Peace, The Ritz, Manchester [11.12.13]

It has been a somewhat overwhelming 12 months for B-Town quartet, Peace. From being added to the bill of NME's annual new music tour, to releasing their highly acclaimed debut album, to constantly being dubbed as the front runners of 2013's new music scene, Peace are certainly doing everything right. 

After seeing Peace play live (properly) for the first time at Leeds Festival this year, it became blatant to me that this band have become a colossal force since the release of their first EP, Delicious, and so I was extremely excited to see what they had in store for us on the Mancunian leg of their December tour, accompanied by Derbyshire duo, Drenge.

Unfortunately, I missed the best part of Drenge's set, only catching the last part of 'Face Like a Skull,' which really miffed me off. However, the electric atmosphere that buzzed around the venue was enough excitement to psyche us all up for Peace. 

The Ritz proves to be the perfect sized venue for this band at the stage they are at now, with a similar mix of people cramped into every corner of the room. As soon as Harrison Koisser struts onto the stage, sassy as ever, the crowd's roar is deafening. Given the smallness of the venue, every sound can be heard, amplified. The Birmingham boys open the set with one of my favourite tracks from their debut album, 'Waste of Paint.' With a Brit-pop inspired drum beat and psychedelia smothered guitars, the entire crowd shove forward violently as soon as it kicks in, causing pretty much everyone (including me) to lose their acquaintances. Friends found again, the crowd wail "you're electric honey, electric" along with Harrison, dancing along to the jerky riff.

This is followed by one of Peace's most well known and earliest tracks 'Follow Baby,' its scuzzy opening guitars immediately send the crowd into circles of the expected, pathetic-looking indie boy mosh pits. But, this does not take away from the wonderful energy of the track and how well played it is compared to the last time I saw the band, with its Brit-pop inspired melody and endearing chorus sounding better than ever.

Tracks from the album follow such as 'Higher Than the Sun' and 'Float Forever' proving the bands back catalogue of brilliance. However, a definite highlight would have to be 'Drain.' It's infectious introductory drums sending the crowd to endeavour in waves of enthusiastic dance moves whilst they all shout "draaaaaain" in time with Harrison, who at this point, proves to be a wonderful yet understated front man, leaving it to the music to do most of the talking. He thanks us all for coming before muttering down the mic "this one's called Lovesick." The crowd instantly jump to attention as soon as the first chord is played, before singing every lyric word for word. This certainly proves to be one of the most memorable moments in the set as every member of the audience seems to come together, whether they know each other or not. With a smile strewn across every face, the crowd continue to sing along, with their arms cast around their friends in one big amorous blur of excitement and glee. The attendees stood up in the stalls look down at the lucky standing ticket holders with jealousy as the crowd wave their arms in time, not violently, but admiringly at the excellence of the band before us.

Peace then choose treat us with a brand new unheard track, 'Money.' The track opens with unusally sophisticated guitars, but Peace's signature funky drum beats are sustained. It is a rarity for a band to play a new song and maintain a moving crowd, but Peace manage it alright. By the sounds of it, its looking like it will be one of Peace's biggest and best tracks to date.

The set continues with favourites from Peace's album, In Love, like 'Toxic' and 'Sugarstone,' before making way for one of their more dynamic tracks 'Wraith.' With the infectiously dance floor worthy drum beat to that distinctive riff that's been stuck in our head ever since the end of 2012. This is then followed by Peace's most exciting track to date and all round crowd pleaser, a unique cover of Binary Finary's '1998,' a ten minute buzz of obscure vocals, guitars that have Peace written all over them and drums that eagerly anticipate something big. The climactic section of the track proving to be the rowdiest couple of minutes of the night with an energetic crash of drums and fast paced guitars. The original is absolutely unrecognisable.

Skipping an encore, Peace jump straight in with beautiful rendition of a track from their first EP, 'California Daze.' It's delicate guitars and lovey-dovey lyrics make for the perfect opportunity to simmer down after a sweat infused three quarters of an hour. And now for a bit of festive fun while the boys cover Wham's iconic Christmas classic 'Last Christmas.' Another taste of the band's ability to turn a song into a wonderful encapsulation of Peace's sound. This certainly goes down with the crowd who chant every lyric, shamelessly.

The set is then drawn to a close with Peace's biggest track yet 'Bloodshake.' It's tribal drums forcing the crowd into waves of enthusiasm-ridden daning rather than the usual fist pump and jump. This track definitely affirms how well the band manage to keep the crowd going with their set full of the most energetic riffs and infectious drums. The climax proving to be a clear highlight as the crowd all jump at once when queued by Dom Boyce on the drums. The final wretch of guitar ringing in every ear hole. 

Tonight has certainly proved Peace's undeniable ability to win over a crowd never mind their vast collection of brilliant tracks this early in their career. It is safe to say that 2014 is looking even more exciting for Peace than 2013. I wish them the best of luck, they absolutely deserve it.

White Lies, Manchester Academy [06.12.13]

(excuse the the bad quality, badly-taken iPhone photos)

Last Friday marked the return of Harry, Charles and Jack, aka White Lies, to Manchester Academy; a venue they have played a number of times since their whirlwind rise to fame back in 2009. White Lies, formerly known as Fear of Flying, have been a steady favourite band of mine ever since the release of their debut album To Lose My Life... which is going back around four years now. I was immediately struck by their uniquely dark, post-punk sound with eerie lyrics and haunting instrumentals. Since then, I have had the pleasure of seeing them live a number of times at venues such as the academy and the Apollo, so I was exceedingly excited to get the chance to see them again, alongside their brand new album Big T.V, and at one of my favourite venues in Manchester, the academy.

Arriving around forty minutes before the band were scheduled to play, a resounding sense of excitement wavered across the entire venue as eager fans queued for their final pints and bustled through the merch stand stampede. Although we missed both support acts, In  The Valley Below and Frankie Rose, it was blatant that no warm up act was necessary, given the sheer enthusiasm of every attendee.

The clock struck a quarter past nine, queueing the lights to dim. The crowd roared with excitement as Harry McVeigh swaggered onto the stage, closely followed by Charles Cave, Jack Brown and two other unfamiliar members that accompany the boys' live shows. The set opened with the title track to their first album 'To Lose My Life,' which certainly got the crowd moving in an instant. "Let's grow old together, and die at the same time," every member of the crowd exclaimed in unison with Harry. Opening with this track was a definite bold yet excellent move and a nice alternative to their usual opener 'A Place to Hide.' 

The second track of the set was 'There Goes Our Love Again,' taken from their brand new album. Indeed, an unusually upbeat track for this dark trio but there's nothing wrong with a bit of light-heartedness in an otherwise, heavily dark and atmospheric set. The crowd have obviously done their homework as it seems every member knows this newish track word for word, instantly affirming Big T.V. as a hit with the fans. This was the same story with 'Mother Tongue,' another firm favourite with the crowd.

Then came my favourite track from their second album, Ritual, 'Streetlights.' With its very Joy Division-esque intro, right through to its powerful chorus with Harry's baritone vocal undoubtedly shining through. This track was obviously a hit with the rest of the crowd too as the whole room shook with people chanting "can anybody hear me? Is anybody out there?" Unfortunately, this, along with two others were the only tracks played from Ritual. Although, in my eyes, To Lose My Life... is the better album, I do believe that Ritual is only centimetres behind on the song writing front and the production on the latter is ultimately better than the first. However, the set list was very well thought out, despite the fact that it lacked tracks like 'Strangers' and 'Come Down.' 

The set list powered on with classics like 'Farewell to the Fairground' and 'E.S.T,' as well as newer tracks such as 'Be Your Man' and 'Getting Even,' all of which continued in the same crowd-pleasing fashion. At the end of 'Getting Even,' Harry tells the crowd "This next one is one of our favourites," before coming in with the introductory vocals of 'Unfinished Business' accompanied by the distinctive organ sound protruding the background. "Just give me a second darling to clear my head" he declares alongside the crowd's out of tune roars. It instantly becomes evident that this track is a significant favourite amongst White Lies fans, given their queued dancing as soon as the final guitar comes in alongside the crash of drums, paving the way for the chorus. The final track of Big T.V. 'Goldmine,' follows this spectacle with an infectiously poignant chorus and distinctly R&B resonant drums. This proves another hit with the fans before Harry admits "we're gonna' do something a bit different now." He declares a cover of Prince's 1984 single 'I Would Die 4 U,' and a beautifully slowed down rendition at that. The band retire their instruments for keyboards and a synth for this astonishingly simplistic version of the classic 80's hit. The delicate instrumental allows Harry's undeniable voice to take centre stage for the next three minutes or so.

As the set draws closer to an end, the beautifully slow paced drums of 'First Time Caller' erupt as the crowd sway with appreciation of this undeniably amazing band. The logic behind playing this toned-down, relaxing track at this point in the set is blatant as it is followed by the bands second ever single and the track that ultimately defines White Lies's sound 'Death.' As soon as the instrumental kicks in, the crowd are fully aware. The entire evening has been building up to this moment as the unanimous screams of "YES THIS FEAR'S GOT A HOLD ON MEEE" fill the room, eagerly anticipating the climactic chorus. This track proves to be the most lively of the night as the band seem to commune with every single person amongst the masses of fans spilling into every cranny of the venue. This marks the end of the pre-encore set as the band vacate the stage.

The crowd chant for more before Harry and the boys return for the final dosage of White Lies. The title track of brand new album, Big T.V. emerges from the stage, sending the crowd into a state of hypnosis as the band, once again prove their new material's relevance to their fans. This is definitely a highlight of the set which is unusual as it is such a new release. This just proves the bands ability to continue creating ridiculously good songs that follow on from their earliest of material yet don't sound out of place, as well as bringing something different to the White Lies back catalogue. The set culminates with Ritual crowd pleaser 'Bigger Than Us,' which is one of the many high points within this set of perfect variation. The crowd punch the air in time to Harry's every word as the bold, anthemic instrumental hits the crowd for a somewhat emotional conclusion to a wonderful set. 

As White Lies leave the stage for the final time, it is clear that they are worshipped by the many fans that have shown up for their set. The energy that the band brought is well and truly lost as soon as the lights are switched on. The nature of White Lies's tracks makes it seem almost impossible for them not to be selling out arenas in a year or so, and the sheer prospect of them continuing in tiny venues like Manchester Academy seems well and truly absurd. Bands like Coldplay and Muse who they have supported on tour in the past have got nothing on this London trio.

The Weeknd, Manchester Apollo [23.11.13]

Saturday night saw Abel Tesfaye aka The Weeknd's return to Manchester since his small headline show at the Ritz back in March. Only this time, he was endeavouring in two sell out back-to-back shows at much larger venue, the Apollo. The Weeknd has always had what seemed to be a massive fan base right from when he released his first album, Trilogy, drawing together his string of 2011 mix tapes, but this was something else. The venue was full to the brim with a surprisingly eclectic mix of people, everyone from the expected snap back wearers and scantily clad teenage girls to the unanimous amounts of couples, some middle aged. It is clear that since the release of his album, Kiss Land, This online sensation has established himself as an exceedingly capable and brilliant artist who just keeps going from strength to strength with his uniquely atmospheric yet soulful sound embellished with haunting vocals.

At the bottom of the bill was rising Los Angeles star, Banks. Despite her first single only being released in March this year, she still managed to get the crowd going in an extremely short space of time. Her dark, moody, intimate sound is slightly resonant of The Weeknd's and so it was blatantly obvious why she was on tour with the guy. Opening with the amazing 'This Is What It Feels Like,' it was only a matter of minutes until the crowd were singing along to the chorus of this otherwise unfamiliar record. She continued to keep the crowd moving with tracks like 'Before I Ever Met You' and 'Warm Water' before making way for a second helping of support slot action.

It then came the turn of Zane Lowe to grace us with his presence and he definitely raked in the crowd pleasers. With an astonishing 30 minute set of hits from the likes of Drake and 50 Cent, it almost felt like we had already witnessed the main event when he left the stage. Drake's 'Started From The Bottom' was an obvious highlight but 'Higher Ground' from Hudson Mohawke and Lunice's  2012 TNGHT EP was an instant hit with the crowd. Funnily enough, I was a lot more worn out following Zane's set than the Weeknd's.

Now for the man himself. Opening with a string of singles from his brand new album Kiss Land, The Weeknd immediately affirmed his excellent live reputation with that distinctive, spine tingling voice. 'Belong To The World' stunned the crowd with its heavy electronic instrumental, similar to that of Portishead's 'Machine Gun,' not to mention his voice and fantastic stage presence. He continued to entice us with tracks from Kiss Land, like 'Pretty' and 'Professional' before explaining to the crowd "While I was in Toronto for a really long time, I made this little journal. It was called House of Balloons, and I was wondering if I could play a couple'a songs from it for y'all tonight." As you can imagine, this sent the crowd of devoted, long term fans wild as they eagerly anticipated and conferred with their pals what tracks they thought would be played. Surprisingly, The Weeknd opened his host of House of Balloons singles with a darker rendition of second track on the mix tape 'What You Need.' This really was a beautifully done performance both vocally and instrumentally, with haunting guitars and a continuous crescendo of spine chilling symbols. The crowd stood in awe as they witnessed the man who has been dubbed as the 'new age Michael Jackson' and he definitely did not let this reputation down. The crowd swooned as he continued to play hit after hit such as 'Loft Music,' 'High For This,' 'The Morning' and 'The Party and The After Party.' He even threw in a couple of his famous Drake Collaborations, 'Crew Love' and 'The Zone.'

Then came a bizarre performance of his new album's title track with a backdrop of hardcore lesbian porn which certainly startled the audience sending them into a wave of hushed silence as they tried to concentrate on the voice whilst the teenage boys dug out their phones and began recording.

As the set began to draw to a close, the Weeknd asked the crowd if he could dedicate the next song to us, 'Wanderlust.' A beautifully sung track with its distinctively dynamic instrumental compared to other tracks on Kiss Land. Following this performance he vacated the stage before returning and telling the crowd how much our presence meant to him. "Whenever I finish writing a song I think, what would the UK think of this?" he proceeded. Then, the low, haunting guitars of 'Wicked Games' filled the room, sending the crowd into an ecstasy of excitement. His most well known track made for the perfect culmination to fantastically mellow set of flawless vocals and the ambient, atmospheric sound we all know and love.

I have loved the Weeknd right from the release of House of Balloons but I was completely unsure of what to expect from his live show. It is safe to say that he proved himself and I can't wait for everyone to notice what all the fuss is about.

Review: Findlay - Greasy Love EP

image: findlaymusic.com

I caught a snippet of Natalie Findlay's support slot as she played at the bottom of the bill for The Courteeners' annual Christmas Manchester arena gig last December. My first impressions of her weren't great. I felt as if her on stage bravado was extremely forced and her cockiness when replying to a Courteeners fan asking her to 'get her tits out' was unnecessarily rude, never mind how pervy the middle aged meat head may have been. Aside from this, I thought her 2012 single, 'Your Sister,' was a reasonably pleasant listen, so I thought I'd give her brand new EP, 'Greasy Love,' a shot. 

The title track opens the EP in a boastful, brash explosion of scuzzy guitars and tribal drums protruded by Findlay's signature shouty vocals with the odd screech here and there. Think Alison Mosshart on a particularly nowty day. Despite the repetitive nature of this track, there is no doubt that its catchy chorus will be sealed in your brain for the rest of the day after hearing it. (I can assure you)

'FakeBlackHeart' is probably the best thing about this EP. It opens in a kind of Nirvana-esque fashion with distinctive bass before being embellished by softer vocals which are soon lost in a whirlwind of guitars and a killer melody that sounds reminiscent of Findlay's earlier material.

The final track on the EP takes a drab turn from its aggressively charged predecessors in a monotonous keyboard sequence splattered with Findlay's angry vocals which seem somewhat out of place. Lyrically, she has come up trumps on this track but melodically, its definitely as weakness on the EP. To be able to make such a slow paced, instrumentally sparse record and pull it off, you have to acquire a certain amount of skill and to say that few musicians have mastered this fine art, Findlay has sure as hell got a long way to go.

***

6/10

Review: Jake Bugg - Shangri La

image: jakebugg.com

I'll be honest, I've never been a massive fan of Jake Bugg. His previous tracks that were very well recieved such as 'Two Fingers' and 'Taste It' never really gripped me as being anything special. However, there are a couple of hidden gems from his previous self titled album, like 'Broken,' with its acoustic instrumental and delicate vocals, building up into something much more spectacular a couple of minutes in. Not to mention 'Slide' with beautifully written lyrics that wouldn't sound out of place as an Oasis b-side. Then you have the more endearing tracks like 'Someone Told Me,' with that signature Jake Bugg vintage feel. 

Shangri La however, seems to have lost that quirky yet tear jerking craft that Jake Bugg once acquired in a wishy-washy blur of out of place heavy riffs and a vocal style that could be construed as a George Formby tribute act on acid.

The record begins with slightly monotonous and predictable track 'There's A Beast And We All Feed It,' which funnily enough sounds awfully resonant of his previous album's opener 'Lightning Bolt.' 'Slumville Sunrise' however, the second track on the record, is probably its best asset. It adopts an extremely catchy chorus with just enough rock 'n' roll edge which is more than what can be said for 'What Doesn't Kill You.' This was the album's first single and I have no idea why. Ok, the chorus has some potential, but it is soon protruded by predictable riffs and Bugg's ridiculously fast singing which really doesn't work for me.

The album continues, and finally a song that oozes progression from its predecessors, 'Messed Up Kids.' A pleasant, listen-able track that combines gritty lyrics with a catchy melody and gentle guitars with just enough punch. 'A Song About Love' however, can be described as just as boring as it sounds. To be fair, I was expecting a bit of an acoustic slow paced track like the few I mentioned earlier from his previous album. But no, we end up with something much more repetitive, done-before and commercialised. 

Tracks like 'All Your Reasons,' 'Simple Pleasures' and 'Kitchen Table' redeem the album with sophisticated guitars and Bugg's undeniably good lyric writing skills that I knew were yet to shine through. 'Pine Trees' is another more credible track on the album with that signature acoustic style that Jake Bugg is famed for. 

The album culminates in a track that sounds almost like it was recorded in a bedroom in the sixties, 'Storm Passes Away.' A track that I am not overly enthralled by. A similar attitude I adopted for the whole album to be completely honest. 

***

5/10

Introducing: The Family Rain

image: eventful.com

I was properly introduced to this band on a whim when I caught  their set at the Festival Republic stage at Leeds festival this year. Having heard only a minuscule amount of material of theirs, I was utterly impressed with their ability to get what seemed like a relatively unfamiliar crowd going.

The band of brothers boast a high-octane, primarily blues rock, sound comparable to the likes of Kings of Leon. However, their clear hip hop and R&B influences steer them away from being thrown into a stereotypical box.

Produced by Jim Abbiss, you are immediately forced to make that Kasabian comparison but the Family Rain provide such a fresh sound, it is difficult to fit them into any category. Tracks like 'Trust Me... I'm a Genius' affirm they're incredible rock 'n' roll sound whereas 'Feel Better (Frank)' and 'Carnival' present their more R&B inspired drum beats.

I am extremely excited to hear their upcoming album, set for release in February of next year and it comes with great sadness to me that despite being added to the guest list of their show at Ruby Lounge last night, I still could not make it. Oh well, there's always next time, this band aren't going anywhere any time soon.

Tribes Announce Split

Earlier today, Tribes announced their split. This came with great sadness to me as I have been a huge fan of their music for such a long time, I have also had the pleasure of seeing them live twice.

I have always been absolutely bewildered as to how they have not blown up big time as I believe they are pretty much the best new band of the past couple of years. They have graced us with two absolutely brilliant albums, 'Baby' and 'Wish to Scream,' along with a couple of stellar EPs which are all full to the brim with musical gems. For these reasons, I have decided to commemorate the loss of one of my favourite bands by giving you a run down of my top 10 favourite songs of theirs... Call it the bereavement process!

image: areasonablegoodear.com

10. Nightdriving

One of the slower paced tracks from 'Baby,' this song is near perfect. With its steady drums and effortless guitars, not to mention its honest and powerful lyrics of 'what use is God if you can't see him?' Which is something I have always loved about Tribes.

9. Walking in the Street

I love the opening drums to this track, it starts off so upbeat but like most Tribes tracks, builds up to a darker, more powerful chorus. For sure one of their most credible tracks.

8. Dancehall

This track was the second release of their second album, 'Wish To Scream.' Its delicate instrumentals, primarily piano, and beautiful lyrics combine to make one of the best tracks on the album. This record really does emphasise Johnny Lloyd's undeniable genius.

7. When My Day Comes

This is probably Tribes' most upbeat and fast paced track (as well as being the centre of the horrendous pun in the title of this post). It is definitely a stand out track when played live, especially at Leeds Festival earlier this year. Again, Lloyd's lyrics are on form and the poignant riffs are just exquisite!

6. How the Other Half Live

This track is just made to be played to massive crowds clapping along to the drums. 'How the Other Half Live' could easily be the work of a bigger, more established band.

5. Whenever

Another brilliant song to see live, this track is the opener to Tribes' debut album 'Baby,' and what a brilliant opener it is! With its distinctive bass, another fantastic feat for Johnny Lloyd's ridiculously good lyric writing skills.

4. Himalaya

One of their most beautiful tracks full stop. Cannot even explain my love for this song. So simple yet so amazing, its main asset has to be its undeniably beautiful lyrics.

3. Girlfriend

This song is ridiculously good. Its gritty and honest lyrics (we're seeing a pattern here) and infectious riffs are just impossible not to sing along to.

2. Sappho

I think this is the first Tribes song I ever listened to. It is an absolute anthem like the rest of them and It will always be one of my favourite songs. I love how it builds up into such a powerful track, something that Johnny Lloyd and the boys have affirmed themselves as absolute masters of.

1. Coming of Age

Despite my 'take it or leave it' attitude towards acoustic tracks, this song is definitely an exception. Containing some of Lloyd's most credible lyrics yet, the simplicity of the good old fashioned acoustic guitar seems to do them justice. This track definitely fills me with anticipation for the solo work Johnny has promised, even if we do have to lose such a great band for it.

Introducing: The Anecdotes

image: indieminded.com

This unsigned Mancunian quartet describe their sound as "dream indie/post-punk" which is an increasingly popular musical sub-genre of the past twelve months, however, this band have pleasantly surprised me and no, it is not because they are from Manchester.

Their fruit pop sound claims influences from the likes of Peace, Tame Impala and Wavves, which is definitely a good thing in my eyes! My favourite track of theirs, 'Kaleidoscope,' showcases the band's ability to produce an amazingly groovy track with Foals-reminiscent guitars and a bit of a Strokes feel, whereas tracks like 'Origami Waves' and 'Sepia Fields' affirm a heavier feel to their sound. I sense a big future ahead for these boys, and they're only seventeen!

The 1975 Release 'Girls' Video

Earlier this week, The 1975 released the brand new video for their most recent release, 'Girls.' The song, which is also Zane Lowe's latest hottest record, depicts the idea of teenage angst and the typical yet black and white fact that girls constantly tend to go for men a few years they're senior. The video however, holds an entirely different discussion point.

The 1975 always seem to be quite particular about their sound and the aesthetic they like to create to accompany their music. They're old school R&B influences, everything from Otis Reading to Michael Jackson, combined with their alternative and edgy image comes as a somewhat refreshing break to the majority of bands that seem adamant on sticking to one specific genre and doing exactly what is expected from that genre aesthetically. This unconventional video for new release 'Girls' sees the band sticking two fingers up at the labels, only satisfied by drab, over-sexualised videos that dominate our TV screens by doing exactly that. Its a wonder they kept straight faces throughout the entire video.

A great video to accompany a great song and I am increasingly pleased that The 1975, a band that I have been a fan of through 4 (yes, 4) name changes, are finally gaining the recognition they deserve after 10 years of hard work on the band

Arctic Monkeys, Manchester Phones 4 U Arena [23.10.13]

photo: clashmusic.com

Last night, I was lucky enough to get the chance to see the Arctic Monkeys for the second time. Victoria station was full to the brim with overenthusiastic fans haggling ticket touts and grabbing their traditional pre-gig McDonald's. The biggest band of our generation were in our city for the first time since November 2011 and that was blatant, given the distinctive chill of excitement that hit every attendee as soon as they walked through the arena doors. This band have graced us with five albums of pure brilliance and here they were tonight, to serenade us with their newest pursuit, AM, along with the whole host of undeniable classics they have under their belts.

The support came from young talent, The Strypes, who delivered a short but sweet set of bluesy rock jams in the hope of getting the crowd moving. There is no doubt that this band are impressive for their tender ages, however, I am not sure they were up to the job of supporting the biggest band of our time. Nevertheless, they managed to maintain a head bobbing crowd which is always a good sign, even if not one droplet of sweat was shed throughout their entire set.

The pre-set music of everything from Biggie to The Beatles lowered in volume, before grinding to a tension building halt.The lights were faded to black. The roaring chants of 'Alex! Alex! Alex!' began, whilst the unanimous swarms of young girls started tearing up at the pure sight of suit-clad suave Alex Turner, in the flesh, making his way onto the brashly lit stage. There is no doubt about it, this band have established themselves over the years as one of the most influential bands in music history, but this was something else. It felt as if the stones had just walked on stage in '65. 

Helders starts us of with the boastful drums of 'Do I Wanna Know?' a song that has been stuck in our heads since the start of the summer, followed by that infectious riff we all know and love. The arms of the crowd to and fro in unison as Alex Turner, in an Elvis Presley stance, asks that burning question (does he want to know?) The swarm of goggle-eyed fan girls cling onto his every word and yet again the Arctic Monkeys have proved themselves. 

The set list continued to excite us, raking in early anthems like 'Brianstorm,' 'Dancing Shoes,' and 'Teddy Picker,' along with classics from Suck It and See and Humbug such as 'Don't Sit Down 'Cause I've Moved Your Chair' and 'Crying Lightening.' It is difficult to explain the extent to which the crowd were truly revelling in the moment and this was not altered when they played the third track on AM, 'One For The Road.' 

Covered in sweat (and piss) we kept on dancing as our favourite band threw tune after tune at us, 'Why'd You Only Call Me When You're High?' was a particular highlight, as well as 'Arabella' and of course the 2005 hit 'I Bet You Look Good on The Dancefloor.'Turner's vocal was well and truly faultless as well as pristine guitar and bass from Cook and O'Malley, and of course energetic drums from Mr Matthew James III, as Turner likes to address him. This band have grown so much over the years, from their 2005 success to now. The huge force that they have become just goes to show how they will be remembered in years to come. Even seeing them play live in 2011 for their Suck It And See tour seems like worlds apart from the rock stars they are now. 

The flawless set list was topped off when they played 'No.1 Party Anthem' and 'I Wanna Be Yours,' two of their most admirable tracks from AM. 'I Wanna Be Yours,' Arctic Monkeys' adaptation of John Cooper Clarke's classic poem of the same title,culminating in clouds of glitter and smoke, suffocating the crowd. This truly was a spectacular moment to witness, one that will be impossible to indulge in again. 

They vacated the stage, leaving us emotional wrecks with nothing more to chant but "we want more!" before returning, more boastful than ever. The dynamic guitars of 'Snap Out Of It' kicked in, causing the crowd to endeavour in even more Alex Turner inspired snake hips. "I wanna grab both your shoulders and shake baby," the crowd shouted at the top of their lungs, before simmering down for a beautifully done acoustic version of 'Mardy Bum.' Arms waved from side to side in reflective appreciation, as it became apparent that this night was coming to a close. And all of a sudden, that famous 'R U Mine?' riff kicks in.The perfect conclusion to a perfect set, from an almost perfect band.

If there is anything I have learnt from last night, it is; 1. Alex Turner is THE hottest man on the planet. 2. The Arctic Monkeys' back catalogue is absolutely insane. only they could miss two of their biggest tracks ('When The Sun Goes Down' and '505') from their set and still have an absolute monster of a set list and 3. If you aren't the biggest fan of AM, wait till you hear some of the tracks live and it will be totally different story. They have definitely converted me!

Review: King Krule - 6 Feet Beneath the Moon

image: kingkrule.co.uk

It baffles me that this guy isn't massive. His obscure sound, loosely resonant of a Jamie T/James Blake love-child, with thrown in jazzy and bluesy instrumentals is like nothing the world has ever heard before but it works so well.

I stumbled upon King Krule a.k.a Archy Marshall 2 years ago when he was playing under the pseudonym  'Zoo Kid'. The first track I heard from him was 'Out Getting Ribs' and I was utterly mesmerised, I remember listening to it through my earphones on the way to school everyday for months. I was constantly on the look out for new material from him but he had disappeared into the woodwork for a good twelve months. However, 2011 saw his return with his 5 track self-titled EP, closely followed by the release of the amazing 'Rock Bottom,' and 'Octopus' released via Rinse in 2012.

My expectations for this album were exceedingly high based on Krule's previous work and if anything, the finished product is even better than I imagined. 'Easy Easy,' which is a song I have been besotted by in recent weeks, opens the album in a more dynamic style compared to other tracks on the album. The predominately guitar produced track combines down-to-earth lyrics about the consumerist nature of the 21st century with untamed riffs which can only be described as addictive.

King Krule claims that the album title '6 Feet Beneath the Moon' is a metaphor for the idea that we are always too far away from our dreams and that nature really is reflected in each track which loosely conveys the demeanour of a man with a chip on each shoulder. Tracks like 'Has This Hit?' and 'Neptune Estate' present a deeper and more personal side to the record whereas 'A Lizard State' builds on the rant infused, almost humorous tone of 'Easy Easy.' The best track on the album for me would have to be 'Ocean Bed,' purely because of its laid-back, bluesy rhythm and effortless riffs, embellished with stunning lyrics.

All in all, this album is an exceedingly good effort and I shall be looking forward to hearing what he has in store for us in the future, not to mention what is in store for him off the back of this album.

***

8/10

Review: Haim - Days Are Gone

image: haimtheband.com

I first caught sight of this Californian trio of sisters back in early 2012 upon the release of their 'Forever' EP. Their new-age folk pop sound combined with 90's R&B beats, astounded me as it was like nothing I had ever heard before. The closest comparison I can make to these girls would have to be Fleetwood Mac, loosely that is (and that is no way a bad thing.) Anyway, their 70's meets 90's with a bit of 80's thrown in sound was an instant hit with me, tracks like 'Don't Save Me' and 'Falling' had an immediate infectiousness to them the minute I heard them. It is safe to say I was extremely excited to hear their album and it is finally here!

Just as I suspected this album is full of summer infused melodies embellished with lyrics of rocky relationships and heartbreak. However, their R&B influences have definitely become more apparent on this record, especially on tracks like 'If I Could Change Your Mind' and 'My Song 5.' This really is refreshing as it is not everyday you get a girl band that include all the elements of an indie three piece yet manage to sustain fragments of so many different genres and make it work so well. It is as if every song on the album is inspired by a different genre, yet they are all brought together with that underlying indie sound that we heard on the EP. 'Honey & I' for example, combines a variety of conventions of folk music, but has been transformed into an exceedingly high standard pop song. Tracks like 'Don't Save Me' and 'Days Are Gone' maintain their famed upbeat and joyous sound with a slight R&B resonance, especially on the latter. Whereas 'Go Slow' present their melodic strengths, with angelic harmonising and laid back drums, this track has to be one of their most admirable works for sure. Two stand out tracks for me however have to be 'The Wire' and 'Running If You Call My Name.' Two very different tracks. 'The Wire' boasting mostly guitars and an addictive drum beat that is impossible not to click your fingers to, not to mention the catchy chorus. 'Running If You Call My Name' on the other hand, culminates the album in a poignant and memorable way. The powerful vocals and infectious beat establish Haim as a very capable band who know exactly what they are doing musically. 

It is extremely impressive how these sisters manage to combine such a huge array of musical elements and genres into each and every one of their beautifully crafted tracks, but whatever they are doing, they are doing it well.

***

9/10

From the Ritz to the Rubble?

From this...

To this.

It was late 2005 when the Arctic Monkeys burst out of High Green with their first single since signing with Domino, 'I Bet You Look Good on the Dancefloor.' That was the song that defined a generation, that was the song that became basically everyone's childhood theme tune, that was the song that still gets people dancing at 18ths all over the country no matter what walk of life you may have come from. Then came the album, full of teenage tales of drinking cider in parks and getting thrown out of clubs weekend after weekend. It was as if the Arctic Monkeys came as a refreshing break from the over produced bands, bands that they provided a much needed antidote for. This band famed themselves on not being 'famous' and this is why we loved them. However, in recent years, the Arctic Monkeys have taken a blatant turn, whether it be for better or for worse, they are worlds apart from the spotty teenage lads they once were, ranting about wannabes and dodgy parts of town.

'Favourite Worst Nightmare' didn't come as much of a surprise. The girtty lyrics of 'flicking through a little book of sex tips' and 'running off over next doors garden' still remained along with fast paced guitars and catchy riffs. However, a new side to the band was shown, especially on tracks like '505' and 'Only Ones Who Know.' Nothing drastic though, just a mature and grown up edge to their music that they once lacked in their earlier EPs and of course 'Whatever People Say I am, That's What I'm Not.' 'Favourite Worst Nightmare' still strikes me as some of their most credible work to date, especially tracks like 'Do Me A Favour' and 'If You Were There Beware.'

A long two years went by until the Arctic Monkeys released their third studio album, 'Humbug.' That large chunk of time the boys deprived of us new material came as a catalyst for a total revamp of the Arctic Monkeys. Not only had Turner's hair got slightly bigger but the sound of the Arctic Monkeys as we knew them had completely changed. They sounded even maturer and much like a product of their influences rather than the odd-balls in a world of musical clones they once were which could simply have been a result of the input Josh Homme had on this album, or maybe Miles Kane influenced Turner during his time working on side project, Last Shadow Puppets.

Although the bands image and musical style had undergone a slight refurbishment, the Arctic Monkeys had definitely not lost their mojo. In my opinion, 'Humbug' is neither better nor worse than either of it's predecessors but it definitely did showcase the bands musical range and if anything, it made me eager to hear the next chapter in the Arctic Monkeys' story. That chapter came in the form of well received fourth album, 'Suck It And See.' The Arctic Monkeys had adopted a vintage, almost sixties style to their music on this record, heavily apparent on tracks like 'Black Treacle' and 'Piledriver Waltz.' This album was definitely the turning point for the Arctic Monkeys. 'Humbug' was like the warm up for what was to come. Now tracks like 'A Certain Romance' and 'Mardy Bum' sound like they could be the work of an entirely different band.

It has now been 2 weeks since the release of AM, the 5th helping of Turner, Helders, Cook and O'Malley and it is safe to say that the Arctic Monkeys have changed their sound yet again. A much more rock'n'roll vibe has been adopted on this record but it seems as though they have lost their sense of attack. Alright, 'Arabella' has some pretty heavy riffs, but its no 'View From the Afternoon.' The album is certainly not a bad effort but I feel like it's passed its sell-by-date. It pains me to say this but the Arctic Monkeys are nowhere near as unpredictable and plain exciting as they were 6 or 7 years ago. AM was not a shock to the system, and neither was Turner's new rock star approach to everything. I mean, he even forgot the words to '505' at Itunes festival. The question is, have the Arctic Monkeys got too big for their boots despite not having much to boast?

Arctic Monkeys cover Drake's 'Hold on, We're Going Home'

I'm not going to lie, I am a closet Drake fan so when I found out about Alex and the boys covering his newest release I got a teensy bit excited. Just when you think you've heard it all ey. 

Despite not being the biggest fan of the new sound that the Arctic Monkeys have adopted on their new album, AM, the way they have transformed this tune into an old school rock'n'roll masterpiece is insane. This track would not sound out of place on their album and I absolutely love Alex's Elvis Presely/Embarrassing dad at a wedding impression. How can an individual make dad dancing look so fucking cool?

Introducing: Splashh

image: cheeseontoast.co.nz

This psychedelic four piece, formed in Hackney, have been making waves since early 2012, bagging critical acclaim from the likes of NME, The Guardian and BBC 6 Music. All members coming from different bands such as The Checks and Brain Slaves, the four of them have combined their talents to form a refreshing sound, screaming psychedelia in an old-meets-new fashion. Think Tame Impala with a hint of New Order, Maybe even throw in some Velvet Underground.

Their debut album 'Comfort' was released in the UK yesterday and I am exceedingly impressed. Tracks like 'All I Wanna Do' and 'Vacation' sound like ready made crowd pleasers as well as 'Need It' and 'Washed Up' which contain everything you would expect from a trippy psych-rock record.

Review: Arctic Monkeys - 'Stop The World I Wanna Get Off With You'

image: culturacolectiva.com

In the lead up to their brand new album, the Arctic Monkeys have excited us with a few teaser tracks, some taken from the album, like 'Why'd You Only Call Me When You're High?' and a couple of b-sides such as '2013,' which was not as well received as I expected, and this one. 

I find it extremely hard to believe that 'Stop The World I  Wanna Get Off With You' has not made it onto the LP as it is certainly one of their most credible releases this year. This track sees confident, boastful guitars and drums protruded by Turner's current lyrical theme of trying to 'get with' a certain someone. This track is by far their catchiest yet (from this year anyway) and it definitely reflects the brand new style they have adopted on their new material. Even though it is only a b-side, this track definitely deserves some serious attention! It just goes to show how credible the Arctic Monkeys have become. If their b-sides are this good, what can we expect from them in the future?  

***

9/10

The 1975 Re-release 'Sex'

Earlier today, The 1975 took to twitter show their fans the brand new video for a song they have recently re-released, 'Sex.' Since being a fan of The 1975's music, this song has always stood out to me from the 4 EPs they have released on Dirty Hit in the run up to their album release. With it's sleezy lyrics and energetic riffs, it was hard not to stand still the first time I heard it in a tiny Mancunian venue while the boys supported Little Comets under the pseudonym 'Bigsleep.' However, I feel that the gritty charm this record once had has been lost in this new auto-tuned version. I am yet to understand why The 1975 continue to do this to their records, like the new version of 'The City' they re-released earlier this year. Why change something that is already incredible? I just hope tracks like 'Settle Down' and 'Girls' don't turn out as overproduced.

Despite their obession with fixing unbroken goods, The 1975 have definitely took it up a notch with this new video and it finally seems like they are evolving as a band that a worthy of big things. I feel that this new video really depicts the meaning of the song a lot better than the original did.

Review: The Weeknd - 'Belong to the World'

image: stasheverything.com

The Weeknd's first pursuit since his trilogy of mixtapes has sparked a considerable amount of controversy in the past week as speculation as to whether or not the track, 'Belong to the World' samples Portishead's 2008 single 'Machine Gun' emerged. Despite Abel Tesfaye denying the claims that he used the song in his new single without asking for permission, Portishead instrumentalist Geoff Barrow is adament that the sample used is identical to the one he created. However, The Weeknd claims that he has simply recreated the sound from Portishead's track although he has admitted that 'Belong to the World' is in fact based on 'Machine Gun.' Blimey.

Despite the beef that this track has caused, it is most definitely The Weeknd's most dynamic track yet with a much clearer chorus and melody to his previous work on his trilogy of 2011 sexually charged, trippy mixtapes. Although he has adapted his sound on this track, maybe to suit a more commercial audience, The Weeknd's signature deep, emotionally charged lyrics and haunting vocals are still apparent which continues to set him apart from other artists of his genre.

Although I have always been a huge fan of the mixtapes he put out in 2011, I am really loving this track and the brand new vibe The Weeknd seems to be going forwith this new album set for release on 10th September.

I am incredibly excited to see what 'Kiss Land' has to offer and I can totally understand why The Weeknd is being dubbed ad the new-age Michael Jackson.

***

7/10

Introducing: Jaws

image: edgemagazine.org

This Brummie four piece are for sure my favourite new band. Since forming in early 2012, they have released a whole host of incredible tracks, affirming their 90's grunge yet warm, cosy sound (if that makes sense.) This band seem to be happily wavering in the background as their home town, Birmingham, takes centre stage in the whirlwind of new music, take Peace and Swim Deep for example. On the contrary, I am fully confident that Jaws have the capability and pure talent to thrive in this period of exciting new music. 

Singles like 'Toucan Surf' and 'Surround You' which offer such a shimmering indie pop sound. The later released 'Friend Like You,' continues in the same promising fashion as their earlier tracks whereas 'Stay In' presents an edgier, more rough cut sound to their music. And then their most credible work to date in my opinion, 'Gold,' truly is gold. It's simple, maybe even predictable lyrics suddenly sound lavishly remarkable amidst the decadent guitars and bashful drums.

Review: Peace - In Love

image: peaceforeverever.co.uk

B-town’s new-kids-on-the-block bagged their first taste of critical acclaim in the early months of 2012 when they were described by The Guardian as “the future of indie.” Countless music bloggers soon jumped on the bandwagon, comparing them to the likes of Foals, WU LYF and Vampire Weekend – 3 veterans of the ‘small-time’ indie scene. However; It wasn’t until late 2012, when they released their debut EP ‘Delicious’ and announced that they would be opening the 12 annual NME tour dates that the girls with the nose rings, tie dye shirts and yin-yang symbols on either end of their twitter names believed the hype of this Brummie quartet.

I have to say; my first impressions of Peace based on their debut single ‘Follow Baby’ and the Delicious EP were surprisingly high considering they are just another group of lads in the whirlwind of indie bands that have been arising from Britain in the last 12 months, but I just felt that they were lacking in originality. However, my initial perception was well and truly shat on when I saw them live at Manchester Academy on the second date of the NME Awards Tour which has become quite a regular night out for me in the past few years due to its electric atmosphere and its ability to breed up-and-coming bands into massive headline acts. Despite the fact that I unfortunately missed 3 quarters worth of Peace’s already miniscule set (which was inevitable given Greater Manchester’s lack of reliable public transport and the time it takes me and my friends to get ready) what I did manage to catch was well and truly mind blowing. From the high-energy ending of ‘Wraith’ to the mellow, love infused lyrics of ‘California Daze,’ finished off by the engaging, almost Brit-pop inspired guitars of ‘Follow Baby,’ Peace definitely did not disappoint. With this in mind, I, a self-confessed Peace fan, was more than keen to hear what they had to say for themselves in the form of their debut album ‘In Love’ which is set for release on the 25th of March. 

The album opens with potential summer anthem ‘Higher Than the Sun’ which sounds like it was made to be played to hundreds of British festival-goers fist pumping in the warm rays of the sun after a couple of Kopparbergs (sounds a lot nicer than it would be in reality if we’re talking Britain, maybe fist pumping in the freezing cold gusts of wind while it pisses it down/snows, anything is possible, even in August.) That aside, this track really does encapsulate everything you would want from a 2013 indie tune and it certainly revved me up to continue listening to the album. I was glad to see that the second track on the record was ‘Follow Baby,’ a re-mastered version with clearer, louder vocals against the riffs, however, I cannot decide whether it works better than the deeper, more obscure original or not. The third track of the album ‘Lovesick,’ reinforces the summer vibes of the opener with lyrics like “I wanna get love sick with you” which I feel are reminiscent of the lovey-dovey charm of ‘California Daze.’ I also sense influences of The Cure on this track as the form of the vocals and the nature of the lyrics are loosely resonant of their 1992 hit, ‘Friday I’m in Love.’ ‘Float Forever,’ which is a personal favourite of mine after the first couple of listens, establishes Peace as more than just your average indie band – although it’s intro does depict the soundtrack to an emotional scene of ‘SpongeBob Square Pants’. It emphasizes their ability to make a genuinely good powerful track that wouldn’t sound out of place in a stadium surrounding. Not only this but Peace have shown that they can make a bloody good indie jam as well as the more anthemic and influential tracks they have graced us with on this record. This is evident in tracks such as ‘Delicious,’ and ‘Waste of Paint.’ The album concludes with the delicate guitar sounds of ‘California Daze’ which I feel is the perfect culmination to an album full of summer highs and big, boastful indie anthems. This track is definitely one of Peace’s more admirable works and it offers a more unique perspective on the regular indie love song we’re all used to. It has rightfully earned its place on the album for sure.

It is evident that Peace have acquired some influences from bands like Oasis and Blur in the making of this album, especially on tracks such as ‘Float Forever’ and ‘Sugarstone,’ but the question you have to ask yourself is, what is the harm in knowing your history? I see too many bands get slated for having a particular sound that could be construed as somebody else’s, but we all have influences, don’t we? What I am trying to say is, there are some traces of 90’s Brit-pop psychedelia within this record but Peace have definitely built on that idea and created something much more unique and powerful than I anticipated. With new bands flying at us left right and centre like Palma Violets, Swim Deep and Haim, Peace are definitely one of the front-runners in this line up of fresh indie sounds for 2013 and this album has certainly left me with a ridiculous hunger for marvellous weather (if we’re lucky) and the glory of dirt ridden wellies along with the idea living in a tent for the weekend while your favourite bands do their thing. Peace, I am expecting big things from you in the future.

***

10/10