Channel Orange, Modern Masterpiece?

In the swamping midnight heat of LA, a young man decided to make a reckless decision. In the background, a media storm was brewing over an extremely personal message about his sexuality was published on the blogging site tumblr. In the foreground, a very real threat of the album leaking online was present. These factors, and perhaps a devilish spirit inspired Frank Ocean to release his debut album Channel Orange a week early. What resulted, was stuff of dreams.

As hurricane Katrina slammed into New Orleans, the prolifically secretive musician returned to the place that shaped his music arguably the most-LA. Ocean began to write for every artist that has ever scored a number one in this millennium, from Pharrel to Bieber. As he began to tire of thankless lyricism, Frank Ocean became entwined with Tyler, The Creator and Odd Future. This ignited his creative spirit and the legend truly began. Frank Ocean began a solo career, crafting the inimitable Nostalgia Ultra EP then writing his debut album.

The album is an hour long journey into the mind of Ocean. Like all great artists such as Nick Drake, Lana Del Rey and David Bowie- the line of character and man, reality and fiction are blurred to infinity. One likes to imagine that every lyric is self autobiographical, that Frank Ocean has led a thousand lives resulting each in an individual narrative. This believability only comes as a result of his dense and personal lyrics that regularly delve deep into our own insecurities. Whether it be the cougar tale of Sierra Leone or the ingrained classist jealousy present in Sweet Life, Channel Orange speaks like an R&B story book.

Channel Orange mixes pop sensibilities and complicated themes and symbolism to create a stunning piece of art. The album is conceptual, a flick through different channels with the passion to find ‘orange’. The ambiguity of the concept is focused through Ocean’s interpretation of experiences as colours, the orange denoting a Summer spent with an unrequited lover. Themes throughout the album range from wealth, loss, escape and inequality of love. Pink Matter gently hints at Frank’s sexuality, and Bad Religion knowingly condemns Islamic prayer 'Allahu Akbar'/ I told him don’t curse me. Channel Orange is artistic, intellectual and at times very biting.

Sonically, the album heralded a new generation of emotionally conscious R&B. Arguably the reason why Drake makes ‘nightime rap’ and The Weeknd remains relevant, Channel Orange flows song to song breeding expansive and luxurious ballads. Pyramids is a ten minute miltonian effort, combining different styles and inspirations to create a gargantuan ode to a stripper. The final secret song is Golden Girl, a Tyler produced song that predates Wes Anderson tinted songs such as Okaga CA and Treehome 95. This, over every reason is the reason why it’s a masterpiece. It just sounds good

Bitch Better Have My Money, Rihanna

I've had a few key thoughts recently and they include this;

1) Life is really hectic and finding time to do what you want is a real struggle so apologies if you like regular updates from Let Your Headphones Bleed
2) I realised how British I was this week by how much I thought about the weather, 36.7 degrees in July?! Barmy things
3) Rihanna is just bloody brilliant.

And that final thought came to me today. After a lengthy promo for the anti-popstar's single Bitch Better Have My Money, the video is finally here. In 2010 we thought she was nasty with her bright red hair and love letters to  ball gags and a spank (S&M if you were wondering).  But as Rihanna continues to covet her position as mainstream's bad girl she has created her piece de resistance.

The video stars Rihanna as the most explicit extortionist in existence. Kidnapping a gorgeous woman, placing her in an ominous trunk and continuing to torture her, all to try and get her money back from scumbag accountant Mads Mikkelsen. All crimes are completed in couture as Rihanna watches on sensually as her girl gang swings the kidnapped woman naked to and fro, gets her higher than a kite and drowning her in a pool.

Not only is this video utterly ridiculous in it's violence, drug use, crime and general debauchery. It is also stupidly sexy. If any human in this world exhumes 'body positivity' it's Rihanna. Rarely wearing more than fur coat and knee high boots we are positioned to adore her even more than we ever have before. Strangely I do not anticipate much backlash against this video, it's totally self aware and plays on the excess of the lyrics such as your wife in the backseat of my brand new foreign car to create something grotesquely gorgeous.

The final moments, after Riri has slaughtered the Mikkelsen with a series of knives, needles and chainsaws we see Rihanna. She's stark naked, covered in blood and 100 dollar bills and smoking a huge joint. It's funny, it's sexy and most importantly, it's bananas. And that's why it works so damn well.

Are You Satisfied,Slaves Review

Kent duo Isaac Holman and Laurie Vincent have been trying to inject a bit of cockney-esque mirth into the British indie scene for about two years now with varying degrees of success. Being a two piece in an age of maximalism begs for a razor edge. It has appeared that the pair have locked into old-school punk and simplicity to drag audiences away from the mundanity of some bands. Their debut album Are You Satisfied stretches the style to the max, with varying degrees of success.

The vivacity and energy of Slaves is obvious from the onset of the album. The Hunter menaces and prowls with a Isaac fantasising about the apocalyptic future we are about to enter with a Kentish swagger and confidence before the song blasts into a grungey clanger. Both on record and live Slaves  pull no punches as every set will finish topless and glistening. The raw energy and animalistic energy is pushed throughout. In songs such as Despair And Traffic and Do Something the pair act as a psychopathic Paul Mckennas trying to improve the mundanity of all our lives. Hey acts as much the same, vicious riffs and bloody lyricism makes Slaves one of the most visceral bands around. The overall sound and feel of the album is similar to a one night stand- in and out without so much as a kiss on the cheek. The songs all follow the same idea, which coincidently follow Shia LaBeouf's speech here:


Although beginning as punk, Slaves have appeared to upset the status quo of rock and indie by trying to be a little bit funny. As the band perfect their sound further, the more cartoonish and zany their image has become. For example, the artwork is bright pink with two cuter than cute dogs sitting innocently. Self directed videos have varied from cartoon lands filled with manta rays and Shaun Williamson as an ice cream vendor, Slaves don't shy away from a bit of comedy. This becomes apparent in animated screamers such as Wow!!7AM and Feed The Mantaray. The lyrical content is nonsensical and tongue in cheek, juxtaposed with still furious backing crowds can still mosh without embarrassment. However, the simplicity of some of the songs can lead to a cringeworthy solo listening.

The cartoonish characters Slaves have created for themselves is their jewel and their downfall. Take away the vocals and you are left with basically 13 of the same songs. The two-dimensional choruses wear somewhat thin by the last third of the album, despite the Sleaford Mods inspired Ninety Nine and interesting layering of Sugar Coated Bitter Truth. Are You Satisfied is good, but a little more intellectualism wouldn't go a miss.

Horrors of 1999, Ho99o9 Review

Trying to explain what Ho99o9 (obviously pronounced Horror) is like describing a rainbow to a blind man, purely impossible. In layman's terms, Ho99o9 is a mixture of horrorcore rap and punk who specialise in satanic and terrifying imagery and noise. Their new EP Horrors of 1999 is out next week and it is like nothing you have ever heard before.

The first song No Regrets comes straight from the pits of hell with a visceral hacksaw guitar line and inaudibly violent lyrics. It is clearly designed for the creation of walls of death and circle pits alike as the song progresses into a nightmarish scream of pure animal rage and excitement. This is typical Ho99o9, and tastes like six red bull and a gram of amphetamines. As the pace is sped up, Days Of Vengeance slows it to a funeral march. The gloriously horrific beginning is well balanced with chorus death cult represent, recruiting all sinners, the hunt starts in March doesn't end till December. This isn't music to listen to with your Grandma that's all I'm saying. With clear Death Grips influences throughout all their music, it sounds gorgeous- even when rapping about finger fucking a girl while driving.

POW (Prisoners Of War) follows in suit, with graphic lyrics and inhumane screams. Many suggest that Ho99o9 is extremely similar to early Odd Future, however the music is coming from a much purer place. For OFWGKTA, it was a bunch of 16 year olds fantasising about rape for attention. Ho99o9 are aware of their ridiculousness and live up to it with S&M masks and wedding dresses on stage. Taking image to the next level. Similarly POW and Gates Of Torment utilise Yeezus-esque beat patterns and sounds to create a stark and apocalyptical atmosphere. Gates Of Torment presents this best, a song little over 60 seconds it makes it's impression very clear. Lyrics about penises and artilitary rife.

The truly interesting and pumping moment is the last song Savage Heads. It follows the classic punk three chord structure with shout and nihilistic vocals. The simplicity is addictive and effective due to the juxtaposition. There is an  almost sexual nature to the entire song which prowls and boasts throughout the two minutes. 

Bloodbath EP, dazy chain Review

We have reached the year 2015 and maybe every good band name has been taken. In the olden days you had brilliant names such as The Rolling Stones,  The Sex Pistols and Oasis. Today we have awful names such as Catfish and the Bottlemen, Two Door Cinema Club and 5 Seconds Of Summer. Some of the cooler contingencies of the band world are committing crimes against grammar to have the extra edge such as Alvvays and ho99o9. Surrey band 'dazy chain' are no different.

Their debut EP, Bloodbath is not quite as homicidal as it sounds but it certainly doesn't live up to the connotations that a daisy chain has. The first tune I Don't Care pulls on indie sad-kids heartstrings, with lead singer Sagaar Kaushik pondering and contradicting himself I'm not scared, I'm just afraid over morose backing. The song screams teenage apathy and one too many re-runs of Skins series 1 as it progresses into a sweary binge. The title track follows suit, a Weller influenced intro evolves into a interesting synth line. Bloodbath asks you to bob your head to the good production and poetic lyricism.

The last two songs on the EP really flourish what the young band are capable of. Gunfire is reminiscent of Jesus and The Mary Chain, heavier than the two previous songs it will get people moving about. The lyrics appear obtuse and nonsensical, especially in the chorus I feel the blood rushing to my face- yet that doesn't necessarily take any of the joy out of the last woozy minute that leads directly into Nucleic Acid Trip. One of the first songs that the band wrote, NAT is a bit more synth pop than the guitar heavy EP. This adds a childish charm to finish the EP, especially with the druggie chorus asking whether you're feeling it too. As a whole, the band has a raffish confidence that could evolve into a real contender

Manatee, Interview

Manatee are a four piece hailing from Farnborough Sixth Form who have just been signed to Basingstoke label Le Tribe. Catching up with frontman Joe Alexander, I found out about the start of the band, their sound and how there is nothing Manatee hate more than changing the world.

Who are Manatee?

“It all started first year of college, it was like two weeks in. I was sat in music tech and had known Sophie (Wickham) before college but not really, we had never met but I had her on facebook for a while. I vaguely knew that she was in a band before, and I knew she played bass. It was literally a minute conversation with her, we had decided albeit a pipe dream at the time to start being in a band.

So me and Sophie had started it off and then a few weeks went by and we were looking for a drummer. We found out that Zach (Boakes), who we had known before hand, did lessons for kids and that sort of thing so he was on board. I don’t know how long we had been Manatee before Calum (Ellison) came on, it must have been about a year? Calum joined properly in about January time this year. He was in a band before, like a folk band and he just didn’t tell them- I don’t think he is still in it (I hope not!)”

There’s two things that strike me about the band, one of them is certainly the name. How did Manatee come to being?

“When it was just me Zach and Sophie for a while, through that year we went through a number of different names. We never sort of came up with anything- we’d brainstorm every time we would get together and have a practice but nothing ever came of it. We had some stupid names that almost happened ‘The Cacti Club’ and “Dolphins Do Maths’ were all non starters.

We were all, not angry, but had got to that stage of high tension at a practice and Zach just shouted “Right what’s your favourite animal?”.  I replied with “oh a

Manatee”, it wasn’t like a revelation moment where we realised it was the best ever band name. We kind of just went with it “it will do”. With the release of the single on Monday, I don’t have much say in the matter anymore.”

And also what do you feel you would class your own sound was? Do you feel that your style has changed now?

“I always thought of our sound as quite happy and joyous, it’s nice to listen to. That’s what I have always wanted from Manatee. I’m not trying to change the world or do anything revolutionary. It’s just pop songs and that was the main focus for me. And there are bands out there that do the whole sad thing really well, you get the sentiment really well. Listening back to us, we are a happy band. The songs I prefer on the record that are the happiest, not always lyrical content but the major chords and the glockenspiel lines.

The sort of initial imaginations of the songs I had in my head have completely changed. There are songs that are coming out on the record that I never thought would sound like that. Some things I am happy about, others I would have like to develop even more. The whole recording process completely changed us as a band, especially for me- I could work out what worked and didn’t in terms of our sound. Which will hopefully go to progression in the next recording.

I never wanted to be just another guitar band”

So your debut single is coming out tomorrow?

“It is a weird process for all of us, it is the first time any of us have put something out there for people to actually buy and download and listen. It’s weird to see myself on Itunes. Logisitcs is about, for lack of a better phrase, just getting out there and moving around. In a daily sense we have lines like you’ve got a train to catch and things like that But in a wider and more figurative sense, you’re not going to get what you want from your existence if you do not go out and seize it.

We are hoping to release the EP early Summer, of course see how the single does and go from there. Dictating how much buzz there is going for the record and the EP. It’s called Hours and Hours and Hours, which is reminiscent of the opening lines of the EP. Basically the title stems from the amount of hard work and literal time we have put into crafting what Manatee sound like.

We have been a while as a band, people asking us how long we’ve been together and this is only our first release. People are always surprised. A year and a half, that just reflects the process and how we have tried to make these songs sound like I’ve always wanted.”

Logistics will be released on the 11th May

There Is A Light That Never Goes Out

(Taken from an existing project, Let Your Headphones Bleed is changing soon xx)

The Smiths disbanded in 1987, still yet to release their final studio album Strangeways Here We Come. Now 28 years later, countless teens across Britain still feel that Morrissey and co. are de rigueur. So how did The Smiths get this staying power? Is it due to their music, the razor sharp wit of Stephen Morrissey or is it the miserable reality that liking the Manchester sad boys is the key to being the trendiest hipster in your shitty estate?

Stereotypes are an ugly thing, they mould public opinion and extrapolate tiny insignificancies until we cannot separate fact from reality. The British teenager has it’s fair share of demonised stereotypes that it must live upto, now possibly influenced by social media sites such as Tumblr and Instagram where it is even easier to paint a hyperbolised image of oneself. Arguably one version of a typical Brit teen is the ‘walking out of a Supreme lookbook’. The type of fella who wears dresses masquerading as t-shirts and a snapback that cost a week’s wages. Despite their good intentions, they probably come across as tossers and think that Niggas In Paris is a masterpiece.

The next stereotype is what people call ‘bloody hipsters’. Just like the Supreme kids, image is everything. Whether it is the best bargain at the charity shop or disliking everyone that went to your senior school. The poster boy for this swathe of youth? Steven Patrick Morrissey. Somehow, The Smiths now stand for everything that it means to be indie or hipster. To be really cool on Instagram and Tumblr, it is necessary for you to adore Moz and Marr more than NME ever have. Increased by the disgusting amount of merchandise available, the popularity of The Smiths could just be due to teenage loners trying to appear more teenage and loner than their contempories.

Despite this cynicism, the lasting power of the band may be down to the superb body of work produced. In their hey day, Moz and Marr were the most prolific writing pair of their time- up their with the greats of McCartney//Lennon, Mick//Keith, Barlow//Orange. The soaring guitars and encapsulating melodies conjured by Marr laced with the sombre and morose lyrics by Morrissey have created some of the most beautiful indie songs ever. The scornful vigour of Bigmouth Strikes Again, the infinite misery of Heaven Knows I’m Miserable Now and the sexual swagger of How Soon Is Now have been immortalised in popular culture. Arguably, The Queen Is Dead is the best album ever. It’s political wit and cohesive attitude has never been so relevant. If you wonder why people still love The Smiths, pop on There Is A Light That Never Goes Out on a boozy evening and see all kinds of blokes singing their heart outs to their significant others. The Smiths are as hardwired into our psyche as belting out Wonderwall in a town centre at 11:30.

Although The Smiths died in 1987, the one creature who survived like a cockroach in a nuclear blast is good ol’ Moz. It is difficult to describe Morrissey, he is a man who only ever needed a surname- he is that iconic. The asexual, ostentatious, West Ham supporter has more soundbites dedicated to him than both Gallaghers. In my opinion, Moz has managed to convert a generation to vegetarianism and made the cat forever cool. Not only has Morrissey been consistently morose and dry, he has also managed to write a back catalog of solo material that is impeccable. Love or loathe the musician, it is clear that the love of The Smiths is synonymous with a fascination of Steven Patrick Morrissey.