2014

This year has been a bit of a disaster when it comes to geo-political news. 2014 has seen ISIS going nasty, North Korea sticking to their ways and Vladimir Putin being a pain in general. And that's not even looking at the madness in Ferguson. And to top it all off, Ebola is having a comeback and it is nasty. The only thing this year that hasn't really gone to pot is music. To try and make an end of year list is a massive nightmare, I've been having sleepless nights. But here we go...

Best Newcomer- Kate Tempest

2014 has been the year of the debut, not only were we inundated with a new artist every week dominating the charts but the Mercury nominations we splitting at the seams of new talent. One of the most invigorating and newsworthy artists was a white female rapper with a big mouth and strong accent, no not Iggy Azalea. Kate Tempest's album Everybody Down showed that  a spoken word poet can write the best rap album of the year. Kate's believable tales in her lyrics give her a razor-sharp edge and a fresh look at the music scene. A hard choice but well deserved.

Best Comeback- Jamie T

An unsupring but deserving win for the Wimbledon artist. After five years of radio silence, Jamie T raised himself from the dead. After lead single 'Don't You Find' Jamie sold out dates across the country, played the prestigious secret set at Reading and Leeds and released a stunning third album Carry On The Grudge. The record has moments of rage such as 'Peter' and beauty in 'Mary Lee' and of course the shouty lad chorus of 'Zombie'. It wasn't exactly a Kate Bush sized comeback, but it was brilliant all the same.

Best Song- NEW YORK.NEW DORP

The SBTRKT and Ezra Koenig pairing created undoubtedly the best song of the year. A fantastic piece of production tallied with even better lyrics, a club track without the cheese or repetitiveness. A 10/10 win for SBTRKT.

Worst Year- Robin Thicke

Not necessarily the worst year in music (cough Bono, cough Liam Gallagher) but pretty dire in comparison to 2013. Last year Thicke performed at the VMAs, worked with Pharrel and sold millions of  copies of 'Blurred Lines'. The backlash at the misogyny of 'Blurred Lines' hit home when Thicke's wife left him and no-one gave him a shoulder to cry on. Forlorn Robin then made an album dedicated to his missus, selling a whopping 530 copies in it's first week. You can all still buy the album Paula,I know you want it. 

Worst Album-Royal Blood

In fairness, Royal Blood never set themselves the task of changing rock n roll. A genre which has arguably been waning since it's very conception. So when a pair of leather wearing dudes from Brighton started making a tonne of noise from a rhythm section, people began to throw themselves at them. Their album, 10 or so songs of boring and loud rock music. Does it push boundaries? Is it meaningful? No. It is just souless and mindnumbing. Pants.

Best Album-Salad Days

This is the hardest decision I have had to make this year. Personally, I have loved the crop of albums to choose from this year. FKAS Twigs, Kate Tempest, Superfood, SBTRKT, Ben Howard, Jungle, Young Fathers, Temples, the list goes on. But I had to go for the album that means the most to me. Mac DeMarco is a personal favourite of mine, and finally this year my friends caught on to his genius. Salad Days is a mismatch of emotions and sounds, all encompassing in a bit of a mess. However the Canadian ultimately made a cracking piece of art through the anarchy, and that is why it is my album of 2014. His iconic red vans are currently being auctioned off at 20 grand, which is the cherry on his bizarre but brilliant life


I don't really know what is going to happen in 2015. But I just want to thank anyone who has ever read my blog, it means a lot. Big love, get wrecked this NYE and catch you on the flip side.

Aldershot Alldayer, Review

Sausau

Starting off the evening with a gruellingly stripped back acoustic session, Sausau sung some original material and a selection off brilliant covers. The singer used his haunting vocals to completely change the Ozzie Tame Impala track ‘Feels Like We Only Go Backwards’ into a simplistic bare bones ballad. The crowd was 50% his mates, heckling him and asking for covers of ‘Jolene’ by Dolly Parton.

Char Goodfellow

The second acoustic act came from Char Goodfellow. With strong playing skills and a fantastic voice her set sounded exceptional. After a few strong originals singing about the woes of being a teenager Char moved onto some brilliant up to date covers. Firstly, The Wytches ‘Crying Clown’. She took the creepy and ethereal nature of the debut album Annabel Dream Weaver and turned it up to 100, lines like ‘graveyard girl swinging her bag like a pendulum’ stuck even when understated. Next up was Peace’s anthem ‘Wraith’, usually incomprehensible sung by Harry Koisser Char made the lyrics the most important part of the song. And the crowd loved it.

Manatee!

A band hailing from my own college were up next. They were also the first ones on the packed sweatbox that was called the main stage, perfect for the events to come. The three piece specialised in tongue and cheek lyrics with a pop edge. Lead singer Joe Alexander came on stage donned in a garden centre fleece and ripped through a set sending the crowd into feel good vibes. The slight American twang was different and the beg for a glockenspiel/violinist/synth player was entertaining to say the least. A highlight was an embarrassed cover of ‘Call Me Maybe’ which sounded bizarrely fantastic in the hands of Manatee!.

Annabel Allum

The second stage was intimate as it was, but as the Guildford based singer got on stage the whole room shrunk to the size of an airing cupboard when we heard her voice. With musical talent rivalling fellow redhead King Krule and a voice I cannot describe how strong, Annabel Allum is onto a winner. With tunes reminiscent of Everything But The Girl the audience were stunned into a silence as me and my friend shed a single tear. A favourite song was certainly ‘Foxes’, described as ‘well the media just portray foxes to just kill babies and shit, but we don’t know anything about they just do their thing’.

WIKER

The first band to bring the heat to the Alldayer was WIKER, another local band with a razor sharp edge and tunes to match. The set started with the frontman complaining that the hairdresser ‘fucked up his top knot’ and completed their set at breakneck speed. Although from Fleet the songs had the vibes reminiscent of the bands like Cage The Elephant. Although there were no Mark Hoppus stage dives the energy was still there as the band captured our imagination.

Dazy Chain

While watching Dazy Chain my mind was telling me ‘this shouldn’t work’ but the low-fi sound works with enough trippy imagination. Starting off with a bold Stone Roses cover, they changed up the entire masterpiece to make it rock. Through the set we were treated to a selection of refreshing experimentalism that got me moving. The unarguable highlight was a cover of ‘Boys Don’t Cry’, which oozed cool. A band to look out for.

Seers

As the night began to draw in, we were treated to a performance by Seers.  Not only were the three experts in crazed free flowing indie, they had the coolest hair in Aldershot. Guitarist and singer: strong beard game and simple short cut, Drummer: full afro and mutton chops calling back the 70s and the bassist had no face- just hair. In all seriousness, Seers rocked the main stage like no one else. With killer riffs and a sound like they are stuck in space with the sex drive of Alex Turner you couldn’t help but want to move. What was even greater was that they didn’t stop, the band just went on and on for a full 30 minutes. It was like watching The Wytches take tonnes of MDMA and let them loose on some instruments. Wild stuff.

Vinyl Staircases

After the best haircuts in music we had the best dressed. Vinyl Staircases had obviously raided the 1960s for both style and sound as lary shirts and psych donned the young band. The two brothers taking honours of vocals sounded fantastic, and the laid back tunes relaxed the tiring crowd and truly did get select bunches of people properly dancing to the Surrey band.  They were my standout band of the night, the Tame Impala-esque’s new material sounding stunning.

Native People

The pre-cursor to headline act Best Friends who I missed due to my eardrums being completely knackered (don't go to three gigs in three days). The unapologetically pop orientated band who sound not to dissimilar to The 1975 (in a non wanky Matt Healey way). Their music is instantly feel good and fun. Lead singer Reuben Todd was more than keen to get the crowd going, engaging in good banter with the crowd (in a non football hooligan way). Native People are a fantastic band who have huge things in front of them, the Kent boys could be on the way to fame quite soon.

Superfood, Live

I woke up on Wednesday with black and blue shins, a voice not to dissimilar to Stevie from Malcolm In The Middle and covered in sweat from strangers in tent sized vintage shirts. I had the night of my life watching Superfood and Honeyblood at their Camden date on the NME New Breed tour. Watching the Birmingham band for the fourth time in my life that night was a blinding idea by me as after their debut 'Don't Say That' has invaded my eardrums for the last week I needed to know how good their new songs sounded live.

The evening began with probably the coolest band that you've never heard of, Bad Sounds' uncommon mix of electro and indie was almost as cool as what they were wearing. Watching them live was like running into vintage shop Rokit down the road and having an epileptic fit, lead singer donned pin stripe dungarees and looked normal next to his bassist. The music was pretty cool swell, reminiscent of early MGMT and following in the footsteps of new dance bands like Milky Chance. The inundation of cool didn't stop there, Glaswegian two piece Honeyblood were both polite and ruthless. Thanking people for arriving and demanding they 'start jumping' banning the polite head bobbing. This is where I began to feel pain.

The pain continued as I hustled my way to the very front, with just a few monitors in my way between actually being a Superfood member. The next forty five minutes flew by as Dominic Ganderton and co. played a selection of classics from 'Mam EP' and their debut album. To say the crowd went crazy is a huge understatement. I spent the set splayed against the barrier-less stage holding on speakers for my dear life, it was awesome. Security at Dingwalls were stretched to their limits sorting out kit and pushing back Superfood kids who were very enthusiastic. Superfood interspersed their set with conversations with fans throughout, every time they perform it feels like a thank you note to the people who consume their throwback Britpop.

The thank you note finished with the stage invasion which rivals any I have ever seen. As fans no older than 18 bum rushed the already cramped stage Superfood carried on in ecstasy and euphoria as we (yes of course I got on stage) hugged and shared glances to Carl the drummer who carried on despite the anarchy. I finished my night by being hurled off the stage by a burly security guy to my dismay. I now have no voice and will probably have to visit my GP about my neck, absolute blinder.

Wonder Where We Land, Sbtrkt Review

As the year draws into it's final few months, British music still has some gems to release before 2015. This time it's producer Sbtrkt and Wonder Where We Land. Sbtrkt (real name Aaron Jerome) has helped form the careers of Sampha and Jessie Ware and is already a formidable name in the dance scene post his self titled debut in 2011.

However, WWWL is an instantly different album to his debut. Day 1 is a fantastic intro which moods straight into the atmospheric and bizarre title track. Sampha throughout this LP delivers perfect vocals which is expected by him every time. By the two minute mark there are more vocal samples and electronic beeps than a year seven keyboard class, it makes for an uncomfortable listen. Lantern develops from Sonic The Hedgehog into a rave tune in under a minute and is certain to have even the most dreary club on fire. One thing is certain, Sbtrkt is taking risks on WWWL- and they are paying off. Putting almost unheard and nubile southern rapper Raury on his track Higher is brave, but what we see is Raury murdering every single line- like a brash and misanthropic Chance.

The guest spots on the album are varied but each artist manages to provide another facet to Jerome's surrealist soundscape of rent-a-island Osea (surprisingly close to London!).  Christina Polacheck is difficult to understand in her feature on Look Away, which could easily be sung as Walk Away.  As I've already mentioned Sampha is brilliant on this album, with four appearances. Jessie Ware on Problem(Solved) is Drake-y without the corny rhymes, just pure night-time r&b. A$AP Ferg too is fantastic, finishing the album off with a lesson on drug rap for beginners that is stylish and cool. Play this at a party and you've got a full lounge.

I cannot review this album without talking about the single of the year. NEW DORP.NEW YORK with Vampire Weekend's Ezra is as close as we are going to get to perfect musically. Lyrically genius Gargoyles gargling oil and brilliant beat has given birth to a technically great piece of music that you can dance to. Wonder Where We Land is a fantastically weird album, nice to see an album where EVERY song has merit on it's own.

PS. I would highly recommend the Deluxe Vinyl Edition to any record aficionados, picture disks and stickers and secret tracks galore!

This Is All Yours, Alt-J Album Review

I've been very busy with college and homework recently, therefore I have been lagging on my blogging (apologies if you care.) But anyway, onto more impressive things.

Alt-J. Just the band's name is a bit of a nerdy reference, and after An Awesome Wave many people dismissed them as hipsters who were far more style than substance. But two years and a lost band member later we have This Is All Yours. It's fun, frisky and fantastic. Going into this album I expected a snooze fest of over indulgence and mono tonal singing. What I did get from Alt-J's second album is close to alternative perfection.

In Japan there is a city called Nara in which tame deers wander round without being flattened by Land Rovers. Alt-J dedicate three songs to this idyllic place (un creatively named Arrival In Nara, Nara and Leaving Nara). Both Arrival In Nara and Nara appear at the front of  the EP, and Nara is the first track in This Is All Yours that is really interesting. A dirty skuzzy guitar riff followed by twinkling percussion, a big difference from the mundanity of Matilda. Every Other Freckle sounds like a 14 year old boy's first dream with a woman in it, turn you inside out and lick you like a crisp packet. It is filthy perfection, the first time the so called hipsters get frisky and the first time you might be able to dance to Alt-J. Link this up with western banger Left Hand Free you've got some potential headliner material.

The most disappointing thing about music post junior school is the lack of Recorder Solos. WELL LOOK NO FURTHER BECAUSE ALT-J HAVE PUT IN A RECORDER SOLO. Yes really. It works almost as an inside joke of their experimentalism, or was it a drunken bet? Nobody knows. Another possible dirty pint moment is a sample of the ever-twerking, ever-embarassing, ever-instagramming singer Miley Cyrus. On track Hunger Of The Pine there is a pulsing beat which has come straight out of Tron, skip a minute or so and there she is Hannah Montana screaming I'm a female red bull (rebel). Yet again, Gwil and co have actually managed to make it work. And that is why This Is All Yours works so damn well.

The Gospel Of John Hurt is the most recognisable factor from An Awesome Wave where vocals were recorded through a fan. Even though vocals are similar, the progression from the ultimate bedroom band to international performers is clear. Alt-J are no longer a music nerd's guilty pleasure, grabbing a number one record last week shows how cool they are. This Is All Yours is an excellently crafted album with a little bit of wit, little bit of weird and the tiniest ounce of sexual ferocity.

Mercury Shortlist Announced

Another year, another outrage at the Mercury Prize shortlist. Last year's rants were tinged with the mundanity of acts such as Rudimental and Laura Marling received noms. In 2014 it is this general feeling of anxiety that the important people in the industry are losing touch with music as the all seeing web is taking over. For example The BBC has made faux pas after faux pas in the last twelve months, including pasty Ed Sheeran being voted the most influential musician in Urban music and a senior member claiming that Playlists are the future (which isn't a obvious plug for BBC Playlister at all). The Mercury Prize panel ignore all Bandcamp EPs and anything which isn't a classic album, which to many seems quite narrow-minded and old fashioned in a day where Apple can send a wanky U2 album to every single human alive.

But what about the albums in the shortlist? Are they the best Britain has to offer? Have you even heard of them? And who even deserves to win? I'll go through a few of the LPs for your benefit.

Bombay Bicycle Club- So Long See You Tomorrow
The fourth album in a five years sees London boys BBC really live up to their sub-continental name, with more Indian vibes than a Friday night piss-up in Brick Lane. In comparison to their other albums, it has a much stronger pop feel which could be grasped quite easily as it is Bombay's first number one album. The LP is an excellent show of progression and how indie can be pushed forward in 2014, it's chances this year are slim.

Daman Albarn, Everyday Robots
Whether it be with Blur, Gorillaz or orchestras Albarn can't seem to put a foot wrong. His first true solo venture Everyday Robots was a funeral pyre for iPhones and tech. Like any 40ish man, Damon is wary of the new age of social media saturation and his album showed that. Despite it's moroseness Everyday Robots was dripping in genius, you felt alone listening to tracks like The Selfish Giant and jubilant during Mr Tembo. A fair bet could be put on Mr Blur.

FKA Twigs, LP1
In my opinion, FKA Twigs' album is the best British debut this year. The London born Tahliah Barnett makes unique and sparse beats, then lays her heavenly voice over- it's the closest we have to Grimes in the UK. Her first album is the next feather in the hat of the indie dance scene which includes SBTRKT, Sampha and now superstars The xx. Her original style is pushed throughout the album to create a singular piece of art in the form of music, and isn't that what we want from a Mercury Prize winner?

Royal Blood, Royal Blood
Everyone has heard of Brighton duo Royal Blood by now. You'll know them as the pair of guys in Topman leather who like to make loud music. And everyone loves them, from the blogs claiming they're the saviours of rock music to the 'shock' number one album (despite tonnes of air play and the best PR campaign this year). I'll let you into a secret- Royal Blood is not a groundbreaking or even a good album, it is middle of the road mindless rock for the lowest common denominator for those who believe a Nandos is a good night out.

Jungle, Jungle

What does CHIC, Daft Punk and Michael Jackson all have in common? They make us dance, and that's what Londoners Josh Lloyd-Watson and Tom McFarland have set out to do with their group Jungle. Shrouded in mystery and monikers, the self-titled debut struck it big in the blogosphere and provided an alternative to the chart drivel EDM for people who wanted to dance. It's funky, un-offensive and a great listen. Tracks like The Heat and Time scream Barbecue weather. Is it Mercury worthy?, quite possibly.

Superfood, New Tour New Album

The relationship between you and your favourite band is very special. For some that means spending ridiculous  amounts of money on merch, eventually looking like a bit of a fool in your 15th Blink 182 hoodie. Others it's all about a follow on twitter and screaming for a selfie. Some fans insist on being keyboard activists for their favourite artist, ultimately causing a stir and embarrassment for all involved (believe me, I've been told to kill myself by an Avril Lavigne fan).

My favourite band is the Brummy four piece Superfood. My relationship with them includes many photos, instant song recognition and seeing them play live three times within the space of ten months. I was lucky enough to interview the band and really enjoyed their company, something that should stay with me for a fair few years (Until the point where I interview Kanye West and my mind turns to jelly).

Therefore you could imagine my huge excitement when three of the biggest things that could happen in a band's career all happen on the same day. First of all NME announce that Superfood along with Honeyblood will headline the 'New Blood' tour which is coming in late November and early October. Then on Superfood's soundcloud a completely new tune was released, Lily For Your Pad To Rest On is a Happy Mondays-esque freak out with off the wall lyrics and a solid drum beat to excite any retro fan. Probably most important is the release date of their new album 'Don't Say That". The album, released on the 3rd of October, may be one of the biggest and best releases of the new wave of Birmingham indie washing over the UK. I personally hope this album is more successful than even Royal Blood who are on track to dominating the charts for another week.

The Wytches, Annabel Dream Reader Review

Since forming in 2011 The Wytches have designed themselves to be different. It all started when lead singer Kristian Bell decided to switch an 'i' to a 'y' making the band easier to find on Google and just to be a bit weird. The Peterborough three piece have set out to be the hardest psych band in the UK, putting The Horrors and Temples into a playpen while The Wytches try their hand on debut album Annabel Dream Reader.

From the early era Pixies start of Digsaw it is clear that The Wytches aren't here for you to politely nod along, Kristian Bell is making music for the 'goth' teens to mosh to. With screeching lyrics and soaring guitars Digsaw is begging you to punch the kid next to you. Some of the songs on ADR keep up this head banging purism such as Fragile Male and Gravedweller, the latter of which reminds me of Drenge's fascination with feedback and being hard as nails. All good albums know you must have light and shade, and The Wytches can manage this expertly. Tracks like Wide at Midnight and Weights and Ties prove that the three know their ways around instruments, the slowed down monolithic sounds are as dark as they are beautiful.

There is a serious issue with Annabel Dream Reader, and that comes directly from lead singer Bell. Despite his haunting screeches and wails he cannot write lyrics for the life of him. Some of the biggest crimes lyrically come from Fragile Male in which he croons you must be a dancer, cos you're dancing in me. I don't want this to affect me but it really does, for music that sounds so fantastic at points the lyrics make me feel uncomfortable. On the fantastic Summer Again which is relaxed and is taking reference from everyone from Arctic Monkeys to Gnarwolves is ruined by bum lyrics like you climbed up my jeans, we wept for each other.

The Wytches are a live band. They do breakdowns better than almost anyone at the moment and their music has been perfected for the dingy club to thrash to. Kristian Bell has created a band with a striking aesthetic which is already creating a cult like following amongst the darker teens of today. Their promise is infinite when looking at the final cut Track 13 which is a slow ballad where caterwauling works so perfectly you wonder where The Wytches have been all your life. Just sort out the lyrics and you've got another huge Brit band.

Reading 2014, Things I Learnt

For another year Reading Festival is over. Five days camping in a huge field interspersed with brilliant music, overpriced food and anti-Spurs chants. Without any hesitation it was the best weekend of my life, spending time with both your best friends and favourite artists is the key to happiness. This was my first true festival, and I sure did learn some very interesting things about Festival culture and the bands that played at Reading and Leeds 2014.

Gerard Way sucks
The My Chemical Romance frontman had his live solo debut on Friday midday. The NME stage was packed, everyone was ready for some classic MCR anthems. What we received were around 10 songs from Way's new album. Did anybody know the words? Did anybody enjoy it? Was this worth waking up for? The answer was No. Despite Gerard Way's huge advantage of being a world class performer, he didn't have the material to back it up. All he received was a resounding 'meh' from the audience.

Everyone hates Tottenham
Festivals are a breeding ground for chanting and Reading 2014 was no exception. From the Get Out Me Car Vine to the Inbetweeners Movie, no slice of pop-culture was safe from becoming an arena shoutout. Bizarrely in Reading there were thousands of Arsenal fans. Nobody could trace it to a group of lads or campsite but everywhere you went people seemed to be hating on Spurs (granted there was a bit of West Ham love in the air). It was fun to feel part of something far louder than you could possibly imagine, even if it was mainly mindless banter.

THE ORWELLS (TAKEN FROM NME.COM)

The Orwells are the masters of destruction
On Friday it was certainly a battle of the brawn between Drenge, Fat White Family and The Orwells. Drenge kicked it off with cross dressing, moshpits bigger than my house and singalong belters. Lias Saudi did not want to be bested, he tried to top the Loveless brothers with a mix of toplessness and being down right disgusting. Fat White Family are an excellent example of how important notoriety is today in music, people came over to the Festival Republic Stage just to see what unfolded. However, Chicago's The Orwells were truly the number one band on Friday for destruction. Mario Cuomo channeled the sleaze of Iggy Pop and the hyper sexualised Alex Turner to lead The Orwells into disaster. He hung from the lighting rig, had dry sex with the lighting rig then got himself into the crowd- in which we didn't let him leave. Major props to him for dedicating a song to the NME and then screaming "I fucking hate my parents!".

Peace and Cage The Elephant don't mind stealing the show

PEACE (TAKEN FROM NME.COM)

Saturday was the day my weekend fell into place. I was suitably bevved (Reading lingo) and the music was excellent. Gnarwolves were insane, Royal Blood's potential is obvious and Gesafflestien's brand of dystopian dance was executed with a disconsolate French grimace. Birmingham boys Peace brought their A game to the Main Stage with crowd favourites Lovesick and Higher Than The Sun and their new material (especially World Pleasure) put the crowd into ecstasy with smiles all round. It was then Kentucky's finest Cage The Elephant to rock the NME stage, and boy did they. Matt Shultz contorted body and screams made for the one of the best performances of the weekend. Him crowd surfing into my best friend's brother's arms was particularly bizarre but certainly brilliant.

Matt Healy brings all the girls to the yard
Let me paint you a picture. I've been standing at the barrier of the NME stage since 11am. My poor body has been crushed more times than the cries of "Alan" and "Steve". I have been on the telly more than the targets of Project Yew Tree. It is now 8:30pm and my brain has been turned to jelly by The Horrors psychedelic lasers and I haven't touched substances being passed around by Yellow camp.

THE 1975 (TAKEN FROM BBC)

I close my eyes for a second, I assumed I died and woke up in a very sweaty heaven as I am surrounded by 20 beautiful girls. Then I realise I'm not dead but that The 1975 are just about to play, and Matt Healy is a bit of a heartthrob for 16-18 year old girls. Although sceptical of the band I stuck my ground as at my good position because Disclosure are worth the wait. The band saunter onto stage with a bottle of vino and look throughly drunk. The next 40 minutes are fantastic, the band play their very catchy songs with great confidence and Matt Healy knows how to run a crowd (which is huge, even by Reading standards). I was a 1975 convert, my indie roots had been ripped out the ground.

AM live stands for Absolutely Mundane

ARCTIC MONKEYS (TAKEN FROM BBC)

Watching my favourite band of all time was the saddest moment of my festival (and I had my tent ripped to shreds then burnt). The release of AM sent shockwaves throughout the music industry and made Alex Turner a household name both sides of the Atlantic. Arctic Monkeys are so at ease with playing headline shows at festivals that they forgot they have to perform. Alex Turner is an exceptional musician and I quite enjoy his reincarnation as Sheffield's Elvis but his stage presence is poor and the lack of eye contact between the band is worrying. Most songs from the early albums went down a treat but AM songs became funeral marches of boredom and mundanity, Knee Socks was a particular low point. The Monkeys are going on a break after they wrap up their US tour, and I think it is well needed.

Michael Cera, True That Review

Let me start with this, I'm a closet Michael Cera fan.  That's a lie, I'm an out and out Cera fanboy. My favourite film is Scott Pilgrim Vs The World, that's all you really need to know about me. So when I found out that the king of the awkward smile had released music I was dead with excitement.

The result is True That, a bizarre and jagged lo-fi album that doesn't fit into any genre. At one point it's a mess of acoustic guitars and dodgy vocals (Steady Now). Then the next track it's an instrumental reminiscent of Jacco Gardner's psychedelic piano playing. Undoubtedly many of these songs are morose. Ruth tells the story of a mother who lost her child during pregnancy and is tear jerkingly low key, it is a certain gem in the album.

3rd 'Odd Future Carnival'- The end of OFWGKTA?

Last night the third annual Camp Flog Gnaw Carnival was announced by all Odd Future affiliates over Instagram and Twitter. The first Carnival was a huge success, and so was last year's. So it makes perfect sense for Tyler, the Creator and the rest of Odd Future to throw another.  Tyler's growing separation from Odd Future and rap music in general hints that the OFWGKTA is coming to it's end. And this Carnival is posing even more questions than it answers.

Note how there is only one mention of OFWGKTA on the poster, it clearly is called the 'Camp Flog Gnaw Carnival'. For me that shows that rappers Hodgy Beats, Domo Genesis, Mike G etc. had almost zero input into the organisation of the show. It is all done by Tyler, the Creator. This is not surprising however, Tyler has created a universe for himself from the upside down crucifix and cat imagery plastered over early OF releases to the bright, zany and downright silly Golfwang clothing range. Even the colours on this poster scream 'TYLER WAS HERE' as these were the colours used in his recent Vans Syndicate shoes. The once ringleader of an 'underground cult' is now the curator of his own carnival, and has left OFWGKTA to be support slots.

Other interesting developments to the carnival is the line up, N E R D legend Pharrel Williams is headlining with other non Odd Future rappers Rick Ross and Mac Miller. The only OF acts that make it onto the main stage are Earl and Tyler (unsurprising as these are the only members with considerable mainstream success). And a frightening lack of Frank Ocean only fuels rumours that he has disappeared off the face of the Earth (perhaps a 'Free Frank' campaign must begin?). Other exciting acts to take to the Carnival are west coaster Freddie Gibbs and comedy DJ act Billy Jole, played by Earl Sweatshirt and Lionel Boyce.

To any other human who isn't well versed in Odd Future would mainly be asking 'The fuck's a Flog Gnaw' or 'Where are all the crucifixes and 666'. But for the fans, these things are extremely important. Odd Future were the punks of rap music with a following of teens that hung on every word that they would say (go to their shows, believe me). But many believe that it could all be over, with disappointing releases by Mellowhype and not a whisper from Domo Genesis despite him claiming there would be two releases in 2014 it looks very bleak. For OFWGKTA, their fates rest in this carnival. 

Do you agree, think I've got this all wrong? Comment Below

New Band, Happyness

Upon first listening to Happyness I immediately felt extremely sad. How hadn't I heard of them before, why was i depriving myself of this sultry slacker surfer rock. Once the self-loathing had subdued, I got my teeth into the London trio.

From knowing one another for a few years Benji, Ash and Johnny formed what were later to be known as 'Happyness' (apparently spelling it correctly was too coy). The music they were making was so laid back it's almost vertical but I am not complaining, a perfect example from their first EP is Orange Lux which twins almost silent guitar with relaxed vocals and a simple drum beat creating the backbone of the tune.

Happyness' charm is in the delivery and craftsmanship. Despite Weird Little Birthday being a debut album it has no airs of slap-dash or being rushed. Everything feels in place, from sighs and ever-lazy guitar riffs this album screams 'love me and all my slackerness'.  The lyrics are dry and witty (titles include 'Regan's Lost Weekend (Porno Queen)). A favourite line for me is I've got a new refrigerator and I'll think you'll fit just fine. It's a tiny bit bloody, and a whole lot of bloody funny (a feeble attempt at humour sorry).

Interview, Superfood

On the third floor of the old Kensington Park Hotel is Superfood, or three out of the four members of Superfood. Later on speaking to Dom (frontman) he has been “in some park all day really hungover” while Emily (bass), Ryan (guitar) and Carl (drums) have been in their home city of Birmingham.

And it’s Birmingham that have almost defined the band. In the past couple of years there has been a Birmingham take over of the UK indie scene which drummer Carl explained that ‘there has been a scene for so long’ there but ‘the time is now’ for the whole of the country to listen. This Brummy revolution was mainly due to Superfood’s mates Peace, who have taken the country by storm and put ‘a lot of focus on another band to come through’ according to Emily.

Despite being a self confessed part of the ‘second wave’ of Birmingham bands, the four are nothing but exciting. Their first release, MAM EP was instantly loveable. Four sing-along tunes that had the feel of 90s Britpop with the energy of a 12 year old after a bowl of Lucky Charms. Being labelled with an almost redundant genre is a bit of ‘weird one’ according to towering guitarist Ryan as he claims that Superfood never ‘set out to have a certain sound, it was just writing songs that we thought were cool’.

Accidently sounding like bands that they have never heard of does not faze them and nor does playing the KPH that night either. Tonight is the first of a set of free shows supporting their new song ‘Right On Satellite’ . Part of an all day festival with them headlining seems daunting but Emily reassures that ‘It’s pretty cool playing here, because it is all bands that we know and the venue is really small and relaxed’. Relaxed is certainly the word for the day, the lower ground is a pub in which all acts set up shop, and chatted to excited fans. The atmosphere before Superfood is electric and Ryan admits that ‘they are really excited to just be playing shows’ and after trying the set in Amsterdam they are really ‘chuffed’.

Without much pressure the three excitedly tell me that their debut album is done. After a lot of focus writing and completing the album it is all finished, for the minute they are excited to be back on the road again. They may have an issue with naming the LP coming up with ideas on the spot like ‘Power To The People’ (or shortening it to Power).  I was even pulled into the short brainstorming- suggesting ‘Blueberries’ as that is ‘all that comes up when you Google Superfood anyway’.

Footage from the residency (I'm in the crowd about 20 seconds in)

Hannah Rodgers, Interview

I caught up with Hannah Rodgers, or Pix on Saturday post her opening slot at the Squeeze free festival at the KPH. We talked influences, life in a all girl's Catholic school and the slow descent into alcoholism.

Where do you draw your influences from?

When I grew up I was like obsessed with Joni Mitchell and Bob Dylan, especially Joni Mitchell though. I love Enya- Orinoco Flow, Caribbean Blue. I love the Cocteau Twins; they have a song called Alice, which I listened on repeat for like a month.

Where did you grow up?

I live in Chipstead, which is in Surrey. It’s a small little village, I live opposite massive woods- I live in the countryside basically! I’m a nature girl, Mother Nature ahaa.

So where many of your friends making music growing up?

Well my dad is a musician, he sings and plays guitar he’s amazing. So when I was growing up he was constantly playing, I just picked up the guitar from watching him. I went to Brit School for two years as well.

Was it a good experience for you?

It was really good! Before I went there I was going to, not a convent but a very strict Catholic all girls school. So it was strange going from literally only speaking to girls and it all being very strcit and lots of hardwork then going to Brit and being like “woah wahey all I do is music! This is the dream!”

It must have been a huge change?

It was mad, it was really mad- but it was a good change.

Do you think Brit School gave you the help to become the strong artist you are today?

Before I went I wouldn’t have performed in front of people, they kind of forced me to perform because if I didn’t I wouldn’t have got my qualification at the end. I had to perform which was really good because that got me onto the stage.

So did you get nervous when you performed today?

No I really enjoyed today, usually I’m very quiet on stage. But today I am really hungover and feeling a bit mental still, and that’s why I was doing loads of confusing talking between songs. I got everyone to come up to the front because everyone looked miles away and like ants.

How long have you been writing songs?

Since I was like twelve, but you wouldn’t want to hear those songs!

Were those recent songs you’ve been playing today then?

Yeah, I write probably about five songs a week. Writing is what I love to do but not every song I write is one I keep. It’s good to write a lot because then you’re bound to find something good.

 Do you hope for there to be releases soon?

Well not an album, I hope there will be one day! I’ve got a single coming out, just on Soundcloud. I’ve got management, they’ve been helping me for the past year so I have been able to work with loads of different producers and stuff. It’s going to be called A Way To Say Goodbye under the name Pix. There will be a video and everything, it will be a free download. Hopefully it will get the ball rolling, get some fans!

Are you going to stay and watch the rest of the festival?

I’m staying! I am really hungover and I have worked out the only way to get through is to carry on drinking! I’ve been doing this for like 14 days now? I may be slowly becoming an alcoholic. I’m not sure!

BREAKING NEWS, Superfood Bring The House Down At The KPH

Birmingham band Superfood have just shut down the KPH in Ladbrokes Grove after JUST ONE SONG. The band were due to headline the Squeeze festival alongside groups such as The Black Tambourines and a DJ set by the Swim Deep boys.

The excitement in the crowd was compelling, as a huge Superfood fan I was right in the thick of it. Before the set started we all promised to go 'absolutely mental'. As the B-Town sensation begun the crowd favourite TV the entire 200 capacity venue began to mosh, alongside regular punters were Harrison Koisser (amazing man btw) and most of Swim Deep.

Almost as quickly as the song began did the manager hit the stage and stop the band mid-song. He urged us all to leave the KPH as quickly as possible, as the ceiling had fallen in on the lower lever (beneath the mosh pit). As we were hurried out the venue we all could see the 15ft hole of fallen plaster revealing original beams of the old venue.

Image of the caved in ceiling (courtesy of @Infectious_uk)

FULL INTERVIEW WITH SUPERFOOD COMING SOON

LIVE REVIEW OF THE FESTIVAL COMING SOON

INTERVIEW WITH VERY EXCITING NEW ACT 'PIX'

The Acid, Liminal Review

Not often do a band come from absolute obscurity and release an album as precise and perfected as Liminal. Australian folkster Ry X has joined forces with DJ Adam Freeland and Steve Naplea to make The Acid, an electronic group that have been keeping their ears pinned to the recent UK electronic scene. Influences throughout the album can be traced from James Blake, The xx and Alt-J and not once do you hear something and think "eh it's been done".

Liminal is a fantastically atmospheric album from the beginning, what feels like a spaced out sample of King Krule's 'Foreign 2' then evolves into a spacious track with drips of feedback at soulful feedback. Ry X vocals are on the edge of haunting and affected, but without desire to be obtuse (which is where many left field groups fall short).  What makes Liminal so superb is the progressiveness that makes many tracks even danceable. When live you just know that The Acid are going to make you want to dance, instead of instinctively nodding along thinking about Instagram filters and where you can buy good falafel.

The song Ra instantly clicks with me, gentle riffs add a personal touch to an album which could easily be mistaken as icey or impersonal. The track Ghost could easily have been lifted from any of Grimes' albums which is never a bad thing, but with lyrics bordering on sexual harassment I want to touch you, ghost send a shiver down your spine that isn't all too pleasant. Clean leads the way for atmospheric music, a path paved by French producer Gesaffelstein (creator of Yeezy anthem Black Skinhead). Clean is a standout amongst the rest, only topped by the insatiably freaky Creeper. Creeper is a brother to Every Step You Take by Sting with lines like I wanna love you like a creeper knows. The stuttering bass creates a ravey banger that turns Liminal into something amazing.

Stream Liminal Here