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.

Track of the Week: Tall Ships - 'Will to Life'

image: diymag.com

Having been off the radar for the best part of three years, Tall Ships are back with a succession of incredible new material in the run up to the release of their sophomore album. The newest addition to their repertoire: 'Will to Life.' 

This track is a busy concoction of jaunty post-punk drums and melodic guitars. When paired with powerful yet restrained vocals telling wonderful lyrics, the outcome is nothing short of superb. It's a real feel-good track with a sing-alongable quality that doesn't come naturally to a lot of musicians. Tall Ships, however, make it sound effortless.

Review: Circa Waves - Young Chasers

image: hitthefloor.com

In a world where guitar-pop only comes diluted with reverb-soaked psychedelia or synth-driven R&B slants, Circa Waves are a much needed antidote to the mix-and-match genre generation. It's surprising how good a simple, whole-hearted pop song played on a guitar can sound without boasting any gimmicks- and Young Chasers provides us with plenty.

'Get Away,' The LP's opener and their very first single as a band, puts forward their no-nonsense, fun-filled, summer-sounding ethos perfectly; suspenseful guitars exploding into an exasperatingly infectious chorus that was made to be played as loud as possible as the sun beats down your neck. 'T-Shirt' weather is another one we can expect will go down exceptionally well on this year's festival circuit, with more classic guitar melodies and an even catchier chorus; expect to have "I remember T-Shirt weather" ringing in your ears if you're hitting up R&L, Glasto or one of the many other festival appearances the Liverpudlian four piece will be making later this year.

'Deserve This' provides brief respite from the fast-paced, jaunty instrumentals and hard-hitting choruses but it isn't long until the album's title track kicks off with relentless guitars and choric lyrics you won't be able to refrain from uttering. 'Stuck In My Teeth,' however, is possibly my favourite 3 minutes on the entire record. A childlike guitar line that takes me back to the early days of the Wombats and the like provides the basis for the track, along with lyrics we can all relate to ("I'm a little too young with not enough time"), the track soars from its poppy intro to its powerful chorus.

'Talking Out Loud' brings things to a close and it's another truly credible moment on the LP. "Can you come on come on now? It's not like you're talking out loud" persists your brain after hearing it once.

Overall, I've been really impressed by Circa Waves' debut album. Some tracks sound as if they've been taken straight from the Strokes' discography, a la 'The Luck Has Gone,' but who cares? Circa Waves may be a product of their influences but that doesn't take away the fun of their debut album which, in my opinion, is epic in its own right. I expect a Catfish & the Bottlemen style rise for these boys over the next 12 months.

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Track of the Week: The Districts - '4th and Roebling'

image: rockonphilly.com

The Districts are a band I have been keeping a close eye on over the past 12 months. Their laid-back, slow-building anthemic sound an instant hit with me. ‘4th and Roebling‘ touches on the bluesy instrumental style The Districts presented us with on their debut self-titled EP back in January but brings in some garage-rock elements too, which work really well.

The track combines an uplfiting and steady intro with a hard-hitting outro; spells of feedback and rough-cut guitar parts are also apparent.

‘4th and Roebling‘ has certainly affirmed the quality of The Districts’ sound and their debut album, A Flourish And A Spoil, which is set for release in February of next year is definitely something to look forward to.

Written for PostMusicDepression.

Albums of the Year // 2014

The War on Drugs - Lost in the Dream
The third album from The War on Drugs is equally as beautiful as both of its predecessors. With a very 80's reminiscent sound, claiming clear inspiration from the likes of Bruce Springsteen and, in some respects, Bob Dylan, Lost in the Dream is perhaps one of the most listenable albums of 2014; each and every track is captivating and comforting.

Catfish & The Bottlemen - The Balcony

The Balcony is by far my favourite debut of the year. It's no secret that I am a huge Catfish & The Bottlemen fan and so the prospect of an 11 track LP from them got me instantly excited. Despite the majority of tracks on the album being familiar to us Catfish fans prior to The Balcony's release, the record as a whole is just brilliant, each track an anthemic concoction of their intense three chord, typically indie sound.

Read my review of The Balcony here.

Mac DeMarco - Salad Days

Released back in April, this album was the soundtrack to my summer. Mac DeMarco has certainly got a knack when it comes to infectious melodies and thoughtful lyrics. Salad Days offers a slightly more mature slant on his laidback slacker style, demonstrated in the number of different genres Mac has incorporated in his third LP. Definitely one of the most exciting releases of the past 12 months.

Read my review of Salad Days here.

Honeyblood - Honeyblood

A relatively new addition to my record collection, Honeyblood, the eponymous debut from the Glaswegian duo is a thoroughly enjoyable listen from start to finish. If you're a fan of Best Coast, you can definitely get into Honeyblood's surf rock, summer-infused sound.

Jamie T - Carry on the Grudge

I don't think I've ever been as excited for an album release as I was for Carry on the Grudge. Jamie T is one of the first artists I discovered for myself and his music will forever remind me of the 'good old days.' Although Carry on the Grudge takes a slightly more sophisticated and mature turn from his previous material, the album is fantastic regardless. Tracks like 'Limits Lie' and 'Murder of Crows' are even better than I could have ever imagined. Certainly the best comeback album I can think of off the top of my head. Welcome back Jamie.

FKA Twigs - LP1

Possibly one of the most talked about albums of the year, it seems everyone is buying into FKA Twigs' experimental sound. The production on this album is absolutely killer and 'Two Weeks' is easily one of my favourite releases of the past 12 months.

Royal Blood - Royal Blood

With the absence of bands like White Stripes, Royal Blood and their self-titled debut have injected the perfect dosage of rough cut blues-rock into 2014. The LP is packed with face-melting riffs and relentless percussion. I'm still finding it hard to believe that their intense sound is merely a result of a bass guitar and drums.

Read my review of Royal Blood's self-titled debut album here.

Morrissey - World Peace is None of Your Business

Morrissey will forever be one of my favourite musicians so when he released his tenth solo album earlier this year, I was pretty certain I was going to love it. Call me biased, but this album exceeds most of his previous solo work in my opinion. Raising current affairs and serious issues within his music has always been one of Morrissey's most commendable talents and while The Smiths are one of my favourite bands of all time, he's doing a pretty good job on his own if you ask me.

Ben Howard - I Forget Where We Were

Contrary to popular opinion, I really was not a fan of Ben Howard up until recently. After listening to this album several times, I have no idea why. The dark, atmospheric sound he has adopted on his sophomore LP was an instant hit with me, tracks such as 'Time is Dancing,' 'Small Things' and of course 'I Forget Where We Were' I will never tire of.

Read my review of I Forget Where We Were here.

The Family Rain - Under The Volcano

Listening to Under The Volcano, it's hard to belive that it's the debut album from band of brothers, The Family Rain. With a strict blues-rock sound comparable to the likes of The Black Keys and Kings of Leon, The Family Rain have certainly proved themselves on this record. 'Trust Me... I'm A Genius' is the perfect track to ease yourself into the bands sound.

Read my review of Under The Volcano here.

Alvvays - Alvvays

Alvvays' self-titled debut is a shimmering indie-pop masterpiece. You only have to listen to the albums opener 'Adult Diversion' or the dreamy 'Archie, Marry Me' to be enlightened to the bands' uncanny ability to deliver wonderfully nostalgic indie-pop.

Drowners - Drowners

It seems forever ago since Drowners released their eponymous debut but it's certainly been a favourite of mine over the course of the year. 'Luv, Hold Me Down,' 'Unzip Your Harington' and 'Shell Across the Tongue' are all reasons for why this album should be recognised as one of the best of 2014. Fans of The Cure need this album in their lives.

Read my review of Drowners' self titled debut album here.

Metronomy - Love Letters

Devonshire quartet, Metronomy's fourth studio album is a clear progression from it's cult favourite predecessor The English Riviera. Despite being a huge fan of the gaudy, electronic sound explored by Metronomy throughout their previous material, I really like the sophisticated and demure direction the four piece have taken on Love Letters. Very Parisian.

Read my review of Love Letters here.

Bombay Bicycle Club - So Long, See You Tomorrow

Although their debut will always hold a special place in my heart, Bombay Bicycle Club's fourth album, So Long, See You Tomorrow, is pretty impressive. Bombay are a band who constantly seem to regenerate their sound on every album and their newest release saw them embrace the more electronic elements of their repertoire. Stand out tracks would have to be 'Feel,' 'Luna' and 'Come To.'

Read my review of So Long, See You Tomorrow here.

Warpaint - Warpaint

Warpaint's self titled sophomore album builds on the ethereal and atmospheric sound of their debut but in a much more accessible way. Tracks like 'Love is to Die' and 'Hi' highlighting their celestial tenor whereas 'Disco/Ready' and 'Keep it Healthy' are the kind of tracks you would expect to be appreciated by a much wider audience. I didn't think I could love Warpaint anymore than I did after hearing their debut but their sophomore effort has swung it for me.

ALL IMAGES BELONG TO THEIR ORIGINAL SOURCES



Catfish & the Bottlemen, The Ritz, Manchester [03.12.14]

After several years of constant gigging and attempting to break out of their small seaside setting of Llandudno, it’d be fair to say that 2014 has been Catfish & The Bottlemen’s year. With a debut album that well and truly surpassed all expectations and a sell out UK tour, it seems everyone is buying into their anthemic, three-chord indie sound.

Unsurprisingly, the Ritz is completely packed out on this cold December night and the prospect of Van McCann and co. arriving onstage creates a wave of excitement that’s diffused throughout the entire venue. It might be early days for the mop-headed quartet but the impact that their hard-hitting anthems have had on us all already is pretty mammoth. Kicking off their energetic set with ‘Rango,’ closely followed by ‘Pacifier’ immediately puts the Ritz’s infamous bouncing floor to the test as every member of the crowd surges in an attempt to haul to the barrier. Opening with two of their biggest and most well-known tracks is certainly a bold move but as they power through the rest of their short but sweet set list, the logic behind this decision is clear as each track just gets bigger and bigger. Not to mention the crowd who just get livelier and livelier.

Anthem after anthem is thrown at us; tracks like ‘Sidewinder’ make it obvious that Catfish & The Bottlemen’s debut LP, The Balcony, was a hit with this Mancunian crowd as the whole venue exclaim “whoever you’re mixing your drinks with is dying to go to town on you,” which is impressive to say that the album is only a few months old. Whereas classics like ‘Fallout’ brew a rowdy, intoxicated crowd; “I was a test-tube baby, that’s why nobody gets me” uniting the crowd as they recite the lyrics to each other in unison.

‘Homesick,’ ‘Kathleen’ and of course ‘Cocoon’ enticed the crowd but it wasn’t until ‘Tyrants’ that the true extent of euphoria was established. Its screeching guitars and brash spells of percussion proving to be the perfect culmination to a brilliant set, particularly as the track draws to a close and comes back in at around three and a half minutes.

For a band that have only recently started to gain the recognition they have been working towards for so long, it’s clear that all this hard work has paid off as everyone packed into the Ritz tonight is left wanting more. I’m pretty certain I’m not alone in wishing that the set would never come to an end.

Written for Altmusicbox.

Jamie T, Manchester Academy [17.11.14]

 

PHOTOS COURTESY OF HANNAH ALDERSON

 

There was a certain air of disbelief diffused throughout Manchester Academy last Monday as it held the second Mancunian date of Jamie Treays' long awaited comeback tour. For me, and many others, Jamie T provided the coming of age soundtrack to my adolescence- Panic Prevention being an album I constantly find myself going back to after seven years, simply for a small dosage of nostalgia. Vivid recollections of underage drinking come flooding back whenever the likes of 'Sheila' or 'Dry Off Your Cheeks' make an appearance on shuffle on my iPod. Jamie T has always been one of those musicians I idolise; an unsung hero whose lyrics are so relatable they're almost amusing, and his five year absence from the music industry simply added to his allure.

 

Opening with 'Limits Lie,' a firm favourite of mine taken from his third and most recent LP, the air of disbelief I mentioned previously turns into complete awe as the man who has been in hiding for five whole years suddenly emerges from hibernation with a track that can only be described as incredible. It's quite impressive how a musician who has been totally off the radar for such a long time (and never really received any major mainstream success prior to his long break) can have such a huge impact on a crowd.

 

Tracks from Panic Prevention ( a la 'Operation' and 'Salvador') were obvious hits with the crowd, most of whom could recite every viciously spat lyric with ease. However, Jamie's new album, Carry on the Grudge really proved itself amongst fans; 'Peter,' for example, brewing a rowdy intoxicated crowd from start to finish. 'Turn on the Light' was another peak with its steady and constant drumbeat and excellent lyrics, again, most of which the crowd knew well, whilst tearjerkers, 'Murder of Crows' and 'They Told Me it Rained,' force the crowd to wrap their arms around one another in adoration. The true highlights, however, come in the form of 2009's Kings and Queens LP; tracks such as 'The Man's Machine,' 'Spider's Web' and '368' filling revellers with irrevocable excitement as each and every member of the crowd recite the lyrics to each other in a state of absolute shock that the songs we once drank straight vodka to on parks are now being played live to us by the man himself. 'Emily's Heart' another notable moment: "bruised and bloody, I'm lying on the ground" sang at the top of every lung in the venue, out of tune, but with conviction.

 

Now you don't need me to tell you that 'If You Got the Money,' 'Sheila' and 'Sticks 'n' Stones' were all inexplicably good so I'm not even going to attempt to review them, but all that needs to be said is that Jamie T is back with a vengeance after his five year disappearing act. So thank you Jamie, for gracing us with your presence, as the old saying goes: it's better late than never.

Review: Reading & Leeds Festival Line Up

Mumford & Sons. An interesting and somewhat disappointing choice of headliner.

image: telegraph.co.uk

As the ever so shy sunshine has decided to grace the UK with its presence over the past couple of weeks and the Coachella live updates on Snapchat have thrown us brits into a pit of deep depression, we are reminded of everyone’s favourite time of year- festival season. One British festival that stands out for its primarily alternative line up and its cool, youthful crowd is Reading & Leeds and this year they are back with yet another slightly controversial choice of headliner.

When I look back to 2009, a time when I was desperate to get to Bramham Park but a mere 12 years old, the prodigious line up was the sole reason for my hunger to dig out my wellies and sleep rough for four nights. ‘Arctic Monkeys, Radiohead, Kings of Leon’ read the top line of the line up poster and I was sold. Not to mention the masses of incredible non-headliners that came underneath them on the bill. Now it seems that the R&L festival organisers are getting skinter, their crowd is getting broader or peoples’ taste in music is just getting shitter. I don’t know but Mumford & Sons? Just what the fuck? For a festival that is supposed to embody the idea of youth, excitement, rebellion and loads of other cool abstract nouns, Mumford & Sons are the last band I would choose to replicate that ethos (even if I do enjoy a good sing-song to ‘I Will Wait’ when I’m feeling extra farmer-chic). Putting Metallica next to them is another bizarre choice. A heavy metal band that haven’t produced an album in seven years when the majority of Reading & Leeds attendees, in recent times, are underage shufflers dying to get off to the Relentless stage where they can throw some shapes to Duke Dumont till the early hours without getting laughed at by actual music fans, I just don’t know. I’m sure Metallica’s set will be epic but I’m not sure that the festival’s ever-evolving crowd will be as appreciative as they should be.

The Libertines are quite obviously the festival’s saving grace this year. Playing together for the first time in four years at Hyde Park last year, the volatile four piece’s set is possibly the most eagerly anticipated UK festival slot of 2015 as it will be one of their first major performances since signing to EMI and revealing plans for a third album back in November last year. They are joined by some incredible names on the mainstage, a la the Cribs, Jamie T, the Maccabees and Kendrick Lamar- so if I do decide to take the tedious train journey from Manchester to Leeds again this year, you can bet it will only be for the Friday. Having said that, Reading & Leeds do tend to pull it out of the bag on the smaller stages, with a bunch of our favourite bands from the past couple of years such as Catfish & the Bottlemen, Royal Blood, Circa Waves, Wolf Alice etc and a few nice surprises added liberally like Alvvays, Ben Khan and Jamie xx.

I think the anticlimactic headliners are pretty expected now, take Eminem in 2013 for example, but Reading & Leeds is always worth it regardless of the line up. You could have One Direction on there and it would still be a top weekend. I, myself, haven’t been too impressed with the line up for the past couple of years but I still enjoyed every minute of the festival regardless. There is definitely something to please everyone on 2015’s line up and if not, sitting round the campfire with all your mates is 100% worth the ridiculously high entry fee anyway.

Review: Ben Howard - I Forget Where We Were

image: benhowardmusic.co.uk

 

On the surface, Devon based singer-songwriter, Ben Howard’s second album is a much darker affair to his Mercury Prize nominated 2011 debut, Every Kingdom. With the upbeat and acoustically driven tracks of 2011, such as ‘Only Love’ and ‘Old Pine’, being replaced by hauntingly atmospheric instrumentals and melancholic lyrical content. However, the slow-building warm hues of his previous material haven’t been lost in the blur of sparse chords and the overall moody tone he has adopted on his second pursuit.

 

You could say 2012’s The Burgh Island EP was the first inkling that Howard was venturing into slightly darker territory, with tracks like ‘To Be Alone’ possessing similar atmospheric and immersive instrumentals that wouldn’t sound out of place on I Forget Where We Were. ‘Small Things’ for example, opening the album with reverb-ridden guitars, complimented by reflective lyricism; “has the world gone mad, or is it me?” ‘Rivers in Your Mouth’ however, is much more up-tempo with fast paced percussion that somehow sounds reminiscent of Bruce Springsteen’s ‘I’m on Fire’.

 

The album’s title track is a true reflection of Howard’s ever-growing credibility since the release of Every Kingdom. Its slow-building structure comprising of a sombre guitar melody and faint drums is surprisingly infectious. However, it isn’t until the goose bump-inducing climactic section, as Howard cries “I forget where we were,” with conviction, amongst a plethora of overbearing percussion and a suspenseful guitar line, that we realise the true extent of the track’s impressiveness.

 

Howard explores the folky elements found on his debut within the track ‘In Dreams’. Its intricate introductory guitar riff and echoing vocals sounding reminiscent of Every Kingdom’s ‘Diamonds’. ‘She Treats Me Well’, however, introduces almost R&B tinged drum beats; perhaps the catchiest track the record has to offer.

 

Both ‘Time is Dancing’ and ‘End of the Affair’ are slow-building and gradual. Constant instrumentals providing the framework for their approaching capstones. The former, an outburst of existing instrumentals and repeated choric vocals, the latter building up into unusually progressive guitars and tortured vocals which sound awfully reminiscent of the overall sound adopted by Foals on Holy Fire.

 

Although 2011’s Every Kingdom was undeniably incredible, the brand new direction Ben Howard has chosen to take on his second record has most certainly paid off. The darker, more atmospheric dimension to his sound that he has unearthed within this album is definitely more to my taste than the joyous nature of his debut.

 

 

Written for PostMusicDepression.

Review: The 1975 - 'Medicine'

image: tmrwmagazine.com

 

Marmite four piece, The 1975, are just one of many bands and musicians contributing original material to the Radio 1 curated rescore of the film Drive. Given its very 80's, synth-driven existing soundtrack, it was pretty clear that the Wilmslow quartet would be reverting back to that ambient, electronic sound explored within the string of EPs they released in the run up to their debut album.

'Medicine' possesses the ethereal side to the band's repertoire, demonstrated on earlier tracks like 'Facedown' and 'fallingforyou;' which is certainly a welcome dose of nostalgia given the bombardment of rhythmic indie pop tunes found on their debut (which seem to appeal mostly to the masses of One Direction fans the band have acquired along with their rapid success rate anyway).

With repetitive love infused lyrics and a haunting combination of atmospheric synth and soft percussion, The 1975 have succeeded in delivering a track perfect for the Drive soundtrack. Not only this but 'Medicine' may have even restored the faith of some of their oldest fans; this is certainly the case with me, anyway.



Track of the Week: CHVRCHES - 'Get Away'

image: summerinthewinter.com

Albeit a controversial decision for Radio 1 to rework the, already exceptional, Drive soundtrack, roping in Glaswegian synth-pop trio, CHVRCHES, certainly wasn’t a bad move. Their chintzy trademark sound was pretty much made for the 80’s reminiscent soundtrack and ‘Get Away’ provides yet another dosage of angelic vocals from Lauren Mayberry and even more infectiously nostalgic synth.

The track beholds the same dance-floor-worthy charm as most of the band’s previous material but the instrumental remains dark in terms of atmosphere; perfectly fitting for the cult favourite action flick in question. The affecting chorus, accompanied by a catchy recurring background vocal makes for one of their most memorable singles to date. It will certainly be interesting to see which scene ‘Get Away’ makes an appearance in.

Drive and its new score, featuring the likes of Foals, The 1975 and SBTRKT, will air on BBC 3 on Thursday, October 30th at 10 p.m.

Review: Catfish & The Bottlemen - The Balcony

image: wikipedia.org

 

Ascending from the depths of obscurity, otherwise known as Llandudno’s non-existent music scene, Catfish and the Bottlemen have been catapulted into the land of commercial success, winning the hearts of Zane Lowe and the like with their hard-hitting, arena-ready anthems. Listening to their debut effort, The Balcony, this sudden surge of attention comes as no surprise.
 

It’s taken six years for the mop-haired four-piece to break out of their small seaside setting of Llandudno; six years of hard graft and an extensive touring schedule, desperately in search of their place in the ever-changing music industry. Now, in 2014, their retrospective early-noughties reminiscent sound has managed to nestle its way into our hearts, providing the perfect dosage of nostalgia to the soon to be extinct ‘indie’ genre.
 

You only have to listen to the LP’s opener, 2013’s ‘Homesick,’ to be enlightened to Catfish and the Bottlemen’s undeniable instrumental intensity. Starting off slow with frontman Van McCann’s quietly confident vocal tone, channelling the grit of a young Kelly Jones after a late night and a few too many Jaeger bombs, and exploding into densely packed guitars and brash percussion, ‘Homesick’ is the perfect introduction to the band’s sound; perhaps why it was their first release since signing to Communion Records almost twelve months ago. With an infectious chorus that was made to be sang along to by thousands of festival goers frolicking in the glorious sunshine (or the more likely scenario of mud encumbered revellers shivering in the pouring rain), ‘Homesick’ is one of the biggest tracks The Balcony has to offer.
 

Although the North Wales-based quartet are still emerging, it’s almost impossible to believe you are listening to a debut record as soon as the opening chords of ‘Kathleen’ hit you right where it hurts. Reiterating their knack for anthemic crowd-pleasers, ‘Kathleen’ packs a meaner punch than Tyson in ’86. Combining angst-ridden lyrics of heartache with hard-edged instrumentals, the song makes the majority of critically acclaimed guitar bands sound like a bunch of beginners practicing in their grandparents’ garage.
 

The simplicity with which Catfish and the Bottlemen approach the undisputable emotion that seeps into every chord of theirs is a true reflection of the band’s solid ability to win their listeners over. ‘Cocoon’ and ‘Fallout’ are two prime examples of their unmistakable charm; the former, a crude love letter incorporating the line “fuck it if they talk, fuck it if they try and get to us” amidst screeching guitars and aggressive drums. Van McCann may not be Prince Charming, but he’s certainly got a gift when it comes to honest and sincere lyricism with the capacity to hit a nerve with any teenager experiencing unrequited love. ‘Fallout,’ on the other hand, sees frontman Van vent in an angsty ode to a consistently irritating ex-lover whilst making the odd reference to his unconventional childhood; “I was a test tube baby that’s why nobody gets me,” referring to the 22 year old’s IVF birth. Catfish and the Bottlemen aren’t concerned with elaborate metaphors or fancy, intricate wordplay but it’s their authentic, and arguably generic, method of song writing that almost sets them apart from every other band dominating airwaves today.
 

The most memorable four minutes of the record comes in the form of the almighty ‘Pacifier.’ Is it the bold and infectious riff that oscillates confidently throughout? Or Van’s gritty and assured vocals, making for the most emotionally raw chorus on the entire LP? It’s hard to tell, but one thing’s for sure, Catfish and the Bottlemen are about to set the world record for the highest number of anthems on a debut album to ever hit the shelves of your local record shop. However, they are not just a one trick pony. ‘Hourglass’ provides a wonderful yet brief measure of respite if the imminent guitars, protruding drums and soaring choruses were proving too much for you. With a predominantly acoustic sound, led by a simple guitar line, Van’s unusually clean-cut vocals are left to shine through whilst he recites love-infused lyrics (“I’m craving your calls like a soldier’s wife”). With enough “ooooh ooooh’s” to have a sixties girl band out of a job, the four piece aren’t venturing too far out from the anthemic territory they already have on lock.
 

Reverting back to their hard-hitting anthemic roots, ‘Business’ opens immediately with the kind of randy, lustful lyrics you would expect from a pent-up 22-year-old finally breaking out of his small-town environment after years of trying. Charming as ever, McCann quips “I’ve no time for your friends, they can fucking do one,” before conjuring up the romantic proposal, “let’s get drunk in your bedroom and have a smoke in your window” to his lover. Instrumentally, you could say the band have taken a much more garage/post-punk sounding stance on this track, but their uncanny ability to grapple their way into your subconscious mind, causing you to endeavour in an inevitable toe-tap and utterance of lyrics, still remains. ’26,’ however, adds a slightly more bluesy dimension to the band’s repertoire. It’s focal introductory guitar line that picks up again after the chorus, alongside even more “ooooh’s,” sounds impressive. This track embodies everything the Kooks could have been back in 2005, had Luke Pritchard ditched his faux northern accent and swapped his suit jacket for a leather one.
 

‘Rango,’ the next track on the album- a track that the longest-serving Catfish and the Bottlemen fans will be all too familiar with, picks up the pace with yet more saturated guitars. This is perhaps the only track where Van’s tortured vocals are almost drowned out by the intensity of the relentless guitars and equally as prominent percussion, although, this is more of a production fault than a crack in the foundations of the band’s incredible song writing capabilities. However, any credibility lost within the production of ‘Rango’ is well and truly made up for on the epic penultimate track, ‘Sidewinder.’ With a single, piercing riff separating the scratchy and restrained introductory guitar from a rampant blowout of audacious drums and an unforgettable rhythmic guitar line, this track possesses a substantial amount of grit, perhaps the most hard-hitting and vivacious track on the LP. The infectious choric line, “whoever you’re mixing your drinks with is dying to go to town on you,” goes down harder than an expensive prostitute. If you listen closely, you may even hear the rowdy, intoxicated crowd slurring along. ‘Sidewinder’ assuredly pays homage to the band’s incredible live reputation, encapsulating the intensity of their live performance in a mere three and a half minutes.
 

If the ridiculous number of ready-made anthems you’ve already been bombarded with weren’t enough, ‘Tyrants’ brings the album to a close in the same colossal fashion. Fast paced drums and frequent outbursts of screeching Editors-esque guitars add to the sizzling suspense of the track. It’s almost as if every riff, every crash of drums, every seedy lyric on the entire record has been building up to its raging climactic section four minutes in.
 

The Balcony isn’t by any means ground breaking. Catfish and the Bottlemen haven’t brought anything particularly new or innovative to the table. But they have, in fact, produced one of the most energetic and confident debuts of the past decade, giving a nod to our favourite guitar bands of the early 2000’s (a la The Strokes and The Libertines) and highlighting the need for big, nostalgic, indie anthems in an otherwise drab and samey era for music.

 

Written for Altmusicbox and also as part of my A2 English Language Coursework.