READING FESTIVAL 2014

I've finally come round to posting about my fourth year at the Reading Festival. Slightly disappointed really, there's still no books...

Bad jokes aside and despite the punters getting younger every year, Reading never ever fails to disappoint. Last year after dealing with the numerous pranks of fellow campers, I vowed never to attend Reading again. Fast forward to a week before Reading 2014 and I've bought a ticket for quite a silly price from someone onTwitter. Why oh why was I surprised that it had sold out this year? 2014's line up, on the face of it, seemed quite disappointing, but on a closer inspection some festival exclusives just could not be missed!

Normally I head up on the Wednesday with an Early Bird ticket, but after Green Man I don't think I could have so quickly managed a stint on cold hard ground with kids shouting ALAN and STEVE and that new Spurs chant until 4am - so up on Thursday we went. This, for me, proved a lot more successful as on the Friday I felt a lot more refreshed than if I'd camped early. "Refreshed" might be a bit strong. I already stank of campfire smoke and mud.

Friday began with a Reading veteran of some sorts in the return of Gerard Way and his new band, The Hormones. I think I listened to three songs before heading over to the Lock Up stage for The Muncie Girls. Mr Way just... bored me a little. Having never listened to The Muncie Girls I was quite disheartened that I never had, especially given that I'd had many opportunities to see them live in the past. The NME stage was an absolute feast with La Dispute who I'd been waiting a good while to see (and I was very very pleased!) and Drenge, dressed rather fancily in jersey dresses. I'd been looking forward to seeing Eagulls after their triumphant self-titled release in March and they certainly did not disappoint at the Lock Up, bringing some well-needed post-punk to even out the shit "punk" bands (I'm naming no names). Deaf Havana moved up the mainstage bill and performed much much more solidly than I'd ever seen them before. Twin Atlantic, a band who I've seen grow at Reading, returned with songs from latest release Great Divide, but I was glad to hear old favourites "Crash Land", "Free" and "Make a Beast of Myself" towards the end of their set. Sadly no guitars were smashed on stage, as was the case in 2012. The main stage seems to be the home of Enter Shikari even though they've not released a full length since before the birth of Christ and I always complain until I'm being smashed around on the borders of a mosh pit clapping to "Sorry You're Not A Winner". I ain't sorry. By the time Warpaint graced the NME stage I was suitably oiled for their set. Performing the best from their latest release, I was able to sort of.. sway a bit. At 7:30pm we began to flit between the "secret" Jamie T set (why does everyone love him???) and Jimmy Eat World at the Lock Up stage, who performed Futures in full. 2004 flashbacks. Even though I've seen Paramore a few times, I couldn't wait for a mainstage set, knowing full well there'd be a plethora of hits ranging from All We Know Is Falling to their latest self-titled. Despite a rather annoying sound cut half way through, Hayley & co. managed to break my heart with an acoustic version of "The Only Exception" to which I definitely obliterated my voicebox. Hayley was looking gorgeous, her voice is still gorgeous and I wish they played "Hallelujah", but you can't have it all...
Now. Apologies might be needed for I admit, I do not know one Queens of the Stone Age song. Apart from that one that everyone knows... and I can't even name it. When I try to hum it I end up humming "Chelsea Dagger" by The Fratellis. We stayed for about half an hour, got offered MDMA at Netsky, refused and spent the rest of the evening at the silent disco. Great fun.

So... Saturday. I didn't even get up till 12, which is unheard of me at a festival. Despite a late start walking into the arena to catch Lower Than Atlantis at 3pm, Saturday was a day for new discoveries as well as finally seeing some of my favourite bands. 'The Pit' (for some reason the Lock Up stage with a different name), was RAMMED for Basement. Back from a relatively short-lived hiatus, they blew me away with songs ranging from their earliest to newest EPs as well their two full lengths. I found myself bellowing to "Covet" and "Pine" like a sad seventeen year old. Thank goodness I was there alone. Wolf Alice were particularly impressive, rocking the Festival Republic stage into the afternoon before I rather ashamedly made my way to Don Broco's set. It was to hear one song, okay?! I've gotta say, it was as if they Topman sale had moved its way into the NME tent. Vom. Circa Waves certainly impressed back at Festival Republic with a conventional indie sound with cans being chucked at shoulder-sitters (to which I REJOICED). My weekend highlight followed with The Amazing Snakeheads. Boy, what a band. What a set. I had no idea what to expect from a band from whom I'd never heard but all possible expectations were blown away by Scottish, angry, topless punk. Imagine Irvine Welsh's Trainspotting, Johnny Rotten, The Addams Family and psychedelic basslines. AMAZING. I caught the end of CHVRCHES before preparing to get smushed at Bombay Bicycle Club, who I knew would deliver; and of course they did. "Luna" was spellbinding and the atmosphere for "Shuffle" and "Feel" was incredible. The NME tent is just perfect for songs to which everyone knows the lyrics.

Headliners: Arctic Monkeys. It's no secret that I previously thought that AM are the world's most overrated band. I don't know if I still hold that opinion. AM performed a set of songs to which I could either relate or sing along and it kinds of excited me. Alex Turner on the other hand was tripping either on some incredibly noxious narcotic, or his massive ego. I could be all cliché and go "ohh they've come far, those lads. They're not just lads from Sheffield anymore blah blah". It's probably true.

An early start was needed for Sunday. Tight schedules; with The Story So Far up first to try and impress at the main stage. Quite sad actually since TSSF manage to rile up small crowds but could only manage a handful singing along on the Reading mainstage. If TSSF had started at Lock Up, I think the crowd as well as the band would have enjoyed more. This didn't really stop me from belting out "Daughters" from about 100m away. We managed to catch Flyte, an upcoming and even now underrated fourtet who I'd previously seen support Bombay Bicycle Club. Still gorgeous harmonies... they need to just get famous already! Canadians Pup blew away the Lock Up stage with gloriously chanty punk akin to I Am The Avalanche's "Holy Fuck". Now, it's about to get chavvy all up in here - or so you may think. If I'm completely honest, Clean Bandit were one of my "must-see" acts of the weekend, given that New Eyes has been played a vast number of times in my bedroom over the summer. "Rather Be" absolutely erupted in the NME tent, as well as "Come Over" and "Extraordinary". An unexpected cover of Steve Angello's "Show Me Love" became a chorus of voices in one of the most fun and energetic Reading performances I've ever attended. I sort of... endured A Day To Remember's set, vaguely remembering lyrics from their mid 2000s stuff and wondering whether Jeremy was really trying to scream. After flat out refusing to see You Me At Six I was fed a rather delicious performance by Sivu and his new electric line-up. He played to a disappointingly small audience but it didn't seem to matter. Since first listening to him I've been drawn in by his almost biblical lyrics, which are even more captivating live. In the break before the next band I caught You Me At Six's "Stay With Me" (the only song I know) and The Wonder Years' "Came Out Swinging" (the other only song I know). After this break came a well awaited performance by The Pains of Being Pure At Heart. Goodness me. I think I smiled all the way through. Seriously, watch out for this band. They've been praised by like... Ellie Goulding or something so if I can't tell you, a Brit Award winner can. I then caught three or four letlive. tunes before trying to find my friends for The 1975. They'd plagued me all weekend in trying to get me to see them... and now would have been my chance to avoid their set, right? Instead I stood sourly at the back, expecting a crap show. How wrong was I? I cried, for goodness' sake. I wasn't even drunk. Hazy eyed, perhaps - but a gorgeous lightshow and incredible atmosphere illuminated Healy's emotional performance. I didn't even know how to feel myself. Whatever. I'll try to write it off as a moment of madness.
Okay. Blink 182. It's been over a week now and people are STILL banging on about how bad and awful it was and that Tom's voice is gone forever. Bull. They had fun, I had fun. They threw at us their greatest hits and more in two hours, and everyone sang along, probably shitfaced. I was glad to hear "Always" and "Feeling This", despite the odd eye-rolling addition of words like "handjobs" in what would otherwise be quite sad songs. That was my only qualm, really. With a burger in hand I returned to the tent, not quite hit with the fact that Reading was over for yet another year. It ended far too quickly.

I PROMISE I WON'T GO NEXT YEAR. (I probably will.)

GREEN MAN FESTIVAL 2014

After a long awaited shower and a nap on the sofa I should be feeling great to be back at home. Instead, I'm mourning the passing of an amazing weekend at the Green Man festival in Glanusk, up within the rolling hills of the Brecon Beacons. I'd become accustomed to the assumption that festivals are held in plain flat fields but Green Man is something else. The scenery itself is worth the money - it's situated within mountains and forestry that I imagine children would draw in large bold wavy lines with their greenest crayons.

I mentioned value for money. Unlike other festivals, at Green Man there is nearly always something to do until the early (or late) hours, even before the main events beginning on the Friday. On Thursday after a rather stressful and rainy pitch of our £14.99 B&M Bargains tent, it might have been worth going for an explore. Indeed, my brother had itinerised (?) our entire trip to include even lunches and "chill" time so "explore" might be a bit far fetched. Acts had been arranged at the Far Out stage and Doves' Jimi Goodwin turning out to be a favourite of the night. Don't listen to anyone who says he's "tired". Late night entertainment was provided at CHAAAIII WALLAHHZZZ (that's how you say it) where By The Rivers treated me to some bearable pseudo-reggae, followed by DJ sets of the "boom boom boom, let me here you say EH OH, EH OH!" calibre. 

The magic began on Friday. We got up early to look around and at about 10am, caught the Daughter soundcheck. Just GAWJUS. What a treat we had instore. Many of our who-to-see decisions came from reading the Green Man programme, who we should have guessed bigged up all the bands regardless of whether or not they were a bit shit. First up at the Mountain Stage were Green Man Rising winners Wildest Dreams, followed by Scandi synth pop band Highasakite who definitely deserved their main stage spot. An early evening highlight was Californian Sun Kil Moon, to whom rather strangely and regrettably I'd never listened before. Imagine Johnny Cash (is that blasphemy?) but slightly less southern and you have Mark Kozelek. I was drawn in by his sad lyrics and dry humour; he drew attention to the fact that Green Man was FULL of white people. (Green Man is the champagne socialist DREAM so he wasn't wrong). My Friday highlight certainly was Daughter. I remember hearing their first EP, rather timid and quaint - but their set was certainly nothing of the sort. Sometimes dark and bassy, others highly strung, dramatic and climactic, Daughter certainly delivered my favourite kind of set; just a huge crescendo waiting to crash, where the audience sort of loses themselves. Thanks, guys. We caught about half an hour of headliners Beirut, to whom I always sort of bob up and down like a buoy in the sea, before heading to Far Out to see the Canadian electronic revolution that is Caribou. Acts like these are perfect for the Far Out tent which at times felt like one big nightclub. A classy(ish) one though.

Saturday was fun. It came with switching between the Mountain Stage changeovers for the smaller acts at the Green Man Rising stage. Mutual Benefit certainly were memorable. Frontman Jordan Lee is unintentionally hilarious. Between each song came some sort of crazy analogy - a favourite of mine was 'Did you guys just hear the wind? It was like God saying "shhhhh"'. Profound. Analogies aside, they were actually alright. At Green Man rising we got to see Memory Clinic and Sen Segur, bands comprising some of the same members, the latter being a sort of funkier Welsh language version. Both had this sort of northern charm, even with Sen Segur's 60s psychadelic vibe. Angel Olsen followed on the Mountain Stage, who I'd been waiting to see for some time. With an aura as blunt as her lyrics, I expect big things to come. Imagine Waxahatchee and Tancred tinged with rock & roll. After probably the best burger of my life, northerners Woman's Hour dazzled the Far Out tent with ethereal numbers from their debut album, Conversations. The ladies continued to hit the high notes as Sharon Van Etten rocked the Mountain Stage, preceding the incredible The War On Drugs. I hate the fact that I constantly dismiss bands before hearing them; this was certainly what I'd done here. The War on Drugs is the perfect combination of Bob Dylan-esque vocals and Springsteen guitars. My spine tingled a little bit. We ended the evening at the Walled Garden, perfectly set for East India Youth, who singlehandedly rather weirdly tore the place apart. I say ended the evening, yet more was to come at Far Out, now named "After Dark" for acts The Field and Luke Abbott. The former brought a mature bass sound rippling through the tent for his duration, a drop nearing closer to the edge with no stop until an emphatic climax towards the end. 

I felt a little bit fragile by the Sunday, I will admit. Even after brushing my teeth with bottled water and aching legs from the two mile walk to the nearest village for a discount brand Twister lolly and cheap vodka, I needed some waking up. Who better then than Australian upcomers Vancouver Sleep Clinic? I recommend dearly that you give them a listen, just so you can believe me when I say they're the junior version of Bon Iver. Maybe it's the falsetto and crashing chords. VSC were so grateful to be there - so much so that they agreed to fill in for Joanna Gruesome when it was announced they had cancelled due to illness. Get well soon. A certain Sunday highlight were Samaris, Icelandic beauties making use of a Macbook, synths, dreamy vocals and none other than a clarinet. It works, trust me. 

Green Man, like many other festivals, is great because you can walk from one stage to another and discover something completely new and completely different. At the Walled Garden I came across RY X, who had filled the entire space with sitting listeners. I was making a mental note to "LISTEN WHEN HOME!!!".

Starting off the evening was Smog's brilliantly cynical Bill Callahan, boring my brother and exciting me with songs well and truly deserved of his MOJO win. If you'd like to know what I mean by cynical then listen to this song. Following his set and on a much lighter note was the act I'd been waiting for - First Aid Kit. A gold backdrop adorned the stage and the girls were dressed in spangly gold dresses, gently nodding at their latest album. Performing tunes from Stay Gold as well as classics from their previous releases, Johanna and Klara knew how to please the crowd as well as introduce them to their future hits. They covered Simon & Garfunkel's gorgeous "America" and a rendition of Jack White's "Love Interruption", proving they can rock any song to female vocals, pedal steel and mandolin. When I heard the intro to "Emmylou", I thought 'I'm done'. It's quite an amazing feeling to hear your favourite songs live. "Emmylou" was one of the best singalongs I've ever been a part of, hands down. After recovering, a quick sprint had to be made up to Far Out to catch the last half hour of Real Estate as a result of a horrible clash with First Aid Kit. I was lucky enough to catch my favourite "Talking Backwards", with its gorgeously sunny maj7 chords echoing through the tent. *smiley face*

First Aid Kit

We decided, since it was the last night, that it be best we actually go and see Neutral Milk Hotel to see what the fuss was about. April from Parks & Rec and every late 20s white man in a bakerboy hat loves them but I don't reeeeally get it. Respect is to be paid to the fact that they certainly got the crowd going and there was a nice little array of instruments... like a garden saw. After about half an hour we left to explore some of the other stages before heading back due to a very early start this morning. It was only when I was tucked up (as well as one can in a sleeping bag) that I could hear Kurt Vile finishing up at Far Out and I wanted to kick myself (one cannot in a sleeping bag). It always happens - there's always one act I always end up missing! 

But yes - Green Man was incredible and even the day after, I feel nostalgic reliving it all again as I write this post. It's almost certain that I'll be attending next year, even if it's for the atmosphere (and nice food). Here's a bacon sandwich selfie. See you again.*

* This time next week. I'm going to Reading this weekend. I'll be posting from a coffin.

REVIEW: Tigers Jaw - Charmer

I'm back after a long and miserable exam period! Of course it had to come with a review of some sort and I've been to a few gigs since my last post and listened to a lot of new stuff to keep me going through five miserable Law exams. Fortunately, Tigers Jaw's Charmer deserves a mention right here, right now.

For quite a while I've been anticipating Charmer. Though I admit I hadn't even looked at the tracklisting, I'm really glad I didn't because after looking on Spotify to see that tracks "Hum" and "Cool" from the Hum 7" had been included-  re-vamped, electric and slightly less lo-fi - I'm really really pleased. What an absolute delight. It seems since previous releases Two Worlds and the S/T, Tigers Jaw have managed to convince me that they're not that band who yeah, used to annoy me a little bit. I wasn't into those sorts of emo droney vocals a while back but luckily saccharine harmonies and quaint piano runs have had me giving in. Charmer is luckily an instant love, especially its title track which is somewhat mysterious sound-wise with a simple running bassline before kicking in with crashing drums, distorted guitar riffs and that very typical Tigers Jaw organ setting on keys. "I Envy Your Apathy" sounds exactly as the title would suggest - plenty of what I'm assuming is the whammy pedal or just a shit ton of vibrato, encouraging its listener to feel a little more than apathy. "Divide" is terrifically 90s with a supercool guitar solo chucked in at around the 2:30 mark. My definite favourite is "Teen Rocket". As soon as it began I actually went "awwwh" - just so simple in terms of chord changes, and vocally soothing with Brianna's top notes introduced half way through. Yummy. It's such a shame that Charmer feels about ten minutes long because I want a lot more from this hugely improved Jaw of the Tiger. After missing their tour last year, I'm eager for a return to the UK!

I've just ordered Charmer from Banquet Records on 12" LP in any variant (there's also a green variant) to see what I get, coming soon.

Edit: I've just noticed the insane amount of Twin Peaks references in this album. I'm really impressed by this (or just a massive fucking hipster).

Record Store Day 2014

Why had I been putting off this post? I'm really excited to write about Record Store Day and how it was to sort of "take part" this year. 

Before I became interested in buying vinyl (brighter, less skint times) I had always wondered what the hype was around it, and indeed, Record Store Day. Of course the general principles were obvious - actually buying music and supporting independent music and their outlets - but why spend that much time and money? I have become what I once questioned, mes amis. 

Queuing for RSD is a bit like... the rush to buy tickets before a show that's bound to sell out, or queuing when you're fourteen hours before gig so you can get to the barrier when the doors open. This time it's a bit more hypothermia-inducing/soul-destroying. You may ask what we're queuing for. Every year for RSD (too many) artists/labels release limited LPs, EPs, singles, soundtracks etc all for which us saddos spend in excess of nine hours queuing. I was after two things for myself - The Muppet Movie OST and Bombay Bicycle Club - "To The Bone", a B-side to So Long, See You Tomorrow. For my friend I also had to pick up the Ghostbusters theme song on glow in the dark vinyl (?) as well as Kodaline's cover of Paul McCartney's "I'm Coming Up". Turning up at 1am best have been worth it. 

Soon after we arrived at the queue (just one person in front of us hoping to spend about three million quid), Spillers' staff left for the evening, hoping to dose themselves up on the little sleep they could get before the busiest day of the year. Apparently this was the earliest queue for RSD they'd ever seen. Something to be proud of? Maybe. 

For a couple of hours we were kept awake by the buzz of Metros (aka Sweatros) and for myself, a can of Sainsbury's energy drink before being joined in the queue by a few more people. Here's the sentiment at 4am.

And at 5am...

I'm sure as it got later it got colder? I dunno how that works. A little walk to McDonalds and the train station for their toilet facilities took off some of the edge of but blimey. Thank God my friend Nathan had brought me a camping chair. 8am called for another walk to the market for the biggest breakfast bap I have ever shoved in my face. Perfect prep for the "rush" at 9:30am. The first fifty in the queue were handed goody bags but as we were in the first five we were given a more executive goodie bag with more executive goodies i.e. more free vinyl and a cotton tote bag. A Dan Croll coloured single too! Decent freebies, Spillers.

When Spillers Recs' doors eventually opened, it was all systems go. Many staff were present and a brilliantly handled system meant I was out of the shop by 9:45 with all the records I had on my list. I would say I was jammy for getting the only Bombay Bicycle Club single they had ordered in but after queuing for that long with a numb arse I think I was rather entitled. SOZ anyone who was disappointed by its absence afterwards. It's now a shame to see the exact record on eBay now for an extortionate price with an inaccurate description (/100 when it's actually /1000. Naughty people). 

Here's what I came away with, displayed rather crudely on my living room floor. 

Only yesterday did I manage to play what I'd come away with, and I'm so impressed. For an original recording, The Muppet Movie OST sounds like an absolute dream. I'm a self-confessed Muppetaholic (I made that up) and playing that record in my room last night was something special. The BBC single is also gorgeous. I can see why it wouldn't have suited So Long, See You Tomorrow's more funked up feeling because it's just raw and smooth and more suited to the style of Flaws instead (I'm making it clear that the wait was worth it, fershure). 

After the success of this year I'll definitely be joining in next year, hopefully with the others for whom this was their first time too (I'm looking at the One Directioners)! I'm rather glad my student loan hasn't come in yet otherwise I'd have left with armfuls of stuff. Remember - vinyl's for life, not just RSD!

Deaf Havana, Cardiff University Great Hall, Cardiff, 15th April 2014

Now, I'm really really really defensive about Deaf Havana. In more than one previous post I've been like "piss off hardcore people leave them alone" and I'm still like that. Sorry not sorry. 

My friend Yasmin and I have been DH fans for years. Having seen them work their way up to the Reading mainstage I sort of feel protective and proud of their decision to stick to their guns in the new direction of their music during their member reshuffle. Tonight would be a bit emotional, and judging by the bottle of wine and several vodkas we'd shared pre-gig, a bit messy. 

SADLY the queue meant we'd missed by a few minutes first support act and locals The People the Poet, previously Tiger Please. Surely next band The Maine would be soothe the wound, right?!?!?!? Blimey, how... underwhelming. The Maine were a band I loved in 2007, when synths and breakdowns were the thing (thanks, Four Year Strong) and yet the performance was flat, as displayed in a bored looking audience. "We All Roll Along" was a bit more as if we were all plodding along. Soz guys. 

Deaf Havana though. After a couple more drinks, this shouldn't have been the band to see. A band for whom I normally completely lose my mind. Not good. Sorry to all who heard me scream as "Smiles All Round", my favourite Deaf Havana song, and one I thought I'd never hear live again, was played. Despite the fact that this was indeed the Old Souls tour, there was enough Fools and Worthless Liars content to go round, and even a stripped down performance of the beautiful "Nicotine and Alcohol Saved My Life" (remember that?) during the encore. 

Deaf Havana's performance was, above all, fresh. James and the guys like to play around with their musical style, so we were treated to alternate versions of "Fools and Worthless Liars" and "22" as well as anthemic variations on "Hunstanton Pier" and the lovely "Mildred". A highlight for myself was "The World or Nothing". I remember the first time I listened to it, perhaps a few months before the release of Fools and Worthless Liars - knowing that was when I would fall in love with them. Thank God I didn't cry seeing them this time, but I was bloody near it. DH rather unexpectedly finished on devastating Old Souls final track "Caro Padre", as if my heartstrings hadn't already been tugged ferociously by James Veck-Gilodi. Bloody lovely end to a bloody lovely set. 

Post-gig, Yasmin and I had this surreal night out whereby she somehow became acquainted with half the band in Live Lounge, and I wondered why I was alive in Live Lounge. See y'all soon.

Brand New, Troxy, London, 12th April 2014

It's been a busy few weeks with uni work and a trip to Rome but here I am with TWO posts for you tonight - aren't you bloody lucky? Perhaps not if you like neither Brand New nor Deaf Havana. 

There'll be a better photo soon, I promise.

The weekend just gone my friend and I took a little trip to London town to see Brand New. I was very fortunate to be seeing them as my initial quest for tickets ended with me waking up two hours after tickets had sold out, thinking I'd booked tickets only to see the final step confirmation page. But fear not, people are good and as I found out, so are Brand New. 

After a rather disappointing journey to London (don't believe the Megabus Gold hype, folks) and a gorgeous bellyful of pulled pork at Bodean's Soho (believe that hype though), I took my first trip on the DLR to a rather dodgy end of London to the Troxy. I say dodgy... I mean that I could smell weed on the walk to the venue. Troxy is far from rough though - seemingly grandiose for an alternative rock show, what with carpeted floors and a plush theatrical circle seating area upstairs, but somehow it seemed fitting for the unassuming and modest performance of Brand New. 

Support for the evening came from The Front Bottoms and Saves the Day. Having listened to both bands before, it's safe to say I was only excited for The Front Bottoms - I'm a big fan of their sarcastic and sometimes bitter lyrics as well as their cute melodies, perfect for a little singalong. I'd recommend you go see them if they're back again soon just to watch the drummer. My favourite song of theirs is "Au Revoir - Adios" which I was glad to hear them play (simple folky punky stuff if you fancy a listen). I just can't get into Saves the Day and neither could I live. Normally I can stand nasal vocals (I listen to pop punk, for Christ's sake) but Saves the Day's could make dogs bark. 

After doing my best not to spill stuff on the carpet and to avoid buying merch I was graced with Brand New's presence. I'd heard good things but nothing could prepare me for such a... familiar(?) performance. It's strange - Brand New have this amazing connection with their fans who are undoubtedly the most loyal I've seen. Guys and gals even in their late twenties were freaking out as classics like "Sic Transit Gloria... Glory Fades" and "The Boy Who Blocked His Own Shot" were played. I started freaking out when Jesse started playing a verse of Coldplay's "Yellow", much to the dismay of everyone around me. A couple of songs from 2009's Daisy were played in tandem and for some reason, this is the least favourite Brand New album of many of the people I spoke to that night. I'm not sure why because I find it to be heart-wrenchingly deep and just very bloody heavy. During their few-minute-long interlude in Daisy fashion I found myself swaying with my eyes closed (#emo) and this didn't help me prepare for "Mixtape", a song that makes you bellow "AND THE WAY YOU DON'T APPRECIATE BRAND NEW, OR ME" whilst pointing at either yourself or Brand New (or both). With such a strong setlist ("The Quiet Things...", "Jesus" and "Luca" followed) there was no need for theatrics between songs. Neither was there a need for any sort of bigged up stage presence. Brand New simply needed to play and that would be enough for a crowdful of raised hands, closed eyes and what I assumed would be very sore throats in the morning. Very impressive. I'm pretty jealous of everyone who gets to see them again at Hit the Deck festival again this weekend. Take me with you in your rucksacks. 

My weekend was accompanied by a trip to Five Guys (HEAVEN) and some inevitable record purchases at both Rough Trade West and at All Ages in Camden. Fab time. 

Bombay Bicycle Club, Cardiff University Great Hall, Cardiff, 16th March 2014

I know I've just got home from the gig but while it's all so wonderfully fresh in my mind (and I'm full of kebab, not so wonderfully fresh) I'll scrawl everything down now. 

Hello, anyway. It's been a while - since you last read from me I've done a few bits and bobs. I went to see Drenge and that was MEGA cool and I worked a CHVRCHES gig and heard their set from the cloakroom.

Back to tonight. I bought the tickets for my brother's birthday bloody ages ago and only recently had it creeped upon me. At the time of buying the tickets, Bombay weren't my favourite band and my memories of them live hadn't been up to much. I was however, a huuuge fan of their second album, Flaws, and thought it'd be nice to go. I'm so so glad I did. Earlier this month So Long, See You Tomorrow was released and if you haven't given it a little spin already, you bloody should. This latest release is funky as HELL and most of it was showcased tonight in the sweatiest gig I've been to for quite a while. Didn't help that I was wearing a big bloody coat but I'd have been sweatin' anyway. 

In the queue for tonight I was handed a little business card for "tonight's supports GUYYSS", Flyte. With no idea who these guys were, let alone the fact they were supporting, I had no idea what to expect, but for a first support these guys were totally solid. Try to imagine what The Byrds or America would sound like with synths. That doesn't sound all too convincing but I think you'll get what I mean when you listen to them in that their harmonies are clear as day. Clever, too, despite the frontman apparently looking "as if he's off it", according to my brother. Tunes like "Over and Out" were reminiscent of The Drums' beachy vibes whereas "Yellow Rain" was comparable to Bombay's new guitar style on So Long, See You Tomorrow and Everything Everything, electronically. It seemed like these guys are fans of climbing arpeggios and rather traditional note clashes - I'm a big fan. I don't think I'd be mad to propose that these guys could be playing an afternoon slot on the NME stage at Reading in a year or two and it'd be totally cool. 

Now, for some reason, I'd be under the impression for months that The Ramona Flowers were supporting but recently I discovered it'd be Rae Morris. Absolutely no problemo. Rae features on "Luna" from Bombay's new album so it only makes sense (I'm gonna thrust a gorgeous Radio 1 Live Lounge version in your face HERE). By the time Ms Morris had graced the stage, my brother was wankered on cheap Carling and was going "OMG ISIT ROYALS?". Nope, not Lorde, I'm afraid. Better. Vocally, Morris is pure and powerful and yet gorgeously saccharine. Whack this onto sustained pianos, muted drums and slidey distorted guitar and you've got a recipe for completely zoning out and looking a bit weird with your eyes closed - especially for the devastatingly gorgeous "Don't Go". I can't believe I'd dismissed her before as "another girl singer-songwriter". I'm a sexist prat.

Rae Morris doing her thang (thanks to my brother for taking some snaps).

My brother and I were relatively near in time for Bombay, and as you can imagine, close to a load of dickheads in bandanas and shirts with upturned collars who were rather loud. I could dismiss this when there were a load of pretty projected images (think Yellow Submarine meets Bollywood) and a very impressive light show to lead Bombay on to first song (and first on So Long, See You Tomorrow) "Overdone". As I mentioned, the first half of the set focused on the newly released stuff with what felt like a lot more bass (espesh for "Come To") which I'm always a fan of, before pleasing the crowd some oldies but goodies like "Evening Morning" (with its own sexy bass intros). By this time I was a bit worried I'd be missing out on the gorgeous "Home By Now" and "Luna" from the new album but I should have known Bombay wouldn't disappoint. "Home By Now" (despite the absence of the early 00s ambient electric piano throughout which features on the studio version,) was amazing and I think I probably hit some people dancing to that. Soz, everyone. Best song of the evening went to "Whenever, Wherever" (dedicated to Shakira, ofc) which left me really really sweaty. This song just built up until it sort of exploded, fizzed out and revealed RAE MORRIS ONSTAGE FOR "LUNA". Words cannot describe my love for this song. I went a bit too beserk for an indie gig and sang with my eyes closed (I wasn't even drinking). The guys finished with classic "Always Like This" and (the apt) "So Long, See You Tomorrow" before returning for a mainstage-worthy encore. Bloody hell, it was the heaviest I've ever seen a band who've covered the likes of Joanna Newsom in the past. Final song "Carry Me" was explosive and brought the set to a climax right at the end. Just brill. 

"So Long, See You Tomorrow" or at least very soon, Bombay. 

During "Luna" where I went currraazzy.

REVIEW: Sau - Songs for the Queen EP

Well well - isn't this exciting. I've actually been forwarded some music to review for the first time. I'm hoping it's not the last. This might make the blog seem legit (sporadic as the posts are).

So yes. My first requested review is for the new EP of James Alston - under the alter ego "Sau". My brother had sent me a couple of video clips from a set he'd done in Cardiff recently but of course, I needed to hear the real deal and not muffled crowds and/or my brother going "IT'S LIKE CRYSTAL CASSLES INI".

The five-tracked Songs for the Queen takes you on a little experimental journey, albeit shortlived. Its aura is a sort of yearning frustration, beginning with what I first imagined was a Frank Ocean - "White" vibe for its low tempo and jazzy notation. "Oceana" emits this yearning: "dance with me dance with me / were's the only ones left here" in the "moonlit halls" - certainly sung as if in a moonlit hall which was once full of people. Second track "Kleptocracy" seems more reserved and yet shows that Sau has a lot more potential, with twinkly piano notes layering the tapping drum beats, leading into "Is It Colours", where the EP really evolves. Here we could compare Sau's stuff to the likes of Distance in terms of rhythm, together with a gradual crescendo reaching a climax and sick chord change around the 3:30 mark. Penultimate "Breakfast at Drake's" introduces acoustic guitars and what I *assume* is a fingerpicked G chord on top of a rhythmic wood block tapping sound (you know those blocks of wood you'd whack in primary school during "music"? Like that but a bit more in time).

Sau left the best 'til last with final track "MPS2", lyrically as well as instrumentally. On top of light organ chords are James' more emotional and imagerial vocals, comparing his subject to some some sort of prized memento or jewel, perhaps? - and it's unclear to me whether this is good or bad with its "dime a dozen" face, and yet "I need your antique touch / your relic skin on fresh meat".

All in all, I'm really intrigued to see what else Sau has to offer in the future. Keep an eye out for a couple of sets around Cardiff soon.

You can listen/download (name your price) here.

--------

If you'd like me to review a single/EP/LP or a show you're playing - let me know!
(niaewebb@googlemail.com)

Douglas Dare announces debut album "Whelm"

I'm so excited. I've mentioned Douglas Dare before and I hyped him up to the max. Time to do it again. To be released via Erased Tapes May 12th is DD's debut album, Whelm. I presume this will be ten tracks of bliss. I've seen Douglas live twice, accompanied only by a piano and I rather naively thought this would be all he'd need. You can listen to the second track, Nile, here - and it made me realise, (as if the Seven Hours EP hadn't already) that soft drums and electric piano only add to how hauntingly beautiful his sound is. Of course, I expect that songs like "Clockwork" and "Caroline" will be mainly piano with jarring chords over his lovely velvety voice - but this'll contrast well with the more electronic tracks.

I've pre-ordered and you should too. (The vinyl bundle comes with a 20-page lyric booklet and that was enough for me to break my spending ban.)

City and Colour, Eventium Apollo, Hammersmith, 31st January 2014

About time. "A question of space, a matter of time", you might say. I thought I'd have developed my photos by now (my phone conked out so I had to buy a disposable camera) but I think I only took about ten photos throughout entire day. 

So yeah - this gig had been a long time coming considering I'd had a ticket for ages. I decided, as I have Fridays off, that I'd make a long day of it in London, which meant a 7:45am Megabus, incl. rowdy stag do. Great start. The Natural History Museum was my first destination as I'd never been before - I spent a good two hours furreeaking out at massive scorpions and gargantuan plastic foetuses. I had lunch and a little look in Camden, followed by Rough Trade just off Brick Lane where I died and went to heaven, subsequently followed by the tragic death of my bank account. Six records later, a rather depressing amount of money gone, and a belly full of katsu curry - I'd worked up the appetite for Dallas Green and Co. I waited something like an hour in the pissing London rain in a pair of black cords and holey Vans so here was hoping I was in for a treat - boy, was I!

I've just managed to find my scribblings of the gig (rather professionally done on the back of my Megabus printout) and it's completely illegible. Surprisingly though, not tear-stained!

Now, if I had developed the photos you'd have a good idea of my seating. Up I was in the circle right in the middle, seated next to a guy who was terribly interested in the records I'd bought and liked to frequent the loo during C&C's set. Apart from that, the audience was a sea of sickly sweet couples whom I imagined would have their fucking tongues down each other's necks for the inevitable performance of "The Girl".

Haaanyway, support for the evening was Hannah Georgas, fellow Canadian and Dine Alone signee, whose vocals incorporate the deep tones of Daughter, with a poppy upbeat sound. Georgas was subject to her share of wolf-whistles which just makes me feel nauseous. I'd go on about how women's musical abilities are overshadowed by their looks or the mere fact they're women (shock horror, women don't just have babies!) but that's not the subject of this post. (If you want more on the subject of women's objectification in the alternative scene, read this brilliant article criticising this sexist piece of shit). But yeah - Georgas' sound wasn't entirely my cup of tea and reminded me of perhaps The Magic Numbers - I felt her songs to be slightly samey on the whole but I enjoyed "Elephant", the first track from her S/T. 

As Georgas was the only support act, presumably C&C would be doing a two hour set. YEAH COULDN'T WAIT. Rather strangely, an a cappella version of Soul II Soul's "Back To Life" began playing over the PA and given the key and rhythm, I had a feeling this would flow into "Thirst" or something, but it ended abruptly and DALLAS MY LOVER graced the stage in his cowboy ensemble (I like to call it that - the hat he was wearing wasn't even one of the cowboy variety) and the band kicked off with "Of Space and Time". I've found that for live performances of this song, C&C favour more of the old slide guitar as opposed to the church organ and it totally works in a country sort of way. This led into "The Lonely Life", one of my The Hurry and the Harm faves. Dallas proved he's still got rock'n'roll left in him with this vamped up version, accompanied by the ever-present terrific lighting. Honestly, whoever does C&C's lighting needs to win an some kind of award, because it's always just so dramatic and in time. The organ was back for "The Grand Optimist", which really helped this song as it's not a favourite of mine. 

Okay - a break was needed in the text here, as this marks where I got a bit emo. I always always hope D.Green plays "As Much As I Ever Could" and I'm always tremendously lucky. I've heard this song acoustically, deep and dark, high voltage... but this time it was slow and jazzy feat. brassy guitars. Totally appropriate, and yep, I was moved to tears. How lovely it was to hear a gorgeous three-part harmony at the end, including a reprise! Following this were electric versions of "Silver and Gold" and "Ladies and Gentlemen", proving thus far to be a set comprising mainly of songs from his last two albums. I was more than happy with this because there's only so much screaming for "Comin' Home" I can bear. Even though he played that.

Here comes the bit that everyone's waiting for. 'OMGZ HE'S ON HIS OWN HE IS SOOOO DOIN "THE GIRL" OMG', when the band leaves the stage and it's solely D. Green. Dallas and his voice so pure. Newly handed guitar in place, he test-strummed to reveal a gorgeous tuning to which he played the Alexis classic, "Boiled Frogs" - one of my ultimate favourites, especially when stripped down. I've got to work out that tuning - I tweeted him but he didn't reply. We can forgive and forget, though. Dallas then told everyone to put their phones away, definitely a cue for "Body in a Box". Some douche obviously still had his phone out but apart from that, BIAB always goes down so well when Dallas makes this request. It's a reminder that we're too busy trying to capture the moment rather than experience it, and that's so important. The acoustic sesh finished with "Comin' Home" with predicted screams for 'I've seen a palace in London', followed by "Little Hell" - à mon avis the best track of the evening. Completely and utterly gorgeous. On came the band to finish off the song - I couldn't decide whether it was better acoustic or electric but either way, there I was at the edge of my seat with my jaw in the palms of my hands with tears rolling down my cheeks. This guy, man. 

Electric versions of "Sleeping Sickness" and "Waiting..." came next - which is always refreshing. Dallas likes to mix up his songs - rocking up the gems of Sometimes and Bring Me Your Love and stripping everything else down. I love it when a band gives you something completely different live - I can after all listen to a studio version in my own bed. After a couple more electric songs from Little Hell and THATH came an aggressive, emotional and intimidating version of "Sorrowing Man" - the instrumental interlude lasting a good few minutes. D.Green has something to prove and it's that he's not just a love song writer. But just to please those who think so, he ended, in his encore with "The Girl" - surprisingly to some, my least favourite C&C song. I couldn't help clapping along to the reprise though! 

As is always with a half 11 National Express home, I had to leave before the end. I figured they wouldn't do "Day Old Hate", my old time favourite, and it didn't matter - I'd had a fantastic time. For a while prior to the gig I'd been skipping C&C songs if they came up on shuffle and I have no idea why; I'm back to totally embracing them. 

Sorry it's long and I didn't proofread properly. Pics will be up when they're developed!

Stuff what I heard this week

Thursday's an untimely day to be blogging about new releases but I'm procrastinating and I'm not the NME (which is probably a lot more reliable than a blog with a pun for a title). 

Anyway, it's coming to the end of cold and rainy January and here's what's been keeping me sane in terms of the shining and spanking new. I'll keep it very short. 

Warpaint - Warpaint

Warpaint's Theresa Wayman told the Guardian recently: "We leant towards things we thought were sexier," and that's definitely the feeling of this album. Warpaint: still keeping things etherREAL.


James Vincent McMorrow - Post Tropical

JVM's voice manages to blow me away. It's so... slight, and "ever so". I don't know how to explain it. Post Tropical is slightly more soul than the folky vibe of Early in the Morning, reminiscent of the Bon Iver S/T in some parts. I was gutted to find that his gig in Bristol this weekend is sold out otherwise I'd be straight on a train. 

Against Me! - Transgender Dysphoria Blues

Only before Christmas did I actually start listening to Against Me!. Regrettably, I was late to the punk partayyy. Terrifically late. I however might have arrived just in time for the birthday cake. Here's an album speaking out about gender dysphoria, following the coming out of Laura Jane Grace. Actual songs about actual issues concerning those actually singing about it, those dealing with these/similar issues, and for everyone else to take note. "Unconditional Love" is a fave.

You Blew It! - Keep Doing What You're Doing

I thought they might have blew it too, with a band name like that. Bad band names put me off listening straight away, but I gave Keep Doing What You're Doing a go. They are on Topshelf, anyway; and I'll lap up anything Topshelf Recs release like a kitten sipping milk. I'm very very pleasantly surprised with this album and You Blew It! should indeed, keep doing what they're doing (I won't pun anymore).

Other stuff what I listened to this week but it was well old:

Caspian (EVERYTHING BY CASPIAN)
Run, Forever - Settling (A few crap songs but a few bangers)
Lady Gaga - ARTPOP (for Fashion, Do What U Want and Venus. I love her)
Give Up The Ghost - Background Music (Thank you to a fellow blogowner)
The Place Beyond the Pines OST (Score by Mike Patton)
Wild Nothing (basically everything by Wild Nothing)

Stuff to be anticipated - New releases from:

Bombay Bicycle Club
Mogwai
Caspian (MORE CASPIAN)
St Vincent
Diamond Youth

...and a load more, I'm sure. Have a fun weekend.

Defeater, The Fleece Bristol, 19th January 2014

Please forgive me for I have sinned in neglecting the blog for a bit. Please forgive me for I shall sin again in trying to review a "hardcore" show (that's if I'm allowed to call it "hardcore"). I'm sure I'll only get better.

Last night I took a little trip to The Fleece in Bristol (heavy with a burrito in my belly) to see Defeater, supported by Goodtime Boys, More Than Life and Caspian. For me, seeing Defeater had been a long time coming and so the other bands didn't really matter. Goodness knew what MTL were playing as they last released a record about four years ago and yet their merch is still eBay gold. The only thing I'd heard about Goodtime Boys is that one of the members was an ex-screamer from The Automatic (remember them?). I gave that a miss.

I wasn't sure what to expect from More Than Life but The Fleece seemed RAMMED to me. And yet, all I can say, is "meh". That's unfortunately, the very little I can say about them and their performance, apart from the fact that they sound a bit samey and one particular "breakdown" (beginning with an infamous HxC "OHHH!") made me cringe. They're laughing though cause they're making a shit ton off Gildan softstyles every night at £10 a piece.

People seemed to wander outside for the Caspian performance, and this made me apprehensive. In all honesty, I'd never listened to them before and all I'd heard was that they're an instrumental band - how's that gonna go down live? I'm incredibly sorry for doubting what I'd heard. Caspian are astounding and I wish I'd have discovered them sooner. If you're a fan of say... Mogwai and Explosions in the Sky and maybe Happy Body Slow Brain (for their more downtempo stuff) I'd totally recommend. Highly emotional and yet wonderfully ambient. All I've done today is listen to them and now I wish I'd have bought a vinyl or something. My shitty tinny laptop speakers do last night's raw sound no justice - it's definitely something you have to experience live. There were a few little electronic bits which weren't really my cup of tea but that's a very small qualm. I like and am already waiting anxiously for the next full length.

It seemed there weren't as many people back inside for Defeater (had some people really just come for More Than Life?) but that's okay. One could breathe. Frontman Derek, recovering from a hip injury graced the stage simply by saying hello, thanking the other bands and then asking people not to touch him (slightly blunt if you don't know why). For some reason I half expected a less ballsy set given the injury but Defeater provided enough guts and enough gall for me to be satisfied, by kicking off with "Bastards" and pulling out big gun after big gun until an acoustic break for "I Don't Mind", "But Breathing" and (apparently - I had no idea) a Jawbreaker cover. I felt this break was drawn out and unnecessary - if I'd have wanted to see Derek on an acoustic guitar in excess of like fifteen minutes I'd have gone to see Alcoa the week before. I've got to admit, "But Breathing" had been vamped up rockabilly style which was quite nice. Thankfully the drones of "I Don't Mind" from the blokes in their late twenties behind me faded a bit when the full band reconvened for "The Red, White and Blues" and a few tracks from Letters Home, including my favourite "No Savior". This song clearly hits a nerve with the band; Derek's hand held firmly to his chest and Jay's fingers and eyes darting towards the ceiling. It hit a nerve with me too. Mind you, I'm a mess at any show I attend - just you wait for the City and Colour review at the end of this month. Sadly, as Defeater's set started at TWENTY PAST TEN (on a Sunday, man!!) and with a (subsequently forty minutes late) Megabus to catch, I missed what might have been an awesome encore as I was yet to hear neither "Cemetery Walls" nor "Cowardice". Bastards. Also bastards are the Megabus people who have indirectly given me pneumonia waiting outside Colston Hall 'till half twelve as I meanwhile could have been pointing my fingers angrily shouting "WHAT'S LEFT FOR ME?!". Bristol rarely disappoints though; I had a fun time.

Anyway - have a wonderful week. I'm back to the grind wishing I could have this week off just once more.