tag:blogger.com,1999:blog-63629216466197835502024-03-13T04:43:20.588+00:00Harry Likes MusicHi, my name's Harry and I listen to *quite* a lot of music. My hope is that at least one person enjoys my ramblings even the tiniest of bits! I'm looking for a career in music journalism, so this is where you will find my musical musings. Let me know your thoughts!Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.comBlogger77125tag:blogger.com,1999:blog-6362921646619783550.post-73289241614823249042017-01-05T20:57:00.001+00:002017-01-05T21:11:09.564+00:00Ocean Flaws // Single + Interview"It was me and you..."<br />
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<span style="font-family: inherit;">That's how the new song by Essex outfit, '20:22', begins. The band have been quiet recently, and there's a reason for this. They've been honing their craft, and working on new music. This is the fruits of their labour: a building behemoth of a comeback single. One they are proud of, as they told me when I had a chat with them about the new music:</span></div>
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<span style="font-family: inherit;">Hamish (lead guitar): "I don't think we've ever set out writing a song with an intention for how it should end up. We see the song writing process as quite organic, so we almost let the song develop on its own accord...we try to serve only what the song needs. We're all chuffed with how big the song ended up. Hats off to our producer Mitch (from the talented The Milk)."</span></div>
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<span style="font-family: inherit;"><br />This new single follows on from their last EP, 'Dancing To The Fear', released last February. which <a href="http://www.harrylikesmusic.co.uk/search?q=ocean+flaws">I gave 8/10</a>. Metaphorically, that's what they were doing with the EP. Having changed their band name and crafted a more succinct sound, they were throwing out to the world their new design. After dancing with the fear of not connecting, both as a band and in life, they are back with this new single.</span><br />
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<span style="font-family: inherit;">The opening of the song brings a feeling of familiarity with their previous work, but not so much that it is too similar, or in fact resembling anything else put out recently. The subtle combination of more psychedelic guitar bands from the 70's onwards really gives their alt-rock sound an edge that no other local band has. Having started with guitar that gives the song a slow-dance feel, the bridge quickens the pace before heading towards the chorus, which also features another local artist, Olivia performing as Fawn, who is well on her way to success with her recent appearance on BBC Essex Introducing. The band explained to me how this collaboration came about:</span></div>
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<span style="font-family: inherit;">Alex (drums): "It stems from what Hamish said about serving the song; we felt like the ethereal nature of the first chorus just perfectly set up space for a female voice to compliment Callum's, and in the second chorus it's another layer in what makes that section so big. We definitely didn't include Olivia as a novelty, we did it because it seemed like a choice that would benefit the music. It's just fun when something works with the song and happens to be something you haven't done before."</span></div>
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<span style="font-family: inherit;">They have the guts in this song to build a song, but not burst it at the seems with noise (in many ways, as this song does not contribute to the <a href="https://www.wikiwand.com/en/Loudness_war">'loudness war'</a> other bands are prone to - I'm looking at you Arctic Monkeys). The relaxed end to the song rounds off the track nicely, with an anti-Foals ending. Foals can boast themselves to be anti-solo if you have ever seen them live, but they cannot boast to not grab every single opportunity to push a song to its limits. Having not done so here, you could argue it's a crying shame, but you'd be a lone wolf with that cry. The subtle additions of other sound right at the end compliment the keys added - a quote from a mysterious man and perhaps some behind-the-bridge guitar playing.</span></div>
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<span style="font-family: inherit;">The band gave me an insight into their plans for the future, which are just as mysterious as the exact nature and meaning of this song: </span></div>
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<span style="font-family: inherit;">Callum (Vocals and Bass): "We've put loads of effort into promoting this new song and have a few exciting things to roll off the back of it. Nothing is confirmed as of yet but keep your eyes peeled as we are continuously writing and overly obsessed with topping previous releases."</span></div>
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<span style="font-family: inherit;">Guessing what comes next during your first listen of this song is hard enough, but guessing what Ocean Flaws will do next is harder. They didn't chuck the kitchen sink as this, aside from the gorgeous production, and you have to give credence to that with this outing.</span><br />
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<span style="font-family: inherit;">8/10</span><br />
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'20:22' is out tomorrow, Friday the 6th of January on <a href="https://itunes.apple.com/gb/album/20-22-single/id1176875980">iTunes</a> and <a href="https://open.spotify.com/artist/3O2nHmd3FrY749lvZy3xGg">Spotify</a>.<br />
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<span style="font-family: inherit;">Check out Ocean Flaws on Spotify below:</span><br />
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<iframe allowtransparency="true" frameborder="0" height="450" src="https://embed.spotify.com/?uri=spotify%3Aartist%3A3O2nHmd3FrY749lvZy3xGg" width="330"></iframe>Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com1tag:blogger.com,1999:blog-6362921646619783550.post-6758417640023071992016-07-29T13:21:00.002+01:002016-07-29T13:21:34.619+01:00Viola Beach // Viola Beach - ReviewWhen a Viola Beach album was announced, I was in two minds as to whether this was a good thing to happen. When the band were taken away from their family, friends and listeners, it seemed unlikely that we would be listening to an album now. However, having heard that they had already recorded a 5 or 6 track EP along with the 3 songs released already, it would only be fitting to hear the album. It's what they would have wanted.<br />
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It just so happens the album is full of catchy riffs, positive lyrics - and a slightly softer, lonelier side that I had never expected them to have. 'Call You Up' is a sombre tale of keeping in touch with someone that does not want to keep in touch with you, and making plans of wasting away with someone. Despite being called out by other sites as the weak link of the album, I would discard those comments. A lot of bands with this indie sound, that we've heard similar vibes from the likes of Peace and Two Door Cinema Club, fail to show variety and a softer side. They've done it from their first EP - now this album - and you have to give the band credit for that.<br />
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Elsewhere on the album, 'Really Wanna Call' is a hawaiian-tinged tale of a popular girl. Cliched, but it's personal to them and should be respected. The vocal delivery is perhaps more personal and accent-soaked then their previously heard material, which highlights how they want to sound different and themselves. They aren't copying anyone here, they are Viola Beach. Kris, the lead singer, had explained to his mum Lisa that Viola Beach did not represent a real place, but a place where happy thoughts can bloom. This album encapsulates that, and has been put together to enshrine their optimism for the world to listen to for years to come. Positivity is something we should all value as a personal trait in the hostile and uncertain times we live in.<br />
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The obvious highlights of the album are the previously heard trio of 'Swings and Waterslides', 'Like a Fool' and 'Boys That Sing'. Coldplay's tribute to the latter song was a fantastic reminder of how little credit small bands get - it is unlikely Viola Beach would be as known as they are today had they not suffered their tragic fate. This is something that I hope can change, as Coldplay do not need an interview or article written about their next album in NME, the next Viola Beach do, however.<br />
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If you have the money, go out a buy the album and stream it on whatever platform you use. The more money that goes towards the River Reeves Foundation, set up by the family of Viola Beach's lead guitarist River Reeves, the better. The rating is not just because what has happened to them is sad, it is for the music and the people that made it. Enjoy, and best of luck to the family.<br />
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10/10<br />
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Check out: the whole album!<br />
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<iframe allowtransparency="true" frameborder="0" height="490" src="https://embed.spotify.com/?uri=spotify%3Aalbum%3A2VN0hlQV4ndJqMQUen8uEg" width="500"></iframe>Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-24517788528207924872016-03-24T17:04:00.002+00:002016-03-24T19:25:41.452+00:00The Neighbourhood // Roundhouse, London - Live ReviewWhen I went to see The Neighbourhood on Monday night, I had certain expectations. To be honest, I set them quite low. Not in such a way to say that I heard bad things about them live, or that I don't like the band - I'm a huge fan of their music - but it relative to the sounds on their album. Their guitars are tonally perfect and very specified, whether it is the soaring, eering leads found on the first album, or the trebly acoustic found on the second album. I also knew Jesse, lead singer, had a tendency to improvise on his delivery and even the lyrics. Quite a lot of their music relies upon the melody from him, so I was hoping he would stick to what is necessary and vary on what he could.<br />
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I turned out to be correct in my expectations. But let's start with the support first. Kevin Abstract was, well, abstract. I didn't enjoy his set, but then he was there to appeal to the crowd the band had drawn through their mixtape and r'n'b flavours, and not through their guitar-based work. The crowd enjoyed it, so there is that I guess. MOTHXR were another beast entirely, and were pleasant to listen to. They sounded almost like a less confident 1975, with a less obnoxious singer, with low-volume vocals. Having listened to the recordings, I can only assume he doesn't possess quite the standard of live voice as delivered on the record. Which is a shame, as songs like 'Touch' and 'Stranger' sounded fantastic, particularly in regards to guitar. The drums were very generic, and the bassist played with his back to the audience for the majority of the set. The band mentioned several times they were playing their own show the next day, and as they have been on Twitter, which is all good and well as long as the performance is not detracted - which it seemed like it was, sadly.<br />
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Then came the main act. The sound quality was much more balanced, with the vocals clearer and louder - and Jesse definitely delivered. Throughout the set, he delivered perhaps half of the vocal lines as they were on the record, and particularly liked to sing off-beat and at a different pace. The newer stuff, less so, which I appreciated, as did the audience. The strange omission of second single 'The Beach' indicated to me that he didn't want to sing as high pitch as he does in the chorus on that song, and throughout the set he rarely hit high notes, or attempted to. When he did, he did them with ease and elegance. It's a shame he didn't do this more.<br />
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Aside from the missing 'The Beach' and a mild dip in tempo early on due to a song off the mixtape and 'Baby Came Home', one of their first ever songs, the music flowed, oozing in quality. 'Cry Baby' sounded just right, with enough bass to satisfy an arena, but in the Roundhouse. There has to be a special mention for their session musician, who even had the guitar shone on him during 'Sweater Weather' as he played the acoustic guitar part towards the end. Throughout the night he played some underlying bass or acoustic guitar that wasn't by any means lead, but supplemented the music the band was playing. I am a huge fan of the guitar work both guitarists do, as they sound ambient but driven at times and I have a passion for that. Zach's acoustic guitar was far overpowered in some songs later on, particularly 'Baby Came Home 2', which must surely be a levelling error.<br />
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The best moments perhaps came unexpectedly. 'Wiped Out!' could be argued to be the weakest song off the album with the same name, yet sounded fantastic live. The guitar was louder, and the drums in the transition to the end were brilliant, with a fantastic light show highlighting the drummer too. The lighting throughout the gig was effective and not too much. However, having seen clips of the light show and stage setup they had in America, it is a bit disappointing to not see it over here. Perhaps they should have done a tour like this for a little cheaper (£17.50 is a great price for a touring band from America!), and then this autumn come back with the full stage setup. It is worth nothing that they have done a fair few tours already in the UK, and they are only on their second album. After opting to spell their name the UK way, it only seems fair.<br />
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Before the gig, I sat next to two business in a restaurant who were talking about the band. They were surprised at the huge queues for the band, which long went past the 7pm doors opening, so clearly were not aware of the fanbase or the recent trends in gigs. One of them looked up reviews for their album, and stumbled across Rolling Stone giving the band 2/5. "2/5!", he exclaimed. The other fellow replied "Rolling Stone? They're old hat, has beens." It was with that I realised the Neighbourhood was unlikely to gain any fans after tonight if they were not hugely into them, and secondly that they thought the magazine was run by the band. Stuck between a rock and a hard place, I left them be and saw them at the end absolutely slaughtered, with smiles all around. Maybe they are fans now? All I know is, the gig was a perfect way for them to end the tour, and perhaps start thinking about where to go next on a third album.Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-64166023097348998182016-03-11T19:59:00.000+00:002016-03-11T20:03:34.441+00:00Interview: FREAK
<span style="text-align: start;">I first heard about new Chelmsford artist FREAK through a good friend of mine, Linn Branson over at </span><a href="http://littleindieblogs.blogspot.co.uk/2016/02/introducing-freak-new-name-from-essex.html" style="text-align: start;">Little Indie</a><span style="text-align: start;">. I noticed he posted a photo about having a live band ready, after recording, producing and mastering his first EP all by himself. I recognised the place - it was the same studio I had used myself to record my first EP with </span><a href="http://www.flaresband.com/p/debut-ep.html" style="text-align: start;">Flares</a><span style="text-align: start;">. After getting in touch with 18-year-old FREAK, real name </span>Connar<span style="text-align: start;"> Ridd, I had a little interview with him recently. Have a read below and make sure you check out his recent EP, 'What Happened?".</span></div>
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Hello Connar, how are you firstly?<br />
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Hey Harry, yeah I'm good thanks, yourself?</h2>
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I'm good, too! How would you describe your first EP to those that haven't heard it yet?<br />
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I'd describe my EP as a mix between rock and indie. It would appeal most to people who like music with an edge, that is pretty angry! If you like Nirvana, METZ, Artic Monkeys and Red Hot Chili Peppers then you should definitely give it a listen!</h2>
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I am a big fan of what I've heard from you so far, and couldn't believe it when I saw Card Trick Studios on my timeline from you! Do you feel proud that Chelmsford is becoming the new Birmingham, with Rat Boy surging into the limelight too?<br />
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Chelmsford is wicked, how could someone not love a bit of Chelmo?! I think Chelmsford has a great music scene. There are so many bands playing the Asylum or Bassment that are really good, so it wouldn't surprise if more bands from here got attention!</h2>
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Do you have any plans for more material in the near future, or is the album next?<br />
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I have already written my new song, which may be re-recorded professionally and then released as a single. Other than that, I have a lot of ideas, and whenever I have the time to write and record them I will! An album won't be out this year, perhaps mid next year, but that is all really far ahead! At the moment, I'm just focusing on getting three or four other songs ready to perform live with my band and get recorded.</h2>
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Any festival dates or tour dates you could tell us about?<br />
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We are not looking to play any gigs or festivals. Me and the band are practising a lot, and when I feel we are ready in a few weeks then we will start thinking about getting some gigs lined up, but at the moment, it's all a bit too soon despite how much we would like too!</h2>
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Where do you see yourself in a year's time?<br />
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In a years time... that's a hard one! In a years time, I'd hope to have had more people listening to my music and checking out the social media pages. I'd love to being playing a lot of gigs all over the country as well! In terms of songs, I would like to have written a large pool of them from which I can look at, and try to figure out what to do with - whether that be an album, EP or just more singles!</h2>
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Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-22165908193658918472016-02-27T17:53:00.000+00:002016-02-27T18:31:20.304+00:00The 1975 // I Like It When You Sleep... - Review<div class="separator" style="clear: both; text-align: center;">
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Matt Healy is easily the most obnoxious, yet talented, person in music at the moment. If they had it their way, you wouldn't listen to any other band, as their injection into the media spotlight has been lethal and predictable. With a bucket full of panache, they've chucked their entire talent and wordy-lexicon onto a canvas. That has presented itself has the album, with a can't-believe-he-convinced-the-rest-of-the-band-that-this-was-a-good-idea title: 'i like it when you sleep, for you are so beautiful yet so unaware of it'. Make of that what you wish, but let it be known that it being lowercase is a travesty.<br />
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The first track after the intro, geniously titled 'The 1975', is 'Love Me'. It invites people to criticise him, as he criticises the media and society - something I really welcome. He talks of declining standards of what we accept, which is meant in both musical terms and in the UK. He references the Kardashians in the lyrics ("caught up in fashion, Karcrashian panache and a bag of bash for passion" is a fantastic lyric to hear), and David Bowie's 'Fame' and 'Fashion' in the guitar and overall 80s feel to the song. It's a great introduction to the new, slightly more pop sound that the band have clearly worked hard on.<br />
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'UGH!' is next, with an infectious guitar line that invites you in and continues throughout the whole song, as Matt muses over, again, what he hates about the media and his own demons and struggles with drugs. The subject matter isn't really hidden in this if you can get past his sometimes obtuse delivery in chunks of lyrical content, which does not happen on the first listen. Unlike with 'A Change of Heart', which slows the pace considerably, talking about how small breasts can be an issue in a relationship, and how taking photos of salads and putting them online is a bit shit. The girl in the narrative says to the recipient they "look like shit and smell a bit", and used to look like a face of a magazine, now just looks like anyone. It's a lugubrious tale indeed, and the simplest song on the album musically and to understand, similar to the later track dedicated to his grandmother, 'Nana'. The lyrics are touching, and reference his view on heaven, but nonetheless wishes she could hear him.<br />
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Elsewhere on the album, tracks like 'She's American' and 'The Sound' advance the sound of the first LP from the band. The guitar is catchy, almost copying what riffs they've done before. Challenging his own issues once more on 'She's American', he references his own breakdown on stage in 2014 where people commented that he'd lost it. The song acts as a self-referential come down from a massive drug binge. 'The Sound' attacks - and quotes in it's brilliant music video - it's critics from the first album. A positive and uplifting song about love in the chorus, is interspersed by comments during a relationship with someone who hates his shoes and his tunes, but still would move in. The brilliant thing is that all the quotes in the songs lyrics over the album are probably direct quotes, and someone has actually said all these ridiculous things.<br />
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The best moments on the album come from when they bravely try to advance some of their edgier aspects to the band. The synthetic sounds found on 'M.O.N.E.Y' and 'Menswear' are brought back with plenty of electronic drums and saxophone in a delicious blend of music input on 'If I Believe You'. It's truly fantastic, and provides, within the first five tracks, a huge amount of variety already, more so than other bands would have over an entire album or career. The following interlude, 'Please Be Naked', acts as a statement of intent with piano throughout and odd samples of what sounds like coffee cups being crushed and doors being shut. It presents itself as "please be naked, I am fantastic at what I do, listen to this", which is just what you expect from the frontman of a band that is outrageous and intelligent, with a screw loose. How convenient of a description, as 'Lostmyhead' follows, continuing an annoying pattern they have to put their finger up to grammar and forget about spaces and/or capitalization (// T H E I R T W I T T E R I S P A I N F U L //). The song threatens to never get started, and just as it does, withdraws from existence.<br />
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'Loving Someone' is the arguably the best moment, in a large collection of 'moments', on the album. The collection of sounds that backup his near rap delivery provide a backbone for the message of loving someone. It sounds like their contemporaries 'The Neighbourhood' who they toured with a few years back, but it sounds just like they should be sounding all the time - unique. The title track provides several acts worth of nursery style music, but made for gigs, and clubs later on in the song, embodying the lovely message the title brings with it.<br />
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Before this review becomes as long as the 75-minute album, it can be said this is a brilliant collection of pop-alt songs. The singles sustain the album, it has to be stated, as otherwise it is a large collection of sounds that don't corroborate with the art they try to portray. Ignoring all the annoying media frenzy - and PR issues I have encountered with the band - this is well worth the time you would need to invest to digest this cynical album. This won't reinvent the wheel, as they clearly so wish they could do, but it can be laughed at, yawned at or danced to all at the same time. Both brilliant and boring in places, how many times can you say that about music?<br />
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9/10<br />
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'i like it when you sleep, for you are so beautiful yet so unaware of it' is out now (although, rather annoyingly, not on Spotify until March the 11th).<br />
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Check out: Love Me // Loving Someone // NanaAnonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com6tag:blogger.com,1999:blog-6362921646619783550.post-15102444725621309192016-02-12T15:00:00.000+00:002016-02-12T15:16:17.725+00:00Ocean Flaws // Dancing To The Fear - ReviewOcean Flaws have finally released their debut EP after a year of hard work. I interviewed the band over at The Verse, which you can read <a href="http://theverse.co.uk/features/interview-introducing-essex-alt-rock-band-ocean-flaws/">here</a>, and have had the pleasure of having their 'Dancing To The Fear' EP for a week. Read on to see what I think of the band's release.<br />
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The EP kicks off with 'Intro', and provides an insight into the ambition of the band and what you're about to listen to for 18 minutes. Saxophone and reverb-heavy guitar starts off before a more piercing guitar comes into focus. The treble-heavy guitar and behind the pickup guitar play is welded together by some light drums before the first main track starts.<br />
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Mojo kicks off the album with a fantastic intro full of layered sounds. Whether it is the phaser guitar, the drums or the vocals - there is something to enjoy on this track. The backing vocals are a real addition to the track, as is the varied guitar in each verse, adding a sense of creativity often avoided with copy and pasted guitar work. Freedom always produces great lead guitar, and this is a fantastic example of that. The drums by no means are your normal indie drums, as they quicken at the right moment and take a backseat just when they need to. The build up is fantastic towards the last chorus, with the pedal twiddling guitar delay creating another layer to add to the song.<br />
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Having already heard 'Like a Fool' years ago, at first it was disappointing to see it make a reappearance. However, they have done a superb job of it. It may seem lazy to redo an old song, but there is sufficient evidence here to say this was not a quick rework of the song. Anyone who has been to see them live will know they have been reworking the song ever since release, improving it part by part. The bass is far more prominent and superior to the original bass lines, and the vocals are delivered more confidently, with emphasis on key lines throughout the verses. You can check out the video to the song below, shot at a school very close to home:<br />
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The title track, 'Dancing To The Fear', is a slower number from the band. Starting with harmonic guitar and a large helping of reverb, the vocals come in with a tale of liberation. The drums thump as they introduce themselves. Vocals are at the forefront of the track, and it makes a bold statement by the band. As guitar strum their way through the second verse, the track comes into its own just before the 3-minute mark with some delicate guitar reminiscent of The Maccabees 'Given To The Wild'. This is a great example of how music does not have to be full to the brim of lyrics all the time, or even drums or using all the members of the bands strings. The song ends as it begins, rounding off my personal favourite track of the EP.<br />
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Recently unveiled, 'Silver Screen' would not be out of place au cinéma. Bass starts the song, and then drums begin to take part. The vocals are probably the weakest on the album for me right at the start, but the guitar is teasing bigger things as the drums plod along in the background. The bridge is fantastic - hinting at the chorus, before pulling back to a guitar line that Foals wish they had written. They'll be jealous as fuck, this song is catchy.<br />
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Not once does this EP try to copy each anyone else, or even copy their past as 'The Shermans'. This is a promising sign of a new direction, and I wish them all the best. There is no self-indulgent bullshit that big bands like The 1975 and Kanye West can get away with, and I'm sure they will be the first to say they don't plan to ever to do that.<br />
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I really hope these guys go far, as they truly deserve it, and this EP is evidence of that.<br />
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8/10<br />
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'Dancing To The Fear' is out now.<br />
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Check out: Mojo // Dancing To The Fear<br />
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Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com1tag:blogger.com,1999:blog-6362921646619783550.post-86457021705500023142015-10-29T15:21:00.001+00:002015-10-30T19:54:51.459+00:00The Neighbourhood // Wiped Out! - ReviewThe Neighbourhood are a lucky band. When they released a demo of 'Sweater Weather' and 'Female Robbery' back in early 2012, they couldn't possibly have known the rise to popularity they were going to experience. Now, their gigs are full of girls screaming their name. Putting aside the topic of love and romance that pleases their screaming majoritarily female fanbase, they had to follow up their debut 'I Love You' with a more mature record, one that can both expand their fan base and tell everyone that doubted their dark pop, indie credentials that they really mean business.<br />
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<tr><td class="tr-caption" style="text-align: center;">Credits: @thenbhd Instagram</td></tr>
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The lead single 'RIP 2 My Youth' certainly sends a message out. The dark topics of loneliness and the feeling of youthfulness escaping Jesse, the singer, continues. Bleak and entirely unabstract, the song details how they are willing to move on from the opportunities life presents in the teenage years, and accept adulthood - even if they admit this by referencing Channel perfume. Accepting "there's only so much I can do", the band decide to present this concept-inducing single right at the end of the album. I for one cannot remember the last album I listened to that had it's lead single finishing the album. Before listening to the album, I fully expected this to hinder the flow of the album, as what was coming was known. However, it draws a fulfilling close to the album's theme and auditory experience. They pull this off because a) it isn't the best song on the album and b) they haven't stuck it in the third quarter, which usually serves to provide an inkling of hope that the rest of the album is utterly brilliant. The Neighbourhood need not, this album doesn't need gimmicks.<br />
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But, apparently they do. 'The Beach' was the next single to be released off the album, and with it came a weird, heavy-handed promotion of a production duo that worked on the song. This always strikes me as odd, as it is an album and should be a package; not bits tied together with different authors and handlers. Did they just boost the bass on the song? We'll never know, perhaps. It doesn't really matter, as 'The Beach' is easily one of the most catchy and interesting songs on the album lyrically and sonically, with a very dark exterior. Darker topics have always been their favourite, whether it be cloaked in minor key music or cloaked underneath lyrically. The theme of losing someone, and trying to keep that person in the first place, runs throughout the record. The opening lines express concern for the level of lust between the two of them: "If I told you that I loved you, tell me, what would you say? If I told you that I hated you, would you go away?" The concern for his love going unoticed is entirely unselfish, and a nice touch to add to a commercially packed album.<br />
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The album has far less of an electronic tinge to it than their previous releases. Perhaps their mixtape released last year was done as they knew the direction they were heading in and got out of the way their samples and beats lined up. Whilst slightly disappointing, the album has more of a pop feel to I than expected. Guitars are far more prominent I would say, creating a rhythmic ocean-like sound, with rolling melodic lines, successfully creating the image the title is going after. They've hit the jugular, here. The album perhaps isn't as catchy, too. The lyrics do not always rhyme or flow in an obvious way, creating far more intrigue and processing than before.<br />
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<tr><td style="text-align: center;"><a href="https://scontent-lhr3-1.cdninstagram.com/hphotos-xaf1/t51.2885-15/e35/11925810_755598614563470_1461018425_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://scontent-lhr3-1.cdninstagram.com/hphotos-xaf1/t51.2885-15/e35/11925810_755598614563470_1461018425_n.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Credits: @thenbhd Instagram</td></tr>
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The overall package is more pop, but how many pop albums have you heard that so transparently talk about death? 'Daddy Issues' couples together the traditional issue some women face of having daddy issues, the sort that litter American movies, with an open discussion about his father leaving him and dying. It's dressed up in quite an upbeat fashion, indeed, so is the whole album - very surprising considering what they have evidently experienced. The album even has a subtle love song to Jesse's partner, 'Single', which is entirely open in nature and I'm sure will be cherished by both the couple, and heartthrob fans alike. It takes courage and skill to do so, something they have achieved magnificently.<br />
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'Ferrari' and 'Greetings From Califournia' are the closest tracks to the previous albums sound. 'Ferrari' starts off with a viciously distorted guitar line, before returning to a more mellow sound. But neither of them are childish in nature or thrown in to keep some fans happy. The bass is certainly more prominent this album, and the drums receive a bit more unique experimentation. Acoustic guitar matches low-key percussion on several tracks, which is a brilliant relief from a full-on attack of the senses when hearing the main tracks off the album. 'Cry Baby' in particular is driven by bass, but cuts back right at the end to hear just Jesse and an acoustic guitar. A gentle, caring touch.<br />
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A progression rather than an overhaul, this album presents them as serious indie members of music culture. Their black and white imagery may be here to stay, but their colourful music has expanded its horizons.<br />
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9/10<br />
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'Wiped Out!' is out now.<br />
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Check out: Cry Baby // Single // The Beach<br />
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<iframe allowtransparency="true" frameborder="0" height="400" src="https://embed.spotify.com/?uri=spotify:album:18iFxjZugvKhuNNMbLjZJF" width="650"></iframe>Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-9799439026729119042015-10-23T09:08:00.000+01:002015-10-23T09:08:04.842+01:00Adele // Hello - SingleAdele is back, and so is inarguably the most powerful voice in the industry. I did wonder when she broke her vocal chords whether she would make a full recovery, as she is reliant on the sheer velocity of her voice breaking ear canals. My concerns were dumbfounded, it seems.<br />
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On this new track 'Hello' taken from her third album '25', we hear about another tragic story. Except, it isn't meant to be. We were promised this album would be more positive, a make-up record in fact. What we have got is something definitely not upbeat, but what remains to be seen in whether she will deliver this promise. We will know when the album comes out in under a months time.<br />
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Adele hasn't released an album in over 4 years; so little other artists could get away with this. So little other artists could get away with her musical progression, too. There's been virtually no progression since her first album, with ballad after ballad providing a soundtrack to teenage heartbreak globally. Having sold over 21 million copies of '21' worldwide, I think it is a safe assumption to say she won't feel any pressure to progress, or indeed promote the album before it comes out too much. There's been, I imagine, suspense with the fans that have been looking forward to more material for years. By leaving less than a month before it comes out, it almost is more promotion than leaving the traditional 8-12 weeks.<br />
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'Hello' remains lugubrious in nature and withheld inability, but ultimately this is a great comeback track for Adele. There's something different in the delivery of the chorus, and realistically this will go on to sell millions. So really, who cares what I think about it? I could think it is the shittest thing since unsliced bread, but Adele wouldn't bat an eyelid. She can afford not to.<br />
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You can listen to 'Hello' below:<br />
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<br />Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-19256116495044286752015-08-31T19:17:00.002+01:002015-08-31T19:17:58.374+01:00Foals // What Went Down - Track-by-Track ReviewIn 2013, Foals returned with an album that had guts and fire in it's lead single 'Inhaler'. No-one expected them to explore this harsher direction, after making two albums full of calculated indie riffs and well-spaced melodies (particularly on 'Total Life Forever'). However, in my opinion there last album was one of their worst as an album. So often these days we (the public, certainly not I) listen to singles and that is just about it. I am a firm believer in an album, and 'Holy Fire' just did not cut the mustard for me, but rather just presented it to me, rather unappealing. There were very much album tracks on there, destined to never be played again after the album tour - but carried along by gems such as 'Late Night', 'Moon' and 'Stepson'. This album is different.<br />
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The first two tracks encapsulate the 'Inhaler' side of Foals and the traditional indie afrobeat style we love. Of the two lead tracks, 'What Went Down' has even more internal organs bulging for use than ever. Yannis has never sounded so passionate, so alive. It sounds like he is ready to stagedive out of your earphones and into your face. 'Mountain At My Gates' is a brilliant escape, a mini-holiday for your ear canals. However, and surprisingly, they have curbed their love for at times excessive reverb and delay. The track also doesn't hurtle along like 'My Number' did, something I didn't think I'd complain about - there's a certain level of restraint to this, with bass and drum verses, leaving room for Yannis' vocals.<br />
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'Birch Tree' is a fantastic track with excellent production - merging delicate indie math rock with what they have learnt over the years as a band. This should be what the Red Hot Chilli Peppers should be making, in terms of the opening blissful guitar tone. Yannis' vocals are more prominent, and the drums are mostly electronic - no need for explosive drums. The intensity drops for 'Give It All', a slow burner track that has vocal tracking guitar and shimmering synths before it teases to explode towards the end. Pulling the reigns in, they demonstrate a remarkable ability to not give what people would want or expect, but then exceed this with something all together more special. This is noticeably his strongest delivery lyrically, full of notations of devotion.<br />
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I can't take the title seriously, but 'Albatross' is a palm-muted affair with a increasing rhythmic intensity that threatens to burst and cave in. Whilst it doesn't offer anything more than another tease, it leads brilliantly into 'Snake Oil'. The abstract sounds are created have a crawling bassline, that provides the background to Yannis' cries and groans. The vocals are raw, and are secondary to the screeching and perplexing sounds being created around him - reminiscent of 'Providence'. One thing that is consistent with this album is the strange fuzzy, analog and organic guitar effects being created, that is at it's strangest here. Strange, yet utterly needed and refreshing to here. This song is like an indie Led Zeppelin, and I make no apologies for making that statement.<br />
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As the album reaches it's climax, 'Night Swimmers' is perhaps one of the weakest tracks so far. Whilst it's delayed guitar lead is pleasing, it doesn't and won't grab anyone who has heard this before. It's nothing new. I did not see coming the floor-filling potential of the rattling guitar and percussion that comes in, in the second half. Ordering the sound in before anyone enjoys it too much, Yannis hushes the song to a close. Queue 'London Thunder'. A track soaked in atmosphere and piano, and not much else. Guitar is used sparingly, like applying glossy varnish to an already impeccable piece of furniture. This song does not stand still though, and gently sways in a way that thunder definitely does not.<br />
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Whilst 'Lonely Hunter' was rallied around as a potential single, it isn't particularly stand out as having this modern and produced quality. Considering the rest of the album is low-key after the initial run of the first two singles, this could be. Not quite anthemic, but the chorus is full to the brim and dripping of atmosphere. 'A Knife In The Ocean' has already been the talking point of the album, having been thrown around as their musical-opus. The track, of course, resulted from a jamming session whilst producer James Ford was on his break. He came back, and heard this and after some direction, this is the end of the album. I'll leave this delight for you to hear, it deserves that.<br />
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Controlled, thudding and yet spacious. This is without doubt Foals' best album, and they present with the bold remark that they are ready to headline Reading and Leeds Fest; and you know what, they sure are ready.<br />
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9/10Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com1tag:blogger.com,1999:blog-6362921646619783550.post-87870798189880391862015-08-01T17:09:00.003+01:002015-08-01T17:09:33.948+01:00The Maccabees // Marks To Prove It - Review<div class="MsoNormal">
The new Maccabees album is finally here after what seems
like a long wait after their near masterpiece that was Given To The Wild in
2012. I never personally liked The Maccabees at all before their last effort,
and just about managed to watch them for forty odd minutes at Latitude after
their second album came out, bemused as to why they were on the main stage.
Their music seemed generic, landfill indie – and to top it off, someone needed
to tell lead singer Orlando where the toilet was, as he danced on the spot
rhythmically.<o:p></o:p></div>
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The lead single, and title track of their fourth album,
Marks To Prove it is quite weighty and industrial. The slow, building and
soaring guitar melodies of Given To The Wild are not present, and only the
tendency for a change in pace is present after the chorus. Disappointingly for
me, the theme running through the album is quite sombre and melancholy compared
to their earlier music which was filled with enthusiasm. It sounds like they
are having a mid-life crisis early. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">They can't even look in the same direction together, bless</td></tr>
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‘Spit It Out’ could easily be the guitar from a Graham
Coxon-led Blur song, and the lyrics “old enough to know better, dressed for the
weather” from ‘Slow Sun’ reveal their inner mental age. No-one who knows how to
have fun cares about dressing for the weather, and I am living proof of it. The
lyrical theme throughout the album is pretty consistently depressing, telling
people it will “get easier”. ‘Something Like Happiness’ is almost a statement
to defy the possibility that they could be happy – no, do not be mistaken for
one moment. The album does have some great musical moments, but these are mostly led
by piano rather than soaring vocals or thudding - or quiet - guitar. <o:p></o:p></div>
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The one change came with a track <s>led by an electronic
drum beat (scratch that, that’s a Spotify advert)</s> that starts with a
saxophone that sounds wavering, and frankly out of key and dreadful. Perhaps a
summary of the album – wavering indie rock filled with uncertain, lugubrious motifs.<o:p></o:p></div>
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6/10</div>
Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-82697379945207488692015-06-09T19:00:00.000+01:002015-06-09T19:00:07.532+01:00Electric Child House // Goochie Goochie Goo EP - Review<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">"Goochie Goochie Goo" EP Artwork</td></tr>
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Label White Rooms, a new Essex record label born out of popular studio space The White Room, must have been foaming at the mouth when they had this band put pen to paper and become the first release for them. Electric Child House are a proper grass roots rock band. They’ve created quite the local buzz over the past few years, with stunning live shows and faultless vocals and guitar. Whilst I had a guess they would bring the riffs on this debut, I did not know the "Goochie Goochie Goo" EP would come with a firm sense of variety, too. </div>
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The first track and lead single, "Soul Sucker", was released in video form two weeks ago after a cheeky ‘translated’ subtitled video preview of the song and EP. The Led Zeppelin meets Rolling Stones guitar comes in, but with a modern twist. The lead vocals sound like Kasabian have *finally* had singing lessons and dropped the boozy pub vocal style. The refreshing reliability of pitch perfect, but still in a rock style, vocals allows the song to be a sum of all its parts rather than having anything particularly stick out. Drums are hit with all the right intensity, and the bass is melodic and smooth in the background of the mix. There is a short solo, as not to distract from the focus of the chorus – a brilliant, catchy anthem with the tracks’ name in the lyrics. What song would not be complete without a bit of harmonica either?<br />
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Just when you think Essex has the next straight up rock band ready to launch into the world, "False Widow" shimmers in. The drums start this song, with an interesting beat before bass takes the lead. The vocals? Linkin Park-esque on this. A huge show of variety, with different volumes to almost every instrument on show. This could easily fill academies up and down the country, albeit a bit slow perhaps for a single. It doesn't stay that way, with the final third starting with a fantastic riff – repeated right at the end - to inject some needed pace into the song.<br />
<br />
The next song is no different – another show of variety. This time, "Plastic Rebellion" starts with only acoustic guitar, before vocals come in, in a style that I am sure Noel Gallagher would be more than happy to wield his seal of approval on. Once the full band comes in, it is clear to see this is building up to a faster song. A change in the drums and electric guitar signal more prominent bass. Whilst this is probably the weakest track on the EP for me, this is not to say it is a bad song – in fact, far from it. This band have just tracklisted two reasonably slow song after a rock driven lead single. For a new band, they have balls, and justify that potential risk with another perfectly executed solo in the build up to the end of the song.<br />
<br />
After the short title track, an intriguing tribal interlude sound, comes the final track. "Juice" does just that, adding a bit more juice to the album. This sounds like the brother of "Soul Sucker", creating a rounded feel to the EP, and a cohesion to the album and the band's sound. Without this, the band would be perhaps left in a crisis of identity, and could easily be criticised for not settling on one sound, so deciding to preview all of their possible styles. But they have not. This final track continues the rock guitar found on "Soul Sucker", and provides a pleasing ending to the EP.<br />
<div>
<br /></div>
<div>
Whilst "Soul Sucker" is easily my favourite form the first offering on the label, this is a very solid EP for a band and new record label to start off with. Thoroughly recommended.<br />
<br />
<br />
7/10<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://scontent-lhr3-1.xx.fbcdn.net/hphotos-xfp1/t31.0-8/10333505_10152840224078837_3748942648320386642_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="146" src="https://scontent-lhr3-1.xx.fbcdn.net/hphotos-xfp1/t31.0-8/10333505_10152840224078837_3748942648320386642_o.jpg" width="400" /></a></div>
<br />
<br />
Electric Child House will be headlining The Sebright Arms in Bethnal Green on Thursday the 18th June for their EP release party. Tickets are available to buy from <a href="http://www.labelwhiteroom.com/">www.labelwhiteroom.com</a></div>
Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-20124330530208476602015-05-08T14:59:00.001+01:002015-05-08T15:00:59.029+01:00Say Goodbye to 'Great' BritainThis isn't a music post, not in any way. A Conservative government is not music to my ears, and more importantly it is not what 64% of this country voted for. That's an unbelievably bad representation of votes.<br />
<br />
Whilst no-one could have predicted the majority government that has been the result of the election, not least myself, it is worth noting a few comments about what it means.<br />
<br />
People were either scared to tell pollsters they were voting Tory, or there was a sudden shift. The exact same thing happened with the independence referendum for Scotland - the result was different from what appeared to be a near certain end to the United Kingdom.<br />
<br />
Sadly, we have had our chance to change the voting system from the flawed first past the post to something better (anything would do, really). We voted against it - I say 'we' in the loosest of sense, as the turnout was a mere 42% in the AV referendum. The main dinosaurs in politics are unlikely to make a push for it again, unless a smart Labour government backs this move. Whilst the Greens would benefit, so would UKIP, and no-one sane I know would want that. I think this idea has to be put to bed for a while.<br />
<br />
If Russell Brand wants to make his YouTube clips on political opinion any more valid then their already low reputation, he needs to stand as an MP. He changed his mind, conveniently after the deadline to vote had passed (smart move), to voting Labour (smarter move). Now Ed Miliband, along with Nick Clegg and Nigel Farage, have stepped down from their respective parties, he will probably dither more and change his mind again. To represent a figure that is hard to estimate, the percentage of the population who do not believe in the democracy we have, he needs to stand. He needs to stand for a new party, if this can be allowed, that have one sole motive: change. By change, I mean a vote for this party would be a vote for not believing in anyone else.<br />
<br />
By sitting on the sidelines and either not registering, opting not to vote or tactically voting elsewhere, people are being lost in the ether. It is impossible to tell how many people have truly voted for the party they believe in, more than ever, but if you do not believe in the system we currently have, I feel this would be the best way forward. I'd rather that then hearing Russell say 'don't vote' over and over, again.<br />
<br />
I voted Labour in this election because I believe they were brave, and wanted to change the country for the better. Abolishing non-dom status will have lost them voters that are in the top 1% of wealth of the country, but gained thousands of those struggling under the coalition. A promise of an increase in minimum wage to £8 by 2019 was welcome, and I cannot see how anyone can disagree with this. The Greens promised it to be £10 in a similar time frame - I'm not sure how this would have ever happened, nor how the tax payers would cover abolishing student debt. Nice try, but we are trying to get out of austerity measures, not give reasons to have more austerity.<br />
<br />
I feel sorry for Ed, and for Nick Clegg. Ed received far more hatred and personal attacks than anyone expected, and genuinely looked like a likeable bloke, sitting atop good policies. Nick was let down by backing down on his tuition fee promise. The Tory's were ruthless, and Lib Dems had little power to stop them bringing the hike in - if only Nick played that card more, and made people understand before his political career was left in ruins.<br />
<br />
Now, I will leave the discussion to the real political editors of this world. I just want to know where these £12bn Tory welfare cuts are coming from, and when I will have to start saving up to pay for my health care.<br />
<br />
To quote Enter Shikari; "You sold us short. You will not profit off our health - step the fuck back"Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-27602230721018582242015-03-19T19:00:00.000+00:002015-03-19T19:00:00.317+00:00Spector, Superfood and Fickle Friends // The Haunt, Brighton - ReviewAfter a day of free activities courtesy of Topman in Brighton, the festivities continued into the night at the popular nightclub, The Haunt.<br />
<br />
Kicking off the night after a relatively safe DJ set were Fickle Friends, a local band I had not come across yet. They were fantastic. The guitar was catchy on all of the songs they played in their short set, and the vocals were melodic too. They were not shy to speak to their home crowd, and despite not having an album out, were the most talkative and confident band of the night. More from them soon, I hope. One to watch for.<br />
<br />
Superfood shortly followed, and continued where they left off in the venue late last year. The set was slick, with all the singles played and a select few from their album. The crowd bobbed along to "Bubbles" and the closing "Superfood" (self-titled, well spotted) was ravenous in reponse from the crowd. Exciting music for an excitable crowd, it only seemed fit that they played tonight.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://nme.assets.ipccdn.co.uk/images/gallery/2013Spector_9_AH_BEST_250813.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://nme.assets.ipccdn.co.uk/images/gallery/2013Spector_9_AH_BEST_250813.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Credit: NME</td></tr>
</tbody></table>
<br />
<br />
<div class="MsoNormal" style="text-align: justify;">
If Fickle Friends were the
pleasing new find on the menu, and Superfood were the filling, sumptuous second
course, Spector were the disappointing desert of the night. Disappointing on
the outside to the extent that they look moderately appealing at a glance (this
is a band that have a hopefully ironic calendar every year), something like a
chocolate fondant perhaps. On the inside, instead of being filled with luscious
chocolate, you find liquid sandpaper – easier to digest than normal sandpaper,
but still thoroughly unappealing. Whilst old songs really did go down a treat,
such as “Celestine” and fan favourite “Chevy Thunder”, it was hard to tell if
this was on their own merits, or due to them standing side by side with set
fillers from the new album. Lyrics were never strong on the first album, but
early glimpses are that they are even worse: “On thoughtful balcony, it’s so
hard to find moonlight these days, I'm sorry” and “You're running from a 2am
kiss, and nothing seems to turn you on, I hope you make it home”. We hope you
are sorry Fred, because that was dreadful.<br />
<br />
More often than not, there were some
Depeche Mode-esque synth parts that they slung in to the songs, such as the
opening song “Lately It’s You (Moth Boys)” which featured a jarring, completely
indecipherable synth-vocal chorus. They finished with “All The Sad Young Men”,
their newly released track, which is the direction we all hoped they were
heading in, which ever so nearly sparked a mosh in the crowd. I think this was
due to the excitement over it actually being an okay song. To quote “Never Fade
Away”, Fred sings “if you give me the word, I’ll start fading away”. You have
my word Fred, fade away, please.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-77724884306423767762015-01-12T16:35:00.003+00:002015-01-12T16:36:05.841+00:00High Tyde // Talk To Frank - SingleHigh Tyde are about to make waves on the scene with this new cut from their forthcoming EP "FUZZ". "Talk To Frank" starts with a guitar line as infectious as its pop drum counterpart. The distorted vocals grind throughout the song, with ambition for glory.<br />
<br />
They sure are going to go places if they keep this up. With a support place in Brighton for Peace's gigs, the only way is up.<br />
<br />
Premiering on Clash Music right now, visit the link below to listen to the track, and make sure you check out their SoundCloud for more sonic delights.<br />
<br />
http://www.clashmusic.com/news/premiere-high-tyde-talk-to-frank<br />
<br />
<img alt="High Tyde" src="http://www.clashmusic.com/sites/default/files/styles/article_feature/public/field/image/HighTydePromos-7002.jpg" height="285" title="High Tyde" typeof="foaf:Image" width="400" /><br />
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-67527804053192675852014-12-17T18:19:00.000+00:002014-12-17T18:20:06.521+00:00Bombay Bicycle Club // Bring an end to Earl's Court's 77 year historyThis past Saturday, Bombay Bicycle Club put a period on the end of Earl's Court's history. After the likes of Pink Floyd and Led Zeppelin had played their over 30 times combined, it was Bombay's first time at the venue. It would also be their last, and the venues.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://pbs.twimg.com/media/B5E5qlmCAAAlyus.jpg:large" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://pbs.twimg.com/media/B5E5qlmCAAAlyus.jpg:large" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Raising an arm to the crowd, Bombay kick off their farewell to the venue</td></tr>
</tbody></table>
<br />
<br />
Whilst the venue is a great loss to those bands that haven't quite made the leap from small venues to Wembley quite yet (they aren't ginger and play half size guitars, after all - sorry not sorry Ed), it isn't going to be missed in terms of audio. I have been to Earl's Court for a few gigs now, and have always been let down by the echoey, muffled sound. If you have never experienced this, imagine the Chilean miners playing tunes off their iPods when they were stuck down there. Now multiply that a few times. The location isn't great either really, with venus like The O2 arena being far easier (for me) to get to, with restaurants surrounding it and better acoustics.<br />
<br />
The history is crazy, though. Bombay were lucky enough to bring on David Gilmour halfway through their set, as guitarist Jamie MacColl introduced him as "the man who gave me my first guitar" and having "played here by my count 27 times". That's quite a feet, for any venue. Let alone a 20,000 capacity arena.<br />
<br />
Moving on from the history and small talk, let's get to Bombay themselves, shall we?<br />
<br />
They played a career spanning set, obviously. They managed to fit in their medley of The Giantess/Emergency Contraception Blues which is always received well by their loyal fans, along with hit singles from all of their albums. The new material blended... oddly with the old. The indian sounding "Feel" is so different to something like "Rinse Me Down", it sticks out.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://pbs.twimg.com/media/B5E5pGPCcAAqztl.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://pbs.twimg.com/media/B5E5pGPCcAAqztl.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jack glares at the crowd</td></tr>
</tbody></table>
<br />
<br />
The show was certainly a spectacle, with firework sparklers, glitter confetti cannons as well as many buckets of the stuff falling from the ceiling. As graceful as the band took to the stage, to chants of "let it down" after the band aired their previously premiered spoof documentary, set in the future, looking back at the gig as a "peak" with the band having moved on. It's certainly worth a watch, with Guy Garvey's participation a treat, certainly!<br />
<br />
Peace and Sivu provided support before Bombay took to the stage, with Peace boldly covering Led Zeppelin's "Since I've Been Loving You". Boy, did they get it *so* right. Harry's guitar work shon, with improvised guitar shining through, and certainly wowing the crowd. The new songs fitted in perfectly with their earlier efforts, and they are one step closer to sounding like Primal Scream every day with "Gen Strange". Sivu, was elegant and diligent in his performance, with Lucy Rose on bass and keys. The sounds his band produce are unique, as is his Finish stage name, for a man that goes by James on his bank statements. They both provided adequate support for Bombay, and I am sure many other bands would have jumped at the chance to play on Earl's Court's death bed.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://pbs.twimg.com/media/B5E5qMuCAAEIHTZ.jpg:large" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://pbs.twimg.com/media/B5E5qMuCAAEIHTZ.jpg:large" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Gilmour takes to the stage to play "Wish You Were Here"</td></tr>
</tbody></table>
<br />
<br />
The band have since announced that they will be having a quiet next year, and with no dates planned so far, I can see it being very quiet. Why not? Afterall, they did just bring a fitting end to 77 years of music, with their own brilliance being the cherry on top. A very sweet, fun and perhaps a bit shy cherry. One of those ones.<br />
<br />
Bombay played:<br />
Overdone<br />
Come To<br />
It's Alright Now<br />
Shuffle<br />
Lights Out, Words Gone<br />
<br />
Your Eyes<br />
Home By Now<br />
Whenever, Wherever<br />
Rinse Me Down<br />
Wish You Were Here<br />
Ivy & Gold<br />
The Giantess/Emergency Contraception Blues<br />
Evening/Morning<br />
Dust On The Ground<br />
How Can You Swallow So Much Sleep<br />
Feel<br />
Luna<br />
Always Like This<br />
So Long, See You Tomorrow<br />
What If<br />
Carry Me<br />
<br />Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-77469211566167445622014-12-08T21:00:00.000+00:002014-12-08T21:01:53.147+00:00If Spotify ends free streaming, 2015 will be the companies last year<div style="text-align: justify;">
At this current point in time, Spotify has it's agreements in place regarding free streaming until some point in 2015. At this point, they will have to renew the contract - presumably for considerably more than what they are currently paying - or go entirely paid for. If it does this, they will be entirely pricing themselves out of existence.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Spotify do not pay per stream or play, as it is commonly thought. They pay using a calculation system that takes into account how well they are doing overall, their monthly revenue. This is times by the artist's spotify streams/total spotify streams. This is then multiplied by up to roughly 70%, to go to the record label or artist - this depends on each artists royalty rate. THEN, you get the final figure.</div>
<div style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: justify;">
<a href="http://www.spotifyartists.com/site/wp-content/uploads/2013/09/Spotify-Royalty-Formula.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.spotifyartists.com/site/wp-content/uploads/2013/09/Spotify-Royalty-Formula.png" height="163" width="640" /></a></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The first pitfall of this system is that if someone else releases a hugely popular album, you are shit out of luck. Due to their being more streams of that other album or albums, you get less. So essentially, the music industry is penalising itself as it thrives. Secondly, and rather important to this article, is that if the industry takes a dip overall, you get less too.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
This is key. If Spotify does not renew it's contracts for free streaming, then there revenues will plummet, as there will be fewer ad listeners. Personally, I feel they should just charge £1 for ad-free listening instead of £5, as you would get tenfold subscribing, which would be twice the profit. Who wouldn't pay such a small fee if they used it regularly?<br />
<br />
I frankly cannot see this a wise business model. They will miss out on new users that may convert to the paid option, and will completely alienate some already paying members. They do make a lot of money from the free option, too, it must be remembered - the ad companies pay depending on the audience, which is huge at the moment.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
It was all much more simpler when everything was physical, wasn't it?</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Source: <a href="http://www.spotifyartists.com/spotify-explained/">Spotify</a></div>
Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-69180747698545554992014-11-19T18:27:00.001+00:002014-11-19T18:27:49.279+00:00Johnny Lloyd // Prince Albert, Brighton - Review<div class="MsoNormal">
Johnny Lloyd played at a small pub in Brighton yesterday,
his first tour since Tribes split. That will be the last I mention them, or as
Johnny put it after one song “don’t mention the ‘t word’”, out of courtesy. Any
worries that his solo material would need to be backed by other songs were put
to bed, as his new set of tunes were outstanding – far better than anything the
unmentionables produced.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<img alt="Embedded image permalink" height="640" src="https://pbs.twimg.com/media/B2zsJJNIgAABPjA.jpg:large" width="640" /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
His set was short but sweet at 8 songs, which is actually
quite long for someone who has no album yet. It was lovely to see Miguel on the
drums, and he relished playing the faster paced songs. There were worries
before he came on that perhaps his, so far, only slow paced material may be
dreary, but this was not the case. ‘Shoot That Silver’ was a particular
highlight, with fantastically-Rolling Stones-esque, jazzy guitar. Perfect Body
was another treat also, with a wry smile from Johnny after he announced it.
Previous material from his two EPs went down really well, with applause all
round when ‘Happy People’ was announced.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Whilst it is early days yet, next year could be big for
Johnny Lloyd. I would presume he will release an album perhaps next summer, but
until then the premise of what was on display here was more than enough to put
faith in him. As the man himself said, “see you in 2015”.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Johnny Lloyd played:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Joy Ride<o:p></o:p></div>
<div class="MsoNormal">
Like I Did<o:p></o:p></div>
<div class="MsoNormal">
Happy People<o:p></o:p></div>
<div class="MsoNormal">
Perfect Body<o:p></o:p></div>
<div class="MsoNormal">
Running Wild<o:p></o:p></div>
<div class="MsoNormal">
Dead Beat<o:p></o:p></div>
<div class="MsoNormal">
Shoot That Silver<o:p></o:p></div>
<br />
<div class="MsoNormal">
Pilgrims<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-50965969476155300802014-09-11T16:00:00.000+01:002014-09-11T16:00:05.120+01:00Mercury Prize // Nominations are in, no suprises here (for me)It's that time of the year where the ice-cool Mercury Prize panel crawl out of their presumably soundproof dwelling, and announce their "Albums of The Year". As the boring bunch would probably want, the nominations are:<br />
<br />
The 2014 Albums of the Year are:<br />
<br />
Anna Calvi // One Breath<br />
<br />
Bombay Bicycle Club // So Long, See You Tomorrow<br />
<br />
Damon Albarn // Everyday Robots<br />
<br />
East India Youth // Total Strife Forever<br />
<br />
FKA twigs // LP1<br />
<br />
GoGo Penguin // v2.0<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://alfitude.files.wordpress.com/2011/07/albumsoftheyearlogo_rgb.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://alfitude.files.wordpress.com/2011/07/albumsoftheyearlogo_rgb.png" height="168" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Get ready to see this plastered all over albums in HMV, like the girl/guy you don't want, but secretly do.<br />You know the one.</td></tr>
</tbody></table>
<br />
<br />
Jungle // Jungle<br />
<br />
Kate Tempest // Everybody Down<br />
<br />
Nick Mulvey // First Mind<br />
<br />
Polar Bear // In Each and Every One<br />
<br />
Royal Blood // Royal Blood<br />
<br />
Young Fathers // Dead<br />
<div>
<br /></div>
<div>
After doing a bit of research on the left-field entries (sorry FKA twigs and GoGo Penguin), I can agree with this list as a whole. There is quite a wide range of music on show here - and I for one am massively relieved Ed Sheeran is not on here. I saw an article by a paper that I won't mention (The Independent) about how he deserved a place there. How does he? He's far too cool for this indie-filled list. No-one on this list was bossed around by their record label, that's for sure. Sorry Ed, try again next time.</div>
<div>
<br /></div>
<div>
My early favourites are... well, quite a few. I've reviewed 3 of them - Royal Blood, Damon Albarn and Bombay Bicycle club - and have listened to most of the others now. Nick Mulvey's album is excellent, but I personally feel Bombay Bicycle Club or Damon Albarn deserve it most. The first is organic indie music at it's finest, but I cannot help but feel the number one status landed its place on this list, as fantastic as it is. The latter, Albarn's first solo album after 783 other musical endeavors, is such a different album to others on the list, as it is quite self-indulgent in its percussive nature, quite clearly not aimed at the radio stations A-lists.</div>
<div>
<br /></div>
<div>
I have been very happy with the past few years, in particular alt-J and Elbow, and am determined to have backed a band and get it right again. </div>
<div>
<br /></div>
<div>
So, I'm going to say Damon Albarn. It's just that bit different to win it. Sorry Royal Blood, as fantastic as you two are, it isn't mercury worthy.</div>
<div>
<br /></div>
<div>
H x</div>
Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-33680381552093248132014-08-31T19:15:00.001+01:002014-08-31T19:15:59.365+01:00Royal Blood // Number One!<p dir="ltr">Huge congratulations to Royal Blood, who have made rock history tonight. They've sold an astonishing 66,000 copies of their debut album. This also make it the biggest selling debut since Noel bloody Gallagher three years ago.</p>
<p dir="ltr">What an achievement, and deserved too. Nice to see proper rock in the charts for once too. Who knew that many people bought music, eh? </p>
<p dir="ltr">Rock on, Mike and Ben, rock on.</p>
<p dir="ltr">You can read my review of the album on my site, found below this post.</p>
<p dir="ltr">H x</p>
Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-48713609591289243542014-08-23T16:00:00.000+01:002014-08-23T16:00:04.480+01:00Royal Blood // Royal Blood - ReviewRoyal Blood, eh. After listening to "Out Of The Black" and "Come On Over" for what seems a lifetime, they release their album this week coming with what seems a lifetime of experience. Simply put, they have stuck to their guns and done what they do best: Rock and-less-so roll.<br />
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I, and most other people, have heard of half of the album for months before this release, which is really its only criticism. For me, they released too many songs in the build-up, and should have limited themselves maybe. Everyone was already convinced they were awesome, and the tracks they have released prove this. A tiny niggle, for a two piece band with a huge sound.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOTZKTt9Q-aM7s6TB2sz9AbHN5wgCWNhpeiGArR8BS1d8wfEBLEwHu5TRHs0G0kODzPOcXsrkGAzU2H4PvSlgd9GS7t8oNNs1IcAD5gBHWr1Ogvgnz6LyaICGs9movyR5UzDicjQjMiPMR/s1600/RoyalBlood_FinsburyPark_230514_Keiler.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOTZKTt9Q-aM7s6TB2sz9AbHN5wgCWNhpeiGArR8BS1d8wfEBLEwHu5TRHs0G0kODzPOcXsrkGAzU2H4PvSlgd9GS7t8oNNs1IcAD5gBHWr1Ogvgnz6LyaICGs9movyR5UzDicjQjMiPMR/s1600/RoyalBlood_FinsburyPark_230514_Keiler.jpg" height="265" width="400" /></a></div>
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If you have not heard of Royal Blood before (are you from the past?), then expect music as technical and "band" sounding as you can get from two people. Do not say Black Keys, as they have about three people behind them on top of the two we know about, so they don't count. I'm not saying they are better than the White Stripes from the off, but they come mighty close, without sounding as if they owe anything to anyone. They are definitely unique in a time of pop shit being churned out and thrown at the charts and our faces like £50 notes.<br />
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Relentless rock is what they do best, and this is all they do. The album is short and sweet at 32 minutes long, a desirable length for a band with songs that seemingly sound longer than they actually are. "Careless" is a highlight from the new tracks, with a catchy riff and good use of drums and simple bass throughout the verses, and a catchy chorus. The vocal effect reminds me of "Arabella", maybe something they learned from playing Finsbury Park with them this summer.<br />
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Many have tried to emulate a guitar sound with bass, and many have failed. For me, they have it spot on. His selection of pedals has fascinated me and many others from the start, and it is good to see them pull it off just as well live, as they play how they record, which always helps. The drummer, Ben Thatcher, is also pretty damn nifty with his sticks, hitting hard and fast - but technical, too. They have such a close connection live in terms of chemistry, one that is vital for a two piece band, keeping them in time and thriving off each other. It's great to see that, rather than silently playing to the crowd. Mike addressed the crowd at Finsbury with this clever remark: "I'd like to introduce the rest of the band: Ben on drums", before Ben invited the audience to bring on the noise in the breakdown of "Out of The Black". Such confidence, whilst not being glaring, is rare to see in bands starting out these days.<br />
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To think they have gone from playing intimate 100 people shows in Brighton, to Brixton Academy and now to Finsbury Park is simple incredible within the space of a year. It would not be too much of a stretch of the imagination to see them headlining a festival in a couple of years, or at least packing a field full to the brim with rock lovers, screaming their hearts out to every song they have. I know I'll be there, and I hope you will be too.<br />
<br />
9/10<br />
<br />
H xAnonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-31782811670156675992014-07-25T13:00:00.000+01:002014-07-25T13:00:00.534+01:00The Acid // Liminal - Review<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.thenationalstudent.com/articleImages/the-acid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.thenationalstudent.com/articleImages/the-acid.jpg" height="473" width="640" /></a></div>
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The Acid are a band that are subscribed to the rather popular belief, or rather rule, that 'less is more'. This is in both their music, and promotion of their music. Hearing very little from the band publically can work well, or well, not so well. Luckily, this band has all the right parts to succeed. Los Angeles singer-songwriter Ry X usually creates laid back songs with little electronic edge to them; but with Steve Nalepa and British grammy nominated Adam Freeland, they produce a very different sound. Whilst you may not have heard of these names before, you'll be hearing a lot from The Acid in the coming months.<br />
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Their anonymous appearance definitely mimics Alt-J, joining a group of invisible bands that neither care for this title or actively try to change it. The media present it; they ignore it.<br />
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'Basic Instinct' served as the appetizing starter for the band, with over a million plays on SoundCloud providing a good base for support to release this album. The haunting lyric of "coming up for air" is delicate and piercing at the same time, with distorted vocals and guitar later on releasing an edge not known to Ry X on his own.<br />
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Other tracks on the album lean heavily on the 'less is more' approach that bands like 'xx' have reigned in. The opener 'Animals' follows this principle to the letter, and is beautifully executed. Light and airy, with hints of an explosion of noise that never quite comes. A weak opener, maybe a better closer.<br />
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Elsewhere, you can find urban electronica on the definitely-not-a-Bowie-cover 'Fame', and the whisper quiet, guitar laden 'Veda'. If you're looking for music to keep you awake, you are in the wrong place. If you're looking for music to night drive to, high on acid or something less strong, this is the album.<br />
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Whilst the album has it's highs (literally), it can be a bit too minimal. Very similar to the second 'xx' LP, which was expected to heavily feature Jamie xx's work that had excelled in between albums. The fruits of their labour are evident, but perhaps not all they have to offer is quite there yet.<br />
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Who cares if they're invisible, if they make great music like this?<br />
<br />
7/10<br />
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H xAnonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-81470886298750083842014-07-01T21:29:00.000+01:002014-07-01T21:29:00.249+01:00Alexei Crawley // Liars EP - ReviewAlexei Crawley has been working on his debut solo EP outside of Abodes for around six months now. I had the unexpected privilege of receiving a preview link from Alexei a couple of weeks ago - having been a rather public fan of his work - and have been listening to the EP for a while now.<br />
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The first track starts of unexpectedly. Adding keys to the mix adds another layer to the music, making the mix deeper and helps definitely with the lack, for the most part, of drums. The chorus is catchy, and nothing like the recent collection of "Stay With Me" lyric inclusive tracks. The harmonies are a bold choice. Often broadening and thickening the vocals like adding chorus to guitar, and at times doing what chorus can do to a guitar and sounding like half a step down or out of tune, but it is simply another little touch among many on the EP. The riff that comes in later in the song glides between the left and right channels of your speakers, and whilst it could be argued to be too harsh of a tremelo, it doesnt matter. It adds once more to the song, variety that often is missing in first efforts.<br />
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The second track, previously previewed live and in demo form, starts of with a slow build up before the acoustic kicks in. Production values are high here, with echospheric (sorry, who uses that word?) sounds in the slow build up before the acoustic kicks in. More upbeat than the last one, despite the subject matter - which is another positive point for the album. The lyrics are woven and do not sound formulaic in structure or choice. Repetition is a theme on the album, in a good way, and is triumphant again once more. I can't quite pin the guitar that comes in later in the song - is it reverse reverb, or just high overdrive? Whatever it is, it sounds all rather lovely.<br />
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The two tracks that follow display yet more variety to fill your cheeks with, and catchy low volumed lines. Very much suicide inducing if you were annoyed at the recession crisis and your lack of a job, but stick with it and look past the pills. The keys this time sound like something the xx would like to steal, and the almost rambling lyrics are a marked change from the other two tracks.<br />
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As first EPs go, this is very well done. As far as I am aware, he is the sole producer too - which I can tell you is not easy. Yeah, there may be a crackle here or there in the first 10 seconds of 'Stay With Me', but where's your debut EP without it's faults?<br />
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Try to not get any of these songs stuck in your head, I dare you.<br />
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8/10<br />
<br />
You can listen to the EP on Alexei's SoundCloud, <a href="https://soundcloud.com/alexeicrawley">here</a>. By can, I mean 'will'. I insist.<br />
<br />
H x<br />
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<br />Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-35470591393267391312014-06-27T19:20:00.001+01:002014-07-01T21:06:46.989+01:00George Ezra // Wanted on Voyage - ReviewHaving been included in the list for BBC Sound of 2014, it was clear that George Ezra would be a hot topic this year. His<span style="font-family: inherit;"> track 'Budapest' caught the ear of indie lovers, and is a favourite of many radio stations now. It's been streamed 15 mil</span>lion times with YouTube and Spotify combined - that's pretty incredible considering the song has been out six months, and came out of nowhere.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://culturefly.co.uk/wp-content/uploads/2014/03/george-ezra-live-still.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://culturefly.co.uk/wp-content/uploads/2014/03/george-ezra-live-still.jpg" height="271" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;">Source: Culturefly.co.uk</span></td></tr>
</tbody></table>
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His whisky-deep soulful voice fills many a room on this debut album, as it did on the earlier tracks released prior to this album, on the 'Did You Hear The Rain?' EP. Now, he's just filled a tent at Glasto. Whilst many have done this before him on the eve of an album release, no-one has quite as silently as he has. No magazine cover, no startling news pieces or interviews. Just music. Which is great to see in a culture fascinated by arguments and controversy.<br />
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There's promise on this debut album, with velvet acoustic guitars, and creamy vocals from both George and the choir on 'Leaving It Up To You'. Whilst the album definitely fades towards the end, the mood changes. With it, a display of variety too, not often found on indie debut albums. If he has a good festival season, I can see big things happening for Ezra. Very big.<br />
<br />
8/10<br />
<br />
H xAnonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-76896715210577673632014-06-11T17:30:00.000+01:002014-06-11T17:30:01.780+01:00Linkin Park // The Hunting Party - Review<div style="text-align: justify;">
Fuck, they were not lying when they said this was heavier.</div>
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<div style="text-align: justify;">
I LOVE it. I always was going to though, but there is little denying that this their best album since "Meteora". The synths are nearly all gone, and guitar is at the front of the mix again, along with screaming galore.</div>
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<div style="text-align: justify;">
"Keys To The Kingdom" kicks off the album, with an uncompromising scream from Chester. Aggressive, distorted, and pure rock. The guitar that follows is distinctly heaveir than anything off their past three albums. "All For Nothing" has a fabulous feature from Page Hamilton, with an old school chorus from the band that first hit the main time with hits like "Papercut" and "In The End". The previously released "Guilty All The Same" is gloriously heavy, with a fantastic display of the bands confidence.</div>
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They had confidence to refine their sound for the mainstream over the previous two albums, to much critical and commercial success. Personally, I loved these albums as much as the others, as it revealed a different side to the band that no-one would have seen or argued for in their earlier days. Cheers, Rick Rubin.</div>
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But now, Mike talks slicker, the riffs are quicker, screams are louder and they rock harder on this latest effort, "The Hunting Party". This is a highlight for their gitarist Rob, who has in recent years been stuck in the background, rocking out every couple of minutes. Now, he is in the sights of the public, for everyone to see. There are more solos on the first half of this album than there have been in their first five albums. They are bloody good ones, too.</div>
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For a comparison, Serge's solos on their stupidly titled... whatever it is, they sound like he has just picked up the guitar. Noticeably lame compared.</div>
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<div style="text-align: justify;">
If you thought Linkin Park were lying when that they were going to go heavier, you were wrong. They asked their teenage selves whether they would be happy with their last two albums, and they said no, so went about to adjust that. If you are undecided about the album, listen to their earlier stuff and then this.</div>
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This, is a true successor.</div>
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Enjoy the ride, it's bumpy, and refined.</div>
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9/10</div>
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H x</div>
Anonymoushttp://www.blogger.com/profile/12943864132276017523noreply@blogger.com0tag:blogger.com,1999:blog-6362921646619783550.post-30844801485983433742014-05-25T15:35:00.000+01:002014-05-25T15:35:43.371+01:00Arctic Monkeys // Finsbury Park, London - ReviewThe Arctic Monkeys stormed Finsbury park on both Friday and Saturday of the late May bank holiday, with an impressive stage set to boot and a very loud 70,000 ensemble of true fans.<br />
<br />
The bill suited them perfectly. Royal Blood were absolutely rocking, and are definitely less like the White Stripes then The Black Keys are. These two boys don't muck about, they don't have anyone else on stage. "Let me introduce you to the rest of my band" singer Mike Kerr announced proudly, "this is Ben Thatcher". Ben is one of the hardest hitting drummers I have seen, nearly always breaking drum sticks - and they only play 5 songs at a time. Mike, somehow uses just a bass to create that wall of noise. Pretenders they are not. They will be big as soon as they get around to releasing that album of hits. I did hope for a July release, who knows maybe they will announce it soon after the two biggest gigs of their careers?<br />
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Miles Kane followed and was as always full of confidence, cheekiness and smiles all round. I particularly loved him toying with the camera and visibly having a laugh with the drummer whilst doing so, announcing to the crowd "that isn't loud enough Finsbury" slyly into the overly-fixed camera. The drummer as always is phenomenal, and looks amazingly like Arshavin and about 14 years old, still. His ability to have a joke with the band and keep the beat to 'Rearrange' is astounding. He still needs to have another album of hits behind him, lest we not forget most of the big hitters on the first were written with or by Alex, and the second with Paul Weller.<br />
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Tame Impala were... tame. They did not suit the barmy crowd. Musically talented, and the absolute tunes that are 'Elephant' and the Beatles-esque 'Feels Like We Only Go Backwards' doesn't make up for a lack of enthusiasm, and doesn't create an atmosphere of euphoria in the company of thousands of northerners. Let's leave it at that, shall we.<br />
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Then the main entertainment arrived, after 20 minutes of very odd choreographed collection of animated clips. One included wax brides you'd find on a cake slowly burning over a minute whilst Bowie played in the background. Pretty damn odd. What was not odd however was the mammoth noise level when the now accustomed intro to their gigs rang out. What was unbelievably classy was as soon as the beat kicked in, it was revealed that the stage span round, with the band in full swing with 'Do I Wanna Know?'. Very cool.<br />
<br />
Alex Turner was quite visibly pissed out of his face, but rocked a Dracula look for some reason. Not sure on that, maybe one of his Sheffield mates told him it looked good?<br />
<br />
The setlist was a bit odd for the band. They only played two songs each of their first and third albums, with only three from their second. Humbug is an era I really crave to hear again, but they were not in the mood to hang on nostalgia. 'AM' was played in full minus one song, which is pretty much a non-issue considering its strength, but considering they had brought back older hits recently into their set like 'Dancing Shoes', it would be nice to see a few more. 21 songs is not enough songs for a band whose songs are not particularly long, and only play their biggest headline set yet for an hour and a half. Less cocaine, more songs. I know the mixture hits him hard brick by brick, but snap out of it and play some more hits, and less practicing of those lines, please.<br />
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The gigs were a resounding success, and they proved that they have nothing left to prove to their fans. Now that they've achieved that, they can next time release new music and start playing *finally* a longer set, and they'll be hailed as Jesus figures by NME. Then they'll be a bank holiday for their birthdays, if they got their petty ways.<br />
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Alex played an acoustic version of 'A Certain Romance' on the Friday, instead of The Last Shadow Puppets performing on stage to play 'Standing Next To Me' on Saturday. It was accompanied by some funny interplay between Miles and Alex: "What should about the solo Milesssss", "I'm not sure, maybe sing some French? (sings French)". Hilarious and brilliant - oddly, Miles did not come on for '505'. Can't wait for their next one together, despite no-one around me knowing any of the words. 'Fans', eh.<br />
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You can see the <a href="http://www.setlist.fm/setlist/arctic-monkeys/2014/finsbury-park-london-england-43c0871f.html">setlist</a> they played on Friday in full below:<br />
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<ol style="background-color: white; color: #333333; font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 19px; font-style: italic; list-style-image: initial; list-style-position: initial;">
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<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Do+I+Wanna+Know?" style="color: #333333; text-decoration: none;" title="Statistics for Do I Wanna Know? by Arctic Monkeys">Do I Wanna Know?</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
<span class="songInfo" style="font-style: normal;">(<span id="id5f">Began whilst turning 180 <span class="read-more">… <a href="http://www.setlist.fm/setlist/arctic-monkeys/2014/finsbury-park-london-england-43c0871f.html#" style="color: #333333; font-style: italic;">more</a></span></span>)</span></div>
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<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Snap+Out+of+It" style="color: #333333; text-decoration: none;" title="Statistics for Snap Out of It by Arctic Monkeys">Snap Out of It</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
<span class="songInfo" style="font-style: normal;">(<span id="id60">Extended Intro</span>)</span></div>
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<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Arabella" style="color: #333333; text-decoration: none;" title="Statistics for Arabella by Arctic Monkeys">Arabella</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
<span class="songInfo" style="font-style: normal;">(<span id="id61">with snippet of "War Pigs" by Black Sabbath</span>)</span></div>
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<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Brianstorm" style="color: #333333; text-decoration: none;" title="Statistics for Brianstorm by Arctic Monkeys">Brianstorm</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
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</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Don%27t+Sit+Down+%27Cause+I%27ve+Moved+Your+Chair" style="color: #333333; text-decoration: none;" title="Statistics for Don't Sit Down 'Cause I've Moved Your Chair by Arctic Monkeys">Don't Sit Down 'Cause I've Moved Your Chair</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
</div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Dancing+Shoes" style="color: #333333; text-decoration: none;" title="Statistics for Dancing Shoes by Arctic Monkeys">Dancing Shoes</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
</div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Library+Pictures" style="color: #333333; text-decoration: none;" title="Statistics for Library Pictures by Arctic Monkeys">Library Pictures</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
<span class="songInfo" style="font-style: normal;">(<span id="id62">Extended Intro</span>)</span></div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Crying+Lightning" style="color: #333333; text-decoration: none;" title="Statistics for Crying Lightning by Arctic Monkeys">Crying Lightning</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
</div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=I+Bet+You+Look+Good+on+the+Dancefloor" style="color: #333333; text-decoration: none;" title="Statistics for I Bet You Look Good on the Dancefloor by Arctic Monkeys">I Bet You Look Good on the Dancefloor</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
</div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=She%27s+Thunderstorms" style="color: #333333; text-decoration: none;" title="Statistics for She's Thunderstorms by Arctic Monkeys">She's Thunderstorms</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
</div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Why%27d+You+Only+Call+Me+When+You%27re+High?" style="color: #333333; text-decoration: none;" title="Statistics for Why'd You Only Call Me When You're High? by Arctic Monkeys">Why'd You Only Call Me When You're High?</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
<span class="songInfo" style="font-style: normal;">(<span id="id63">Extended Intro</span>)</span></div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Fireside" style="color: #333333; text-decoration: none;" title="Statistics for Fireside by Arctic Monkeys">Fireside</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
</div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=No.+1+Party+Anthem" style="color: #333333; text-decoration: none;" title="Statistics for No. 1 Party Anthem by Arctic Monkeys">No. 1 Party Anthem</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
</div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Cornerstone" style="color: #333333; text-decoration: none;" title="Statistics for Cornerstone by Arctic Monkeys">Cornerstone</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
</div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Knee+Socks" style="color: #333333; text-decoration: none;" title="Statistics for Knee Socks by Arctic Monkeys">Knee Socks</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
<span class="songInfo" style="font-style: normal;">(<span id="id64">Extended Intro</span>)</span></div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=Fluorescent+Adolescent" style="color: #333333; text-decoration: none;" title="Statistics for Fluorescent Adolescent by Arctic Monkeys">Fluorescent Adolescent</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
</div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=505" style="color: #333333; text-decoration: none;" title="Statistics for 505 by Arctic Monkeys">505</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
</div>
</li>
<li class="encore" style="color: #999999; font-size: 0.9em; list-style: none; margin-left: -2em; margin-top: 1em;">Encore:</li>
<li value="18"><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/the-last-shadow-puppets-5bd673d0.html?song=Standing+Next+To+Me" style="color: #333333; text-decoration: none;" title="Statistics for Standing Next To Me by The Last Shadow Puppets">Standing Next To Me</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
<span class="cover-artist" style="font-style: normal;">(<a href="http://www.setlist.fm/setlists/the-last-shadow-puppets-5bd673d0.html" style="color: #333333; font-style: italic; text-decoration: none;">The Last Shadow Puppets</a> cover)</span> <span class="songInfo" style="font-style: normal;">(<span id="id65">with Miles Kane</span>)</span></div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=One+for+the+Road" style="color: #333333; text-decoration: none;" title="Statistics for One for the Road by Arctic Monkeys">One for the Road</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
<span class="songInfo" style="font-style: normal;">(<span id="id66">Extended Intro</span>)</span></div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=I+Wanna+Be+Yours" style="color: #333333; text-decoration: none;" title="Statistics for I Wanna Be Yours by Arctic Monkeys">I Wanna Be Yours</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
</div>
</li>
<li><div class="songPart">
<a class="songLabel" href="http://www.setlist.fm/stats/songs/arctic-monkeys-3d6bdbf.html?song=R+U+Mine?" style="color: #333333; text-decoration: none;" title="Statistics for R U Mine? by Arctic Monkeys">R U Mine?</a> <a class="playVideo" href="https://draft.blogger.com/null" rel="nofollow" style="background: url(http://s1.cdn.setlistfm.com/img/icons-184.png) 0px -586px no-repeat transparent; display: inline-block; height: 16px; margin: 2px; padding: 0px; width: 16px;" title="Play Video"></a></div>
<div class="infoPart" style="font-size: 0.6em;">
<span class="songInfo" style="font-style: normal;">(<span id="id67">Extended Outro</span>)</span></div>
</li>
</ol>
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