. The band
are righteously moving away from relying on songs from ‘Whatever People Say I
am, That’s What I’m Not’ and the latest material from ‘AM’ preponderantly took
over the set list last night. Some fans may deem this as a significant flaw in
their set, but there is nothing more obsolete and repetitive than a band
relying on material they wrote seven years ago. Such nostalgia suffocates and
inhibits progression, and Arctic Monkeys are demonstrably keen to progress and
reinvent themselves, emphasised by Alex’s slicked back quiff and sartorial
elegance in contrast to the scruffy indie look they embraced during the early
days. However, for those that may voice their outworn complaints for the lack
of old material, they threw in ‘I Bet You Look Good On The Dance floor’ for old
times’ sake. ‘Fireside’ was perhaps a track on AM which was overlooked by the
more domineering, stompy and confident songs such as ‘R U Mine?’ and ‘Arabella’;
however last night, it was the track the stood out as the most memorable for
me. It sounds almost as if it could be on a Last Shadow Puppets album, but then
it throws in a ‘Humbug’ tinged guitar solo towards the end, combined with Turner’s
ingenious lyrics riddled with intricate imagery and metaphors which had the
most mesmeric, awe-inspiring effect.
Arctic Monkeys
concluded their mesmeric set with ‘I Wanna Be Yours’ to which confetti was fired
and smoke diffused through the immensely crowded arena. The only disappointment
perhaps was that ‘Mad Sounds’ didn’t make it onto the set list, a personal
preference to ‘I Wanna Be Yours’. However, the end was in fact further in sight
and more was to come from the boys in the band, as Alex and company returned to
stage and addressed the audience with ‘Can you stand a couple more London?’ to
which they received a predictable enthusiastic response. In the encore they
played ‘Snap Out Of It’ and an acoustic version of ‘mardy bum’ which induced a
mass sing-a-long, swaying arms and occasional glimpses of lighters flickering
amongst the crowd.
Alex’s natural fondness of word-play was enforced one last
time as he said ‘Come closer, can I ask you a question?’ and the ended the
night with ‘R U Mine?’ to which beers were thrown, and the crowd knew every
word, which just emphasises the universal popularity and profound admiration
for ‘AM’ as an exceptional piece of work. The album will be looked back on in
years to come as the ultimate pinnacle for the band; it is their ‘Abbey Road’ and
last night’s performance at Earls court will unequivocally be the pinnacle in their extraordinary journey, just as it was
for Oasis. There are few gigs that leave me in an unutterable state of complete
awe and unfeigned admiration, but Arctic Monkeys at Earls Court was deservedly one
of them.
Yesterday I attended what was my last gig in Bristol after it being a suitable setting for seeing my favourite bands throughout my adolescence, and what a high to end it on (no pun intended) with Babyshambles. Miraculously and surprisingly the band arrived on stage vaguely on time, suggesting that perhaps the tables have turned and could we possibly see a punctual and more reserved, mellow Peter Doherty? No, is the simple and straight answer to that. Babyshambles embrace the debauchery and chaotic nature of Doherty's prowess on stage, and last night certainly proved that those elements were still potent in the bands manifesto.
The band began the night of exponential chaos with 'Delivery' from the Shotters Nation LP to a devoted and welcoming crowd, beer was thrown, members of the crowd were taken out by security who shared increasingly uneasy looks of concern on their faces, and Doherty immediately had the crowd in his hands like some sort of punk puppeteer.
Babyshambles then delved into the songs from their recent LP 'Sequel to the Prequel' including 'Nothing Comes To Nothing' 'Farmers Daughter' and 'Fall From Grace'. 'Nothing Comes To Nothing' particularly seems to bare resemblances to the likes of The Smiths, which is no surprise as Peter regularly cites The Smiths as being a huge influence, that juxtaposed with Peter's raw, raspy and unrefined vocals gives it that raw, iconic, British punk sound. The main premise of the difference of a Babyshambles gig to any other, is the fans. Peter Doherty's fans are unambiguously devoted and erupt with complete admiration and glorification when in close proximity to such an important icon in the music world, thus creating a distinct atmosphere. The justification for such idolization of a character so hounded by the press is also just as transparent. It was The Libertines that broke the
boundaries between the fans and the band with their infamous gigs at their London flat, intimate venues and a proclaimed appreciation and respect for their fans. It would appear that this tradition has a line of continuity throughout Peter's work. The other point is how accessible he is, and this was emphasized last night with Peter taking gifts from the crowd, picking up trilbies, and actually talking to the crowd which appears to be something of a novelty with other artists today. His lyrics also seem to relate and identify with the youth more than anyone else, his observational method of writing such as 'There are few more distressing sights than that, of an English man in a baseball cap' has influenced songwriters such as Alex Turner. Being a published poet, and a well established singer/songwriter, it is no surprise that 'Sequel To The Prequel' is also filled with glimpses of natural creative genius, rejuvenating that affinity with the youth of today.
The other notable highlights were 'Fuck Forever' - nothing gives such a sense of comradery than hundreds of fans harmoniously singing (shouting) 'Fuck Forever' few live experiences will ever surpass that. 'Killamangiro' also sent the crowd descending into chaotic turmoil, of which was openly embraced by Peter. However, Peter entered classic shambles territory as he downed drinks with the crowds cheer and appraisal, and with bassist Drew looking on with concern and apprehension of what the rest of the night would entail. Just after the band unleashed 'Fuck Forever' half of the band mysteriously left the stage, leaving Peter to improvise with some old Libertines classics such as 'Time For Heroes' and 'Don't Look Back Into The Sun'. Luckily, Mick (guitarist) came on to help and they performed a Ska-esque version of 'I Get Along' with Peter trying to compensate for the missing drummer. It was completely unrehearsed, unexpected and all the more exciting. 'Unexpected' being enshrined in the core of Doherty's endearing and bewildering character.
Mick then began playing the instantly recognisable chords to Oasis' 'Cigarettes and Alcohol' with an increasingly more rowdy and intoxicated Doherty singing along, and finally the Sound-tech guy joined the improvised, erratic set and provided the beat. Peter also covered 'Twist and Shout' and this brilliant unprecedented, unpredictable set
went on until the lights came up and the o2 pulled the plug on the microphone and the amps, leaving Doherty lying on the floor until he finally took the hints from Mick and walked of stage. It up-ended every expectation I had of Babyshambles, and myself and the rest of the fans shared the same mutual feeling of gratification, particularly when the set went wayward. The sense that we had witnessed something particularly special. I've seen The Rolling Stones, Arctic Monkeys and The Cure amongst others, but nothing comes close to what I was a part of last night. Peter definitely lived up to his notorious reputation of being the last of the rock romantics, the remnant of true British Rock n' Roll, and that for all his foibles embracing the best of British culture.
Thank you, and Goodbye Bristol. Next gigging Utopia, London.
If you haven't got hold of a copy of 'Sequel To The Prequel' then here's a taster of what's on the album.
This review has proven to be possibly one of the most difficult and challenging articles I have ever written. This being for two main reasons, one being that I am self-admittedly part of a myriad of devoted fans and so with that comes potential elements of bias, subjectivity and well quite frankly, entering the discredit worthy, dismissive, preachy fan territory which I will try to stay away from. I can at least say I tried. The second reason being it's extremely difficult not to be subjective, and pick out some criticisms from the album because 'AM' stands as such a confident, prodigious piece of work produced by the four lads from Sheffield. For those that fell in love and willingly followed the new direction they set their sails towards with Humbug, then following that 'Suck it and See' then you will also irrevocably fall in love with 'AM'. However, in no sense is this album simply derivative of it's predecessors, it's progressive, grown up and there are even some heavy undertones of R&B amongst the psychedelic, heavy riffs embedded in tracks like 'Arabella' and 'One For The Road'. The dynamics of Arctic Monkeys, style, sound and demeanor has been constantly evolving and shifting ever since 'Whatever People Say I Am That's What I'm Not' was released in 2006 to 'AM' which was released yesterday. 'AM' however, appears to be particularly different, not just in regards to the new slicked back haircuts and Alex Turner's crafted stage prowess, in fact our concentration should shift away from that to their new distinctive sound and the lyrics which recently amongst music critics and fans have proven to be contentious issues.
The album begins with the two potent singles 'Do I Wanna Know?' and 'R U Mine?' which immediately sets the bar high for the rest of the album, sending a strong tone of confidence and a more than adequate dose of old fashioned Rock n' Roll, less raw-scratchy indie rock, and more LA/Hollywood intricately produced and cleverly crafted heavy alternative Rock album, with catchy riffs underpinned by an edgy, hard hitting bass. The third song on the album 'One For The Road' firmly cements the idea that this album more than any other, highlights their extensive influences, most notably and perhaps the most intriguing, Hip Hop. Matt Helder's increasingly more prominent RnB tinged backing vocals, reinforced by the drumming and beats also provided by Helders, combined with some classic Humbug-esque riffs highlights how versatile and dynamic Arctic Monkeys really are, and even more to the point how far they have moved on. However, what hasn't changed is Alex Turner's creative aptitude and capability as he sings in his captivating falsetto vocals in Arabella 'She's got a barbarella silver swimsuit, and when she needs to shelter from reality, she takes a dip in my day dreams' once again enhancing the idea that as a lyricist in the current music world, no one writes quite so eloquently as Turner himself. However, the intriguing juxtaposition to such eloquence is the general mood of the album, that mood being the nights-turned into-mornings on the town and alcohol influenced desires and affections encapsulated in 'Why'd You Only Call Me When You're High?'. In terms of lyrics, Alex Turner is still very much an observational writer but of course, when moving from Sheffield to LA your observations will inevitably change, and this album certainly reflects that, just as any album should.
In contrast to the heavy Rock N' Roll numbers on 'AM' tracks like the anthemic, 60s influenced ballad 'Mad Sounds' magnifies a different and perhaps softer side to Arctic Monkeys, that even throws in a mandatory cliche 'Oh, la la la' for good measure. 'No.1 Party Anthem' also shares a similar tone however, unfortunately it does get tedious and monotonous about half way through, you feel like it's building up to something, leading up to some sort of climax, which unfortunately turns out to be quite the anti-climax but pleasant and easy listening nevertheless. 'I Want It All' also becomes slightly robotic at times, but there are far too many highlights in this album that overshadow what are merely subtle flaws. There you go - some negative points, just to keep things balanced and fulfill my strenuous promise I made earlier.
'Fireside' seems to be very much reminiscent of the Humbug era, and lyrically something that can be traced back to Favourite Worst Nightmare as Turner sings 'That place on Memory Lane you liked still looks the same/But something about it's changed' once again enhancing Alex's capability to effortlessly pull out great metaphors, and profound imagery with his natural affinity and flair for songwriting. Possibly one of the catchiest riffs in the entire masterpiece can be heard in 'Knee Socks' accompanied by friend, and a notable musical influence for Arctic Monkeys, Josh Homme from Queens of The Stone Age who's contribution towards the album has been somewhat overestimated in terms of production. Matt Helders has stated in an interview in regards to Josh Homme's contribution 'He just came down and sung on one of the songs. He came down more as a friend, with an opinion, for one night' reassuring music critics that all credit for this album remains with the four boys in the band.
Unfortunately, some fans are still stuck in the days of the youthful exuberance enshrined in 'Whatever People Say I am That's What I'm Not' and it's no great surprise, it was one of the definitive albums of the 00s and it manifested itself into what has become a highly influential debut album. However, some fans are being suffocated by nostalgia, and longing for them to return to that scratchy Libertines inspired sound is becoming somewhat futile and ridiculous. The band have been experimenting, exploring and maturing ever since their debut and thank God. It would get awfully tedious if Alex and Co followed so many other artists today and played safe, refused to progress for the fear of declining record sales and losing a secure fan base, furthermore, it would seem such a progressive attitude has certainly paid off, proven by the massive global following they have managed to build up. This album affirms the idea that they have evolved into masters of songwriting, and have become one of our most valuable exports to the rest of the world - something the British fans should certainly be proud of. So Vladmir Putin - Britain may not be what you recently described as a 'small island that no-one pays any attention to'. The UK's still exporting the most influential bands in the world, and 'AM' certainly holds the music world's attention. Britain's increasingly diminished pride 1 - 0 Russia.
The band that has had Noel Gallagher,Johnny Marr, and other masses of music lovers obsessing over, with their revived 60s Beatles-esque psychedelic sound are becoming more and more prominent in the alternative music world. Temples' 'Shelter Song' certainly captured our attention last year as it awakened those nostalgic feelings of the 60s that most would love to have been old enough to experience. Despite us being unable to choose our place in the history of music, it's bands like these that reinforce the fact that individuals are still getting something out of that influential time, and are rehabilitating and recreating the iconic sound like that captured in 'Revolver', an album that has proved to be so influential and authoritative to the modern Psychedelic revival that has a strong grasp on the music industry at present, forcing the modern world to collide and clatter with the 1960s/1970s, thus pushing the boundaries of musical creativity, a drive which seems to be lacking in most artists today. Temples are set to embark on a huge UK tour this autumn, so be sure to look out for them. But for now, here's 'Colour To Life' a taster of what could be the album of the year, and potentially viable for the Mercury Prize...
After the success and gleaming reviews of the Sound of 2013 nominees, Peace and their debut album 'In Love', our eyes turned to Birmingham's next prized export Swim Deep. Earlier this week Swim Deep unleashed their highly anticipated album 'Where The Heaven Are We' to a myriad of hungry fans, like myself. Now it must be said, Swim Deep originally failed to quench my musical thirst the first time I heard them but I gave them another chance, and after seeing them at Dot to Dot festival in Bristol this year and following that, Glastonbury, I was engulfed in their distinctive, psychedelic dream-pop sound. However, after listening to their album from start to finish, I was left disaffected and somewhat disappointed. It's as though the live performances I saw in contrast to the material recorded on their debut album, are in distant worlds away from each other, unable to form those strong parallels that are so important for a band. For me, a band with great musical aptitude and talent can capture elements of that excitement of a live atmosphere into an album, then allow their material to bloom, flourish and evolve at their gigs. It would appear that unfortunately Swim Deep have failed to transcend this.
After the intriguing intro taken from 'She Changes The Weather', the album begins with 'Franisco' which fails to hit you hard in the chest quite like their anthem of youth and juvenescence 'King City' did when it was first released it. It's all rather wishy-washy, vaguely emotionally stimulating, largely uninteresting pop with undertones of soft grunge. Then the third and most memorable track 'King City' has the redeeming qualities and hard hitting melodies to regain your lost attention but it seems as if the rest of the album from this point on is trying too hard to play follow the leader, trying to find that magic ingredient which was invested in 'King City' and no other track on the album really stands up to it as a contender. One of the most distinctly notable moments of their live performance at Dot to Dot festival for me was 'Red Lips I know' with it's hypnotic intro into a whirl pool of infectious psychedelia and the bass sending tremors right through you, yet on record along with most of the other tracks it's diminished into mediocracy and fundamentally a very 'play safe' sort of album. 'Mediocracy' being a word that I associate with Bastille may I add... Okay, calling it mediocre may be a step too far, it's a good album but it's not great or groundbreaking. It doesn't have the lasting impact Peace's album 'In Love' had with every track on that album staying far away from the fear of a dodgy album track that will eventually be forgotten about.
In terms of the long anticipation and wait for the album, eleven tracks of which four tracks have already been released as singles to be consumed by fans, isn't quite fulfilling those high expectations that have been cemented for months and months into the highly excitable minds of music lovers. It just doesn't hit you hard enough, quick enough. The competency for Austin Williams and co to write something great is definitely there, they have the ability, but it would appear that this first album may be their most difficult. 'Where The Heaven Are We' ends on a positive note with 'She Changes The Weather' which definitely reinforces the idea that Swim Deep have the capacity to create a proud representation of the music scene of our current generation, something to generate nostalgia and sentimentality but there are too many moments on this album where this is lost. However I would advise anyone and everyone to take up the opportunity to see them live as they are definitely worth seeing, and the lost excitement and hysteria that didn't transcend it's way on to the album, finds it's way again on the unpredictable wayward path of their live performances. But who knows, maybe history will repeat itself and their album will grow on me just like 'Honey' did.
For now, let's try and capture the optimism enshrined in the core of Swim Deep's band manifesto and leave on a positive note with a live clip of 'King City'.
So, it's been just over two weeks since Glastonbury yet it's still echoing through every Glastonbury goers mind in the midst of dismal post-festival blues and so I thought I might write a review of one of the most overshadowed acts of the weekend, Jagwar Ma. Of course The Rolling Stones were the highlight of the weekend, and one of the most monumental experiences of my life, but that was expected and there was no doubt in my mind that when the musical talent and years of crafted showmanship of The Rolling Stones came together with that indispensable Glastonbury atmosphere that it would be nothing short of mind blowing. Yes, they look like they've come back from the dead, but myself and the other 100,000 or so members of the crowd couldn't care less, they all sounded just as great as they did back in the 60s and music history was made, in a festival that embraces the best of British culture and is one of the few assets us Britons can still be patriotic about.
But anyway, more to the point, Jagwar Ma! They played on the John Peel Stage, in a sweaty, humid, majestic tent on Saturday afternoon to what went from a half empty tent, to a pretty much full and far from modest crowd. They are one of the few bands that Radio 1 has rightly given huge appraisal too, and in my opinion, one of the more deserving bands. They have also been praised by the one and only Noel Gallagher who has stated that he is 'too busy talking about Jagwar Ma and Temples' to reform Oasis so already you should have more than enough reasons to give them a listen. I listened to their album prior to Glastonbury over and over again and fell in love with it each time, it's Primal Scream meets The Stone Roses meets Tame Impala, meets late 80s/ 90s acid house music that came alive during the 'Madchester' scene, of which Jagwar Ma would fit right into.If you haven't listened to the album already, then climb out of the rock you're hiding under and listen to what will become one of the albums of your summer. They started their set with 'What Love' and the bass literally sent vibrations through the whole crowd, and also sent an immediately captivated swarm of people entering the tent to see what was going on.
Their debut album 'Howlin' sounds incredible on record but it is a whole new and different psychedelic experience live, especially at Glastonbury, of all places. The lead singer does not hold himself back at all, so much so that by the end of the set he was lying on the stage floor doing some sort of weird dance that almost looked as if he was participating in some sort of weird ritual or an exorcism. It was all very weird, but strangely endearing at the same time and the crowd fed from his energy and at one point you could see by the bewildered expression on his face that he was completely overwhelmed by the reception they received. They ended their set with the most critically acclaimed single on their album 'The Throw' with the guitar churning out Stone Roses-esque riffs, and the crowd singing along to the one song that they all knew thanks to the overwhelming radio play that it so rightly deserves. It's the sort of music that should be played in clubs, but isn't, if it was it may prevent me from being such a recluse and get me out of the house more. It's also interesting that they have the same structure as The XX, a guitarist, a bassist, a synth pad and a DJ at the back however, the sound that is produced could not be more different. Their set for me was in the top five of the weekend, and they exceeded my already high expectations so look out for them touring as they are not worth missing. But for now, if you haven't heard it already here's Jagwar Ma with 'The Throw' but make sure you check out the rest of the album too, there's no dodgy singles lurking in there I can assure you.
Since Babyshambles released their last album 'Shotters Nation' in 2007, there's been a gaping void and a lust for more to come from Pete Doherty and co, and after six years, the tedious but worthwhile wait is finally over. Earlier this week, Babyshambles unleashed their new hard hitting single 'Nothing Comes To Nothing' which immediately highlights melodic resemblances to The Smiths (notably one of Peter's biggest influences) and The Cure, with elements of punk still firmly rooted in the bands musical demeanor. After Peter's solo project in 2009, the reformation of The Libertines, and Doherty's on and off persistent touring, it would appear that the time couldn't be more right for Babyshambles. Despite all of Peter's foibles and debauched antics that the media like to scrutinize, you can't flaw his competency for melody and lyrics, and 'Nothing Comes To Nothing' appears to magnify his flowing creative ability for songwriting, which is still very much fully functioning. The producer Stephen Street, who has also worked with The Smiths and Blur, and also produced Pete Doherty's solo album 'Grace/Wastelands' has managed to exploit and capture the overlooked capability of Babyshambles in this one track. It's a grown up, less scratchy Babyshambles, however Doherty's raw vocals still gives it that unrefined, shambolic yet endearing sound that they embrace. Also, let's be honest in an era where live recordings that haven't been tampered with by auto-tune is becoming somewhat a novelty, we're in need of something a little more back to basics.
It's in a distant world away from Down In Albion, and more of a progression and step up from Shotters Nation, but if it's a blueprint for their next album to be released 'Sequel to the Prequel' on September 2nd, then it's something us fans should be getting very excited about, especially those who will be seeing it translated into a live atmosphere when Babyshambles tour the UK in September. Pete Doherty recently told NME in an interview "I don't want this to be half arsed, I want to get up there and really fu*king smash it out. Babyshambles aren't back, this band has always been here" and judging from 'Nothing Comes To Nothing' Babyshambles will do exactly that. They never really dissapeared, they were just perhaps momentarily absent, or hidden away for a few years, but it has been a constant ongoing project for Pete Doherty, and miracously unlike The Libertines, it has endured which is something great in itself. September will be a big month for music this year, and it would seem that Arctic Monkeys may have a little competition. It's exciting times for British music culture.
So here it is, their new single 'Nothing Comes To Nothing' by Babyshambles. Enjoy.
1. First and foremost, The Rolling Stones. Not only will it be an historic moment for the festival itself, but it will also be an important mark on The Rolling Stones extensive music career, and if anyone knows how to put an outstanding show on, it's Mick Jagger and co. The nostalgia of what some call 'the holy grail' of all festivals, will collide with the nostalgia of a national music treasure, who have contributed to British music and culture for half a century. Yes they're all pushing 70, and yes there were perhaps voids in the latter part of their career, with only a few dodgy singles to keep most vaguely interested but their new single 'Doom and Gloom' proves the partnership of Mick Jagger and Keith Richards is still capable of producing something nothing less than iconic. I don't think the Pyramid Stage will witness a bigger crowd, than of what will be facing it on Saturday night. Rolling Stones fan or not, I don't think you'll ever be part of an atmosphere quite like it. It's THE ROLLING STONES, you shouldn't need my justification or clarification, they're essentially the founding fathers of great music and are responsible for influencing many great bands today, go and see them and prepare to be overwhelmed.
2. The bizarre, Shangri-la - Shangri-la is what separates Glastonbury from every other festival in the UK, it's wonderfully weird, extravagant and embraces the eccentric. I attended the festival in 2011 when the theme was the End of The World/Apocalypse, and this year it's The Afterlife where 'hell' collides with 'heaven'. Once the headliners finish they're sets on the other stages, this is the place to go. It's a difficult place for me to summarise, just as it's difficult to summarise 'Donnie Darko' (yeah it's that weird) but if you're a fanatic of the weird yet wonderful, you'll fit in just fine.
3. The reckoning of Arctic Monkey's return..
When the four young and somewhat inexperienced Arctic Monkeys headlined back in 2007, just a year after 2006 when they're debut album 'Whatever People Say I am That's What I'm Not' was released it would be safe to say they did a great job with the material they had, but it wasn't quite phenomenal. Six years later, and they've released three more albums, toured all over the world, crafted their art with Josh Homme, teased us fans with singles such as 'R U Mine' to say they are now ready would be an understatement. They have the extensive material, they have the developed sound, they have the huge festival anthems. I think they're headlining slot has been somewhat overshadowed by The Rolling Stones announcement, but i'm certain their performance will illuminate and overcome that shadow. Unfortunately you may have to put up with the Dizzee Rascal set before, but i'm sure you know, Glastonbury likes to keep it diverse. I had to endure Paramore's set to see The Cure at reading, i'll make the same musical integrity sacrifice for one of the most talented band Britain has produced.
4. Tame Impala.
This. This is all you need.
5. The Atmosphere, The Nostalgia, The Festival itself. As Justin Young from The Vaccines stated in an NME interview 'it's the holy grail of festivals' Now the only other festival i've been too apart from Glastonbury, is Reading and don't get me wrong it is also one of the great festivals in the UK, but to even attempt to compare it to Glastonbury would be a step too far. Now, Justin Young has been to a fair few festivals, so disregard my opinion but maybe consider his. No matter what band is on, there is always something for you and there is always something going on, whether you're into the Theatre & Circus, Comedy, great live music or even Stephen Fry and the Qi panel. The atmosphere is on a different level to anything i've experienced before. One thing that sticks in my mind was, whilst waiting for a band to come on at the pyramid stage, 'Hey Jude' was played by The Beatles, possibly the most anthemic song of all time, so try to imagine around 100,000 people singing along whilst the sun is setting, there's nothing more majestic. Glastonbury has history, it still has integrity which most corporate festivals have lost, and it also has the best cider on offer (seriously, go to one of the cider tents, they have every obscure and more original flavours you can think of) but with all of that to say, if you're going for the first time, rain or sun, dry or knee-deep in mud, you'll love every second of it.
It would seem that after hearing this, a cover of Green Days 'Hitchin' a ride' that Florence may have redeemed her self (ish) for collaborating with Calvin Harris (the mark in any artist's career that they have sold out) As a huge fan of Florence, particularly in the early days where climbing the lighting rigs at Reading festival and jumping into pools fully clothed was the typical wild antics Florence got into, I wish this side of Florence would come out more often. What it does manage to highlight however, is the diversity in material that iconic voice can sing along too, going from glimpses of soul to punk.
With the global success Florence has achieved after scoring two number 1 albums, and being welcomed into the states by a growing devoted fan base, it seems to me that Florence has now got the chance to go in whatever direction she wants now she has such a strong fan base firmly established. Dev Hynes (known to most as Lightspeed Champion) helped Florence break into the music world, and furthermore helped cultivate a more raw pop/punk sound that fans like myself, first fell in love with. Don't get me wrong, I admire the alternative Fleetwood Mac-like sound that she followed with Ceremonials, who couldn't? It's huge. I just feel like this is a sign that Florence should return back to her South London/Camden routes. I could go on forever justifying why Florence should go in this direction with the third album, but this cover of Green Day does exactly that. Florence fan or not, i'm sure most of you will enjoy.
Of course, it's not quite as momentous as the fantasy of a reunion of The Libertines but a band that has the blessing of Pete Doherty's aptitude for sophisticated yet brutal songwriting is always worth paying attention too. With Pete Doherty removing himself from the tabloid spotlight, focusing on writing and of course (we all hope) attempting to rehabilitate himself, fans are thirsty for some new material whether it's under the name of Babyshambles or The Libertines. It was revealed earlier this year that Doherty was working on new material that could potentially appear on a Babyshambles third record, however these hopes were recently undermined by Pete declaring that 'the future is uncertain' over disputes with management. Babyshambles are more than capable of progressing and continuing to establish themselves as a great British indie rock group, particularly when you look at how much progress in both sound and style was made between 'Down in Albion' and 'Shotter's Nation'. The band went from a shambolic, debauched punk sound with glimpses of immense lyrical talent to developing a more mature and sophisticated 60s sound likening them to The Kinks yet still managing to retain their British punk roots. There is no doubt that there is more than enough potential for a third album to deliver something nothing short of genius with the helping creative mind of Mr Doherty, but is the timing right for Babyshambles? Or should their legacy be left behind remaining intact. It's clear that the stability of the band is dubious, but let's be honest there is definitely a huge gap in the music industry waiting for Babyshambles to return.
Reunion or not. Here is why Babyshambles made such a lasting impression - The record speaks for itself.
It never ceases to amaze me how much love and attention Keaton Henson has received over the past year or so, in spite of him repelling all media attention and any prospects of a full UK tour, but I guess that's what makes this great talent all the more endearing to the fellow music lovers out there. I, like most of his fans first encountered Keaton Henson through the first release of his debut single 'You Don't Know How Lucky You Are' which was greeted by the huge appraisal of Zane Lowe, and thus spread all over You Tube resulting in nearly 250,000 views. For an artist who refuses to do interviews, and only does the occasional one-off show in London, this in itself is something of a great achievement. I think what makes you fall in love with Keaton Henson, is his heartbreaking and introvert lyrics which exert an overwhelming sense of melancholy, guilt and nostalgia of past romances that most, if not all listeners can immediately relate too. Each song written on his debut album 'Dear' seems like it came from the pages of his diary, and with it being such a personal record it ironically manages to be applicable to the experiences of love that the listener has endured also. He manages to cultivate a sound that seems so powerful, yet at the same time delicate and mournful. He seems to pause throughout hard hitting, emotive lyrics in order to make the listener linger and reflect, making it the perfect soundtrack for some one going through heart break or loss.
In contrast to this delicate and fragile sound that Keaton Henson incorporates throughout his work, there are outbursts of a more lively sound, filled with distorted guitars and heavy drums which brings in the themes of anger, despair and outrage particularly in 'Kronos' in his second album 'Birthdays'. This magnifies how Keaton Henson is more than capable of just churning out mournful ballads, more over, it pushes the boundaries of what first seems like a folk inspired album. He manages to create something completely original and different from artists like Ben Howard, through his more intellectual and personal lyrics sang through such a delicate voice, which at times sounds like he is verging breaking point just recording the album in the walls within a studio in East London. It's extremely refreshing to see an artist like Keaton Henson possessing such talent for songwriting maintaining a humble perspective, and yet refusing to do press interviews and further more it breeds curiosity from the world of music. It's clear that he writes with genuine intent and passion for music, and is more than content with just recording his experiences for listeners to continue to enjoy.
If you haven't heard Keaton Henson and you're a fan of artists such as Bon Iver, then here's 'You Don't Know How Lucky You Are' I guarantee his sound will become infectious and addictive for you, particularly if you're going through a rough time. Enjoy.
If you're into MGMT or 'Pond' and for some obscure reason you haven't come across Tame Impala yet, well here you are. I don't think I need to write a review to magnify the psychedelic melodic genius these guys possess, the song and the video does that intently by itself. No need to thank me. Enjoy.
What a reckoning year 2012 was for Tribes, with the release of their album 'Baby' followed by a huge UK tour, followed by a massive tour in the States, and then returning to their home loving crowds in the UK festivals. It would seem that their journey through the US managed to evoke the immense creativity behind Johnny and the rest of the band, leading them to take the decision to record in the legendary Sound City Studios which managed to produce albums such as 'Never Mind' and 'Suck it and See' thus creating the perfect environment for the four piece's rock band from Camden's second album to be recorded. The studio is also where David Grohl filmed his upcoming 'Sound City' documentary, and so with Tribes recording under the same roof that has created so much groundbreaking musical history, it seems only rational that the product would be nothing less than brilliant and iconic.
What makes a band like Tribes so talented, almost in an effortless sense at what they do is the amount of touring, and grafting these guys do to craft there skill performing both live, as well as managing to capture the essence of their live performances into recording. They started off in Camden, the most ideal breeding ground for indie/punk bands like Tribes, and took their album 'Baby' around the world, to Japan, all across Europe, and of course made the obstinate task to break America. It hardly broke America, like Adele or (yes I am going to unfortunately mention these pop puppets) One Direction, but what it did manage to achieve was the sound that Tribes have been trying to create, and a sound that Tribes will be proud of.
Their new single 'How The Other Half Live' seems to incorporate their influences of The Rolling Stones, Primal Scream tinged with heavy sort of British Pixies vibe. The opening riff to their new single, immediately saying 'Yes, we've grown up' sets the bar high for Tribes' upcoming 2nd album 'Wait to Scream' . More importantly, it exploits how the band have progressed and found a more mature sound, moving away from the raw and scratchy sound of singles like 'We Were Children' The video to their new single en captures, all the elements of popular culture today, both the good and the bad. With a heavy feature of gospel undertones, heavy guitars, and Johnny Lloyd's exceptional rasping vocals, the new album looks set to be full of other immediate anthems which will inevitably induce mass sing-a-longs at the summer festivals this year. After hardly even being away, it's clear that this single raises the stakes and expectations for the 'Wish to Scream' album being one of the iconic sounds of 2013. Check it out here - http://www.youtube.com/watch?v=z7CAMTmyf9w
It would seem it's impossible to talk about new upcoming bands without drawing comparisons from bands of the past like the The Libertines who still manage to generate such nostalgia and excitement over music today. However, no comparison to the likes of Pete Doherty and Carl Barat seems more relevant and fitting to Sam Fryer and Chille Jesson, the two front men of Palma Violets. Before attending one of the highly anticipated NME Awards Tour gigs in Bristol of which Palma Violets appeared on the bill, I was like many others, undecided on where I stood with Palma Violets. As a huge fan of The Libertines I found the comparison ridiculous, as comparing a band who have been on the music scene for five minutes with just an EP to rely on, against a band who revitalized guitar music and inspired the likes of Arctic Monkeys, seemed some what ludicrous. Whilst waiting outside the Bristol o2 academy, everyone appeared to be most anticipating the performances of the upcoming band from Birmingham Peace and Miles Kane, but such anticipation for Palma Violets appeared to have been sidelined. Peace opened the night with a new single from their upcoming album 'In Love' which despite being a bold move for a band with such a limited back catalogue, managed to fulfill the expectations of every person in the room and set the bar high for the night. When Peace ended their set with 'Bloodshake' the love and devotion from the fans was firmly cemented, with the audience singing along to every word, and even members of the audience sacrificing their view of the stage, to crowd surf to the front in the hope to come in to closer proximity with the band. Peace delivered an impressive performance and set the standards high for the rest of the night, but still there was no one talking of Palma Violets, who were next on the bill. However, everyone's mixed expectations were completely up ended once the four members of Palma Violets entered the stage, embracing the screams and applauds of a crowd which were unified by the energy Sam and Chille managed to exert within the room. Palma violets began their set with 'Rattlesnake Highway' from their new upcoming album '180' which managed to en capture that raw and scratchy punk sound that many polished and clean bands like 'Swim Deep' seem to be missing. Through out their set Sam and Chille would come close to colliding with each other, which seemed so reminiscent of the 'Carl n Pete' days. When the audience was presented with a familiar song they knew, 'Last of The Summer Wine' they responded with shouting the lyrics back at the four members with a sense of complete devotion and appraisal, thus suggesting, that they are definitely worth the hype and anticipation they have been receiving in the media. The pinnacle of their set was when they performed NME's number one track of the year 'Best of Friends' and with the performance they gave, they certainly lived up to that accolade. The whole crowd was jumping, and recklessly pushing each other around, embracing the post punk vibe that Palma Violets en capture. At the end of 'Best of Friends' Chille jumped into the audience of whom welcomed him in open sweaty arms, completely breaking down the barrier between the fans and the band. It was possibly the most sweaty and energetic gigs I have ever been too, and I think every member of that audience who witnessed that performance felt that Palma Violets had proved their point. It's hard to translate that live and energetic sound into recording, which is why I think most people have been undecided on the band, however Palma Violets appeared to stand out the most out of all of the acts playing that night. As soon as their set ended, the whole room was filled with echoes of their name and people were genuinely shocked at how good of a gig they managed to put on. When it comes to comparing Palma Violets to The Libertines, from the performance I saw, I don't think it is such an unfair comparison to make. It isn't just the chemistry between Sam and Chille which resembles the structure of The Libertines, it's the complete devotion and focus they have for what they're doing, a focus of which The Libertines lost. Only time will tell whether they can truly fulfill such a comparison.
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