Kieran: Jamie T // Zombie
Laura: Peace // Lost On Me
Molly: Biffy Clyro // The Rain
Design by Nana
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Monday 18 August 2014
Friday 15 August 2014
Neutral Milk Hotel live review
When I bought my ticket to see Neutral Milk Hotel at Leeds uni for 13/08/14, I didn't really know what to expect. I'd never seen them before, I'd never been to the venue before and I didn't even know who the support act was going to be. I went into the venue with an open mind, and, weirdly, without my ticket being checked at all.
Let me set the scene: the venue was packed, with hipsters and balding men filling every nook and cranny (including the staircases). It was as though they'd carried on selling tickets regardless of whether they'd gone over capacity or not. The stage was littered with instruments, most of which were brass, and atop a keyboard sat a glowing plastic sheep.
They started with Two Headed Boy, during which, for the start, bearded frontman Jeff Mangum stood alone on the far right of the stage. Then, just as it does on the album, came The Fool; for this, the rest of the band emerged onto the stage to play their respective instruments, including that beautiful brass section. The band's adorable accordion/bass/banjo/saw player (yes, saw) Julian Koster introduced them by saying "Hello everybody!" in the goofiest voice I've ever heard anyone speak in, and then they went straight into Holland, 1945 with the familiar "1, 2, 3, 4" which was not only shouted by Mangum, but by every member of that overpacked audience. It was sensational. Koster was leaping about the stage and the crowd was moving almost as much (which I wasn't sure they would do), and singing along wholeheartedly.
Of course, the biggest singalong came later, for King of Carrot Flowers parts 1, 2 & 3 (particularly part 2) which they played in sequence. Hundreds of people around me yelling "I LOVE YOU JESUS CHRIST" at the top of their lungs was almost enough to turn me vaguely religious.
Littered throughout the setlist were songs from On Avery Island and various EPs, including the riotous Song Against Sex, but as you'd probably imagine it was the songs from second and most critically acclaimed album In The Aeroplane Over The Sea which got the best reception. In fact, I'm not sure anyone in that 500 strong crowd would have opposed to them simply playing it in full.
During the encore, the band again left Mangum alone on stage to play Two Headed Boy part 2, and I was sure that would be the end of the gig; a nice full circle with all that brilliance stuffed inside. But no, they came back on again to end with Engine, and left with huge applause and many cheers of "We love you Jeff!".
Whoever you are, I would absolutely recommend that you seek out a Neutral Milk Hotel gig near you and buy a ticket for it. Right now. It's for your own good!
Written by Molly McGrath
The posters told me that the support act was a guy called Mick Turner. He arrived on stage with a guitar and did an entirely instrumental set, with the aid of a drummer that constantly looked vaguely possessed. They looked like how I'd imagine Drenge would look in 30 years, but certainly didn't sound like it. Admittedly, they were both quite skilled at their individual instruments, but I was kind of expecting Turner to sing, especially considering he was stood behind a microphone. Their set finished after 20 minutes, by which time I think they'd realised the crowd found them more bizarre than anything. And then we waited.
Let me set the scene: the venue was packed, with hipsters and balding men filling every nook and cranny (including the staircases). It was as though they'd carried on selling tickets regardless of whether they'd gone over capacity or not. The stage was littered with instruments, most of which were brass, and atop a keyboard sat a glowing plastic sheep.They started with Two Headed Boy, during which, for the start, bearded frontman Jeff Mangum stood alone on the far right of the stage. Then, just as it does on the album, came The Fool; for this, the rest of the band emerged onto the stage to play their respective instruments, including that beautiful brass section. The band's adorable accordion/bass/banjo/saw player (yes, saw) Julian Koster introduced them by saying "Hello everybody!" in the goofiest voice I've ever heard anyone speak in, and then they went straight into Holland, 1945 with the familiar "1, 2, 3, 4" which was not only shouted by Mangum, but by every member of that overpacked audience. It was sensational. Koster was leaping about the stage and the crowd was moving almost as much (which I wasn't sure they would do), and singing along wholeheartedly.
 |
| Since we weren't allowed to take pictures of the band, here's one of my friend with the poster he nicked |
Littered throughout the setlist were songs from On Avery Island and various EPs, including the riotous Song Against Sex, but as you'd probably imagine it was the songs from second and most critically acclaimed album In The Aeroplane Over The Sea which got the best reception. In fact, I'm not sure anyone in that 500 strong crowd would have opposed to them simply playing it in full.
During the encore, the band again left Mangum alone on stage to play Two Headed Boy part 2, and I was sure that would be the end of the gig; a nice full circle with all that brilliance stuffed inside. But no, they came back on again to end with Engine, and left with huge applause and many cheers of "We love you Jeff!".
Whoever you are, I would absolutely recommend that you seek out a Neutral Milk Hotel gig near you and buy a ticket for it. Right now. It's for your own good!
10/10
Written by Molly McGrath
Monday 11 August 2014
Childhood review - Lacuna
Founded in 2010, London based indie haze-pop band Childhood had built up quite a fanbase even before the release of more than a couple of singles, thanks mainly to various festival appearances and a support slot on Palma Violet's 2013 'Rattlesnake Rodeo' tour. This fanbase can only get bigger, and will do quickly now that debut album Lacuna has been revealed to the world.
The album has a strong start, in the form of a re-recording of first ever single Blue Velvet. Catchy guitar melodies and soft drums lace singer Ben Romans-Hopcraft's lazy vocals on this lo-fi recording, giving it a sweet, summery feel.
The same summery feel carries on throughout the record, through the angelic backing vocals and singalong chorus of second track You Could Be Different, to the melodically brilliant saunter of As I Am, and onwards. Unfortunately, listening to the next two tracks is a much more forgettable affair; they shows how varied their influences are but, with no stand-out moments, don't sound like the Childhood I've come to know and love. I can't see them being live highlights, either.
Thankfully, things pick up again after that. Sweeter Preacher is a joyful bound through layers and layers of noise as Ben demands "Show me the way to your soul!" as though he's lost amongst the layers too. It's straight past the cymbals and left at the distortion, Ben. Tides provides a nice cool down period after the excitement of the previous track, sounding more smooth R&B than indie rock, but still with the Childhood slant plastered all over it.
My personal highlight of the record is previous single and potentially best known song, Solemn Skies. A gentle build up provided by a constant drum beat brings the listener swirling into the fantastically uplifting chorus section, with plenty of backing vocals and just the right level of echo.
Pay For Cool is the song on the album that most makes me want to dance; its strong riffs and funky backbone allow an upbeat transition into final track: the hazy, almost trance-inducing When You Rise. It's as though they placed it last in order to hypnotise you into thinking "Wow, that was the best album I've ever heard" because the last minute and a half of distortion and fuzz is certainly show-stopping enough to make you forget about the weaker points.
Live, Childhood are a treat. On record, maybe less so, but enough, I hope, to make you want to get tickets to see them. With this album they've proved that they're not just the pretty faces of the indie-pop world.
Get Lacuna here and see tour dates here.
Written by Molly McGrath
The album has a strong start, in the form of a re-recording of first ever single Blue Velvet. Catchy guitar melodies and soft drums lace singer Ben Romans-Hopcraft's lazy vocals on this lo-fi recording, giving it a sweet, summery feel.
The same summery feel carries on throughout the record, through the angelic backing vocals and singalong chorus of second track You Could Be Different, to the melodically brilliant saunter of As I Am, and onwards. Unfortunately, listening to the next two tracks is a much more forgettable affair; they shows how varied their influences are but, with no stand-out moments, don't sound like the Childhood I've come to know and love. I can't see them being live highlights, either.
Thankfully, things pick up again after that. Sweeter Preacher is a joyful bound through layers and layers of noise as Ben demands "Show me the way to your soul!" as though he's lost amongst the layers too. It's straight past the cymbals and left at the distortion, Ben. Tides provides a nice cool down period after the excitement of the previous track, sounding more smooth R&B than indie rock, but still with the Childhood slant plastered all over it.
My personal highlight of the record is previous single and potentially best known song, Solemn Skies. A gentle build up provided by a constant drum beat brings the listener swirling into the fantastically uplifting chorus section, with plenty of backing vocals and just the right level of echo.
Pay For Cool is the song on the album that most makes me want to dance; its strong riffs and funky backbone allow an upbeat transition into final track: the hazy, almost trance-inducing When You Rise. It's as though they placed it last in order to hypnotise you into thinking "Wow, that was the best album I've ever heard" because the last minute and a half of distortion and fuzz is certainly show-stopping enough to make you forget about the weaker points.
Live, Childhood are a treat. On record, maybe less so, but enough, I hope, to make you want to get tickets to see them. With this album they've proved that they're not just the pretty faces of the indie-pop world.
Get Lacuna here and see tour dates here.
Written by Molly McGrath
Wednesday 6 August 2014
Browsing Through My Parents Record Collection
I went searching through my parents record collection to find some good albums. It didn't really happen but I decided to write about a few of my finds.
Yes, I found two Wham! records, fabulous. Sadly, neither of them are Music from the Edge of Heaven so that means there won't be any loud playing of Last Christmas in the middle of August, however if I do bother to listen to one of these records it will be Make It Big, just because Wake Me Up Before You Go-Go and their cover of Careless Whisper are on there.
Duran Duran
I was very, very happy to find that Rio is still in my dad's collection. When I was eight, so almost ten years ago, I'd ask him to play it for me. So he'd bring it down to the living room and put it on and I'd sing along.
Frankie Goes To Hollywood
The three FGTH albums we own are probably, as a group, my second favourite find. Last year me and my mam found it in the collection and decided to play it while my Granda looked for Men At Work albums to put on.
David Bowie
To my delight, I found Scary Monsters - my favourite Bowie album. This has saved me approximately £8 and a trip to Newcastle or Sunderland.
David Bowie
To my delight, I found Scary Monsters - my favourite Bowie album. This has saved me approximately £8 and a trip to Newcastle or Sunderland.
Linda Ronstadt
There's a story behind these three records. My mam has had two for years, and the other she bought at Pop Recs while I was away at a friend's house. I told her if she was going, to pick up a Pink Floyd record, but instead she called me saying "I've been talking to Dennis at I've bought Linda Ronstadt" - thanks mam, that can go in the sectio of records I will never listen to.
Prince
This once belonged to my dad before I found it and put it in my collection. I fell in love with Prince within a few seconds of listening to 1999. Once you go black (purple??) you never go back.
Those compilation albums that are there to attract dust
Here we have 'Breakout', 'Chart Stars' and one of the earlier classic 'Now That's What I Call Music' albums. Filled with Depeche Mode, Genesis, Culture Club and Status Quo these albums supply me with the greatest hits of the 80s and as you may have guessed, I haven't bothered to play them.
Laura (@FloatForev3r)
Ben Howard review - End of the Affair
It's been a long time coming, but yesterday finally saw the radio and online debut of singer/songwriter Ben Howard's new track, End of the Affair. After the success of his first album Every Kingdom and of the Burgh Island EP, as well as new material being played at recent festival appearances, anticipation for new studio releases has been building.
First played on Zane Lowe's BBC Radio 1 show last night (05/08/14), End of the Affair is a whopping 7 minutes 49 seconds long. Listen to it below:
With this song, Howard has moved on from the happy-skipping-through-fields melodies of Every Kingdom, to a much darker approach, which we first heard on the Burgh Island EP. The first 4 minutes 50 seconds are a slow build up with plenty of bass notes supporting the lighter plucks of his trademark acoustic guitar. There's a feel of stormy nights - perhaps a hint of pathetic fallacy - and he even mentions "the thunder's rumbled sound". Admittedly, it's easy to get a bit distracted during this first half of the song, but until you really pay attention you don't realise the true subtle beauty of it. As you get past the five minute mark, the pace picks up and drums are introduced, providing a strong backbone for Howard's ever dramatic vocals as they ask "What the hell?!" as though they're the last words he'll ever speak. I imagine this latter part of the track being ridiculously fun live; the atmosphere created through the instruments and echoes drags you into the depths of thought and emotion and whatever Howard was going through as he wrote it. Honestly, this song is beautiful. Listen to it, then listen to it again. Then tell a friend to do the same. Pass the genius of it onto as many people as you can.
Written by Molly McGrath
First played on Zane Lowe's BBC Radio 1 show last night (05/08/14), End of the Affair is a whopping 7 minutes 49 seconds long. Listen to it below:
With this song, Howard has moved on from the happy-skipping-through-fields melodies of Every Kingdom, to a much darker approach, which we first heard on the Burgh Island EP. The first 4 minutes 50 seconds are a slow build up with plenty of bass notes supporting the lighter plucks of his trademark acoustic guitar. There's a feel of stormy nights - perhaps a hint of pathetic fallacy - and he even mentions "the thunder's rumbled sound". Admittedly, it's easy to get a bit distracted during this first half of the song, but until you really pay attention you don't realise the true subtle beauty of it. As you get past the five minute mark, the pace picks up and drums are introduced, providing a strong backbone for Howard's ever dramatic vocals as they ask "What the hell?!" as though they're the last words he'll ever speak. I imagine this latter part of the track being ridiculously fun live; the atmosphere created through the instruments and echoes drags you into the depths of thought and emotion and whatever Howard was going through as he wrote it. Honestly, this song is beautiful. Listen to it, then listen to it again. Then tell a friend to do the same. Pass the genius of it onto as many people as you can.
Written by Molly McGrath
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