The 1975, 02 Academy, Brixton [09.03.16]

On the finale of their five night residency at Brixton Academy, taking to the stage with a glass of wine in one hand and the entire crowd in the palm of his other, Matt Healy and his band mates are welcomed by the deafening screams of teenage girls, teenage boys, grown men and grown women alike. This frenzied euphoria somewhat worlds apart from the 200 capacity venues they started out with back in 2011 after several name changes. The set, going from a single lit up rectangle on their last tour to an imposing line up of huge neon pink pillars, is assuredly not the only step up in grandeur for the 1975 over the past 12 months.

Kicking off with the first single from their incredibly well received new album, ‘Love Me’ stirs the crowd as a leather-clad Healy struts across the stage, still brandishing his token glass of red, in his fabulously effeminate manner. This bombastic introduction is the first inkling of a reinvention in their live performance as it is the first time in four years (excluding their short run of shows late last year) they’ve opened a set with something other than ‘The City-‘ a track that bewilderingly doesn’t make it onto the setlist at all. A disappointing but understandable decision given their rapidly growing back catalogue and whopping 17 track new album. Saying that, quite a few surprise appearances crept their way into the mammoth two hour long set. The whimsically atmospheric ’Anobrain’ being one of them; making its live debut with ambient synth and obscure vocals providing an ethereal quality to the otherwise bold and brash set of 80’s throwbacks.

It becomes clear just how welcomed and accepted ‘I Like It When You Sleep…’ has been amongst fans during tracks like ‘UGH!;’ proving a particularly energetic moment within  the crowd as every member shrieks each addiction orientated lyric with the conviction of a 2010 Lindsay Lohan. ‘A Change of Heart,’ again a hit, sees Healy solemnly take a seat on the edge of the stage as he croons over a failed relationship, running his fingers through his avant-garde mop as he utters each bitter line. Healy continues to turn his performance into a soap opera as he leans against an amp, either in despair or a drunken stupor, as he mumbles the bleak, immersive lyrics of ‘Me.’ ‘The Ballad of Me and My Brain’ takes a similar turn as he has a mini meltdown while attempting to locate his mind. Healy’s cocky, self-obsessed, Michael Hutchence-esque stage presence might not be everyone’s cup of tea but it certainly adds to his allure as every female (and a fair few males) swoon over his ostentatiously charismatic presence.

Aside from the new additions to the vibrant set list, the tracks that laid the foundation for their soaring success come off particularly strong. ‘Chocolate’ being the most obvious hit with the crowd whereas ‘Robbers’ and ‘You’ saw friends sing to each other amorously as if they’d been the soundtrack to their adolescence. The effortless transition between the smooth and celestial balladry of ‘If I Believe You’ and the rough cut scuzzy likes of ‘Sex’ is astonishingly impressive, showcasing just how cultivated and mature the 1975’s sound has become. Not only their sound but their entire approach and demeanour seems to have undergone a certain level of sophistication. Love them or hate them, you're going to be seeing a lot more of them.

Written for PostMusicDepression.

Review: The 1975 - I like it when you sleep, for you are so beautiful yet so unaware of it

image: genius.com

On the 1st of June last year, fans of the 1975 across the globe were left distraught and a little bit dumbfounded after the band posted a series of cryptic comic strip style images across their social media accounts, hinting that they had split. A few days later they announced plans for a follow up to their incredibly successful debut. A debut that took everyone by surprise back in August 2013, going straight in at number 1 and demonstrating just how hard work, outrageous ambition and a relentless touring schedule can transform four normal lads from a small town in suburban Manchester into coveted rockstars.

By launching this dramatic social media campaign, along with other means of heightened publicity, the band have only set themselves up for sky high expectations. Those who keep up to date with frontman Matthew Healy’s romanticism, however, will be fully aware that this was completely intentional. Put your pompous view of how the 1975 make music for teenage girls aside for a moment and admire their refreshing ideology that music is much more than record sales and award shows. Their attention to detail, their aesthetic, their penchant for the mysterious and alluring; they embody what all good pop bands should be but very few actually are. The self-created buzz they've propelled at their fans and critics conveys the confidence, tenacity and just plain passion they put into their art which is a breath of fresh air. As Healy put it in a recent interview: “I’m challenging people to sit through an hour and 15 minutes and 17 songs that all sound completely different from each other. It’s quite an emotional investment… the world needs this album…”

The record’s first single came in the form of ‘Love Me.’ An astounding contrast from the subtlety of their first LP. ‘Love Me’ is an audacious funk explosion, channelling the likes of David Bowie and Peter Gabriel with an overtly late 70’s/80’s sensibility. Putting this track out first was certainly a bold move for the band. However, the message that the track carries serves as the perfect introduction to the band’s reinvention that they hinted at in their previously mentioned social media demise. As well as being a perfectly polished pop song, ‘Love Me’ pokes fun at popular culture and the shallow and detached world we live in. “You look famous let’s be friends and portray we possess something important,” a sarcastic one liner which comes as no surprise from Healy and may come across as cripplingly self-aware and candid but at the end of the day, the boy next door didn't sell out 5 nights at Brixton Academy, did he?

The band’s appetite to produce an album rich in styles- ceasing to limit themselves to one particular genre has certainly been attained. There’s moments of 90’s R&B in there (‘UGH!’ with its TLC tinged groove), there’s points of acoustic balladry (take the sentimental ‘Nana’ for example with tear jerking lyrics of Healy’s late grandmother and his disbelief in religion. Or ‘She Lays Down’ with its hearty Bob Dylan inspired guitar line). There’s also elements of shoe-gazey atmospheric pop which the 1975 are no strangers to. ‘Lostmyhead’ and the album’s title track are just two examples of the band’s tendency to go off on an obscure tangent of dreamlike ambience. 

Despite the sheer variety that was promised (and delivered) on this album, the 80’s panache the band have tampered with throughout their, so far, short career is surely paid homage to on a number of occasions. ‘Somebody Else’ a subdued and haunting floor filler, ‘She’s American’ embellished with glittering synth and the kind of lyrics you’d expect from a young man hurled into the limelight going from working in a call centre to becoming a regular LA party goer. ‘This Must Be My Dream’ taking a similar direction.

If you were to choose the tracks most in keeping with the 1975’s back catalogue you might end up with ‘Loving Someone’ and ‘The Ballad of Me and My Brain.’ Reverting back to tracks like ‘So Far (It’s Alright)’ and ‘Menswear’ with witty ramblings of the human condition. The former an intricately layered track with impressive and thought provoking lyrics on the indoctrination of youth through the media. “We’re all human, we’re just like you man” Healy declares in this heavily electronic track, clearly influenced by The Streets’ ‘Original Pirate Material.’ The latter is a short lived anthem that almost sounds like a cry out for help with its screechy vocals. “What do you expect when you’ve got no mind?” Healy asks before breaking into laughter. This moment of madness is almost understandable considering the days of walking down the street and going unnoticed are long gone for these boys.

With such a highly anticipated 17 track album, there’s going to be a differing of opinions. I myself can appreciate every single track in its own right. The creative process behind each and every track put out by the 1975 is always a labour of love. Lyrically, this album is as good as it gets and instrumentally, its clear that the band have ran with their rapid success to create something arena worthy. The band’s hands on approach to making music make fellow musicians in the guitar band category look pretty inadequate with their blasé attitudes. The 1975 are living proof that its cool to care, contrary to popular belief. I Like it When You Sleep is a triumph.

Written for Post Music Depression

Foals, The SSE Arena, Wembley [16.02.16]

2007, the year that Oxford four piece Foals implemented their brand new take on guitar music as we knew it. Bashful math-rock with jerky guitars and unfathomable lyrics about Greek airlines and tennis; the perfect sound for drug fuelled student house parties which is in fact where it all began for Foals. Almost a decade on and their unique and experimental sound has bagged itself an arena tour. Who’d have thought it?

With a sound that’s progressivey increased in grandeur with every album, Foals’ set is an eclectic mix. The high energy turbulence of ‘Snake Oil,’ opening the free-for-all with its primitive, ritualistic build up and frontman Yannis Philippakis’ barbaric vocals, sounding even more coarse live than on the record. These moments aren’t few and far between either. Take ‘Providence,’ another wild and barbarous track that seems to bring out every member of the crowd’s inner animal.

Aside from the rowdy, primal aspects of their back catalogue that become particularly apparent on ‘Holy Fire’ and ‘What Went Down’ and which also make up a large part of their raucous set, Foals’ uncanny ability to create beautifully restrained and alluring tracks seems to have the biggest impact on the crowd. ‘Spanish Sahara’ an obvious hit as Philippakis’ delicate and subdued vocals wash over the sparse instrumentals before bursting into a celestial fizz of unrelenting drums and reverb-drenched guitars. The track’s true intensity can only truly be experienced in a live setting and witnessing this in a 12,500 capacity venue as opposed to the 2,000 capacity I saw them play last has a certain special quality. Although it might be less intimate, it’s clear that the sheer amplitude of the track was made to be played in a setting of this size. ‘Give it All’ another example of Foals’ capability to sweep the crowd to a far away ethereal land with its heavy drops of glittering synth and thunderous percussion. Old school classics like ‘Olympic Airways’ and ‘Balloons’ stir the crowd, showcasing just how well received their cult debut is amongst fans; new and old. “We fly balloons on this fuel called love” shouts the crowd repeatedly and we’re all back in 2008 again with no cares in the world other than who’s gonna’ go in the offy for your 2 litre bottle of White Lightning.

As the set draws to its finale, we’re lulled by the enchanting ‘Late Night’ which almost sounds odd when placed in such a large-scale venue. As if its dark keyboard sequence and desperate lyrics of pain and suffering should remain undisclosed in a seedy club in the backstreets of Soho. A complete antitheses to ‘A Knife In The Ocean.’ Its huge rambunctious climax descends upon the crowd like a wave crashing on Adriatic shores.

In true Foals fashion, the set culminates in an uproarious fashion. ‘What Went Down’ and ‘Two Steps Twice’ are hurled at the crowd like a nuclear bomb shortly after the cool, calm and collected ‘London Thunder.’ A true testament to the versatility of Foals’ sound, going from restrained and otherworldly to scuzzy and rough around the edges in seconds. It’s refreshing to see a band evolve in such a big way. In terms of sound Foals have gone from one extreme to the other. Every track on ‘What Went Down’ has rightfully earned them an arena tour and I certainly wouldn't be surprised if they’re booked to headline a few festivals later in the year. 

Review: The Neighbourhood - Wiped Out!

image: coogradio.com

Defined by their remarkably well received debut album, 2013's I Love You, The Neighbourhood had big boots to fill on their sophomore pursuit. The sun-drenched introductory chords of 'Sweater Weather' instantly sprang to mind. But it seems, after spinning Wiped Out! a couple of times, that it certainly wasn't just a lucky fifteen minutes.

I have to say, after hearing 2014's '#icanteven,' I sincerely doubted the band's new direction. Although Jesse Rutherford's vocal has always swerved more towards R&B territory, juxtaposed by the band's alternative aesthetic and instrumental style, I thought sticking a hashtag at the beginning of a track title and roping in French Montana was a step too far. Luckily for me however, Wiped Out! reverts back to their much loved debut, although it does come off much more melodic and a bit poppy... But I like it...

The album kicks off with 'A Moment of Silence.' Which literally is 30 seconds of silence. Not entirely sure if that was a production fault or what but when track two, 'Prey,' kicks in, it's pretty clear that The Neighbourhood are back with their laid-back Californian catchiness. The hook seems much more commercial than anything they've ever done before but the slow-building outro almost reminds me of one of my favourite tracks from their debut, 'Float.'

That commercialism is reiterated in 'Cry Baby' which almost sounds like, minus a few guitars, it could be sang by a pop princess and be at the top spot for a good 10 weeks. However, The Neighbourhood's effortlessly cool demeanour and their way with laid-back guitar lines stops the track from coming off as cheesy. It could even be one of the most credible moments on the entire LP.

While the album's title track is a bit of a let down, bar it's guitar solo a few minutes in, there are plenty of tracks that follow that manage to salvage the album's back end. 'Daddy Issues' a hazy, electronic summer-infused slow jam, touching on the recurring theme of heartache and angst, maintains that refreshing summer sound they became renowned for back in 2013. 'Single' follows suit and is possibly my favourite moment on the album, despite the fact that it is probably the most radio-friendly, commercialised pop tune on the record, it just works really well when accompanied by loved up lyrics ("can you let your baby be my girl?"). I'm also a huge fan of the unforeseen drop 2:12 minutes in.

The LP comes to a melancholy yet undeniably cool culmination with 'R.I.P. 2 My Youth.' A sassy balladry track with angsty lyrics all on that oh so familiar subject of losing grip on the good old days and, regrettably, growing the fuck up. You know it's definitely The Neighbourhood when Rutherford croons "wrap me up in Chanel inside my coffin." #Sass.

Wiped Out! is certainly an impressive comeback. I can't really name one track which really lets the LP down - which is always a good sign. Although The Neighbourhood aren't doing anything particularly innovative or exciting for the music scene, they're certainly consistent in delivering their own brand of ridiculously cool guitar R&B; a genre that is very often far from cool.

Review: Foals - 'What Went Down'

image: diymag.com

 Around seven years ago, Oxford four piece Foals implemented a brand new twist on alternative music as we knew it. Transforming the guitar focused monotony of bands like The Kooks and Snow Patrol and hitting us with their own brand of jerky experimental math-rock that went against all commercial frame-works for the 'indie' genre that once seemed so limited and just plain boring. Elaborate metaphorical lyrics touching on tennis and Greek airlines set them apart from any band we'd ever heard before. It's unusual for bands to sound so original and so far away from their influences but Foals certainly managed that with ease.

Total Life Forever was a total transformation, with much more sophisticated and demure sounding instrumentals and much more matter-of-fact lyrics. Holy Fire expanded this newfound air of sophistication yet it still felt like a huge progression, and if the title track of their upcoming fourth album is anything to go by, this one will be too.

A tense keyboard drone opens the track before Yannis Philippakis murmurs "I buried my heart in a hole in the ground," suggesting yet more primal, ritualistic themes await us on their highly anticipated fourth pursuit. The true extent of the track's almighty grit isn't immediately apparent but as soon as you hear the scuzzy riff that accompanies the hard-hitting chorus amidst hostile lyrics, "when I see a man I see a liar,' Foals' new identity becomes crystal clear. Philippakis revealed in an interview that he has embraced his "inner madman" on this record and this track is the embodiment of a man brimming with pent-up aggression and hostility. The vocals are unrelenting and belligerent- almost a man possessed; a complete antithesis from the restrained coos of 'Late Night' and 'Bad Habit.'

'What Went Down' in some ways comes as a surprise when compared to Foals' stellar back catalogue but when you listen closely, its clear that tracks such as 'Providence' and 'Inhaler' were building up to this heavy, bruttish moment which the boys have always had in them. This track captures the energy and endearment of their live performance perfectly and I predict a few broken bones as they embark on their next UK tour which is yet to be announced.

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Review: Slaves - 'Cheer Up London'

image: theguardian.com

Famed for their rash, unadulterated punk sound, Slaves' brand new single 'Cheer up London,' fits into their growing back catalogue perfectly. Opening with an evil cackle and a signature Slaves guitar line, their angsty sound is instantly addressed. Even more so when the lyrics come in; "put another 0 on your paycheque, are you done diggin' your grave yet?" spoken in an unmistakable Tunbridge-Wells accent. Emphatically reiterated as Isaac Holman and Laurie Vincent repeatedly screech "you're dead already" in unison. Such a pleasant track.

Slaves' dark, almost humorous sound certainly sets them apart. Take when Holman tells London to "cheer up" and "mind the gap" towards the end for example. Slaves are certainly a band who aren't taking themselves too seriously or sticking to any strict rules. A refreshing change in my book.