Swim Deep ‘Mothers’ album review

 Back in 2012 the hazy youth of Birmingham originated four piece Swim Deep not so much exploded as dreamily skateboarded onto the music scene with their dreamy, summery indie pop debut ‘Where the heaven are we?’.

It was the perfect summer sound for all those denim clad adolescents with crazy colour dye clinging to the strands of their hair and the inner contents of NME doing a pirouette around their vinyl player. 

It’s standard to expect bands to play it safe with second albums-particuarly those as young as Swim Deep. 

But the course of three years has acquired the band more than just a new member in the form of keyboardist James Balmont. ‘Mothers‘ hits you like brushing your fingertips across the surface of a flame; it’s unexpected, dynamic and leaves a lingering impact long after it’s over. 

The album takes a physchadelic, trippy and refreshingly brave twist on their previous style. In many ways the staggering force of the risk the boys have taken is what makes this album such an intriguing listen; if it wasn’t for frontman Austin Williams’ trademark falsetto/purring vocals you’d scarcely make the connection that this is the same band from the first album. Personally I love it, there’s nothing stale or caricature esque of any other artist about it. ‘Mothers’ is the kind of exotic and explorative album that surely categorises as art; it’s simultaneously chaotic, creative and cathartic. 

Highlights are the aptly named reverence of opening track ‘One great song and I can change the world‘, the frenzied and banal beauty of crazed eight minute track ‘Fueiho Boogie‘ and the blissful reverence of ‘Heavenly Moment’.

It may be sporadically bizzare and kaildoscopic at certain points-and then again it might also be one of the most innovative and near genius albums I’ve heard in years. Either way it’s making me thankful that I’ll be attenting their gig at the roundhouse this month, as an opportunity to hear these tracks live sounds more than good to me. 

You can purchase ‘Mothers’ and find out more about Swim Deep Here 

Review of The Magic gang at the Boston music rooms Friday 10th July 2015

Since first stumbling across this Brighton based four piece on sound cloud whilst looking for something new to listen to, I was instantly sucked in by their hazy, laid back sound and poignant lyrics. 

After seeing them play a short set at The Social in Oxford circus back in May, I knew that they had a strong sound live but the small venue and somewhat timid crowd at that gig admittedly created some restrictions in terms of audience atmosphere. 

However, the second they stepped on stage at the Boston music room it couldn’t be clearer that this would be a gig that would allow their stage presence to really shine. Kicking the set off with self conscious, sing along track ‘You don’t want me’ it was as if they’d flicked a switch that sent a fizz of life and energy reverberating through the crowd. 

The set consisted of eight tracks, two of which can’t be found online which didn’t seem to deter a large portion of the audience from moving around and eagerly attempting to sing along. It’s always refreshing to go to a gig and look around to see that everybody is getting into it, what’s even better is that it was clear that The Magic Gang up on stage seemed to be having just as good a time of it; Nobody really wants to go and see a band that look like they would rather be anywhere than on the stage in front of you.

Stand out tracks from the set-which you should also check out if you haven’t listened to these guys before- were the dreamy, anthem-esque charm of smartly written track ‘She Won’t Ghost’, the meloncholic magic of plaintive track ‘Alright’ and the stomping beat and catchy chorus of ‘No Fun’. 

There’s not much of their music you can find online, but the few tracks that you can listen to Here on their sound cloud make for some very decent listening. Having drawn comparisons to the likes of Weezer and Blur, their nostalgia tinted, yet innovative sound hits you in just the right place. I would 100% recommend checking these guys out and keeping an eye on them, because any music they release in the future is looking to be of a very high standard.

The Magic Gang will be supporting Swim Deep on their UK autumn tour, see dates below.

  

Review of Jamie T at Hackney Empire; An acoustic evening of albums, EP’s and rarities

Truthfully, I wasn’t sure exactly what to anticipate from an acoustic Jamie T gig-my first ever seated concert in fact. After all, this is the musician who is largely known for being a lad, typically drawing in a fairly raucous crowd with his loud mouthed tracks. The atmosphere was altogether more laid back in the Hackney Empire this particular Friday night, with a stripped back stage setting that centred around a smartly attired Jamie T seated on a stool, with just his guitars and his band to accompany him through the set. The last time I saw Jamie T, back in November, I was in the stalls, in the middle of a crowd that were hungry for a chance to throw themselves and their drinks about with predictably reckless abandon. Was I going to be disappointed by such a starkly different setting for this hackney empire gig?

Any doubts I had were diminished instantly, with a set list composed of a mixture of the crowd favourites, the never before played, the new and the obscure to say the least. Overall, it was a rare treat to witness this kind of plugged in set from him. The normally introverted star provided a constant between song patter, providing the absorbed crowd with the context behind a majority of the tracks, from fond favourite Back in the game from his first album being about his brothers home town of Brighton, to preserving with the idea for new track Senorita after spending a drunken evening in the pub discussing the Spanish civil war and being struck with inspiration to pen a track about the topic, his lack of knowledge on the subject failing to stand in his way. Throw in tracks such as ethereal anthem “The Prophet” from new album Carry on the grudge, and the heart string tugging, nostalgic Magnolia Melancholia from his recently released EP of the same name and you’ve got pretty much the perfect blend of old and new, dated and ancient, popular and obscure.

After his four year break, it certainly felt satisfying to see Jamie T looking so comfortable and at ease on stage, compared to the vague tinge of nerves I sensed the last time I saw him live which was his first tour since taking his break. There’s hints that he has grown up since his return, both in the nature of the new material and also the sheer ease and self assurance that he possesses when addressing the audience, keeping them entertained and hanging onto his every word from the moment he sits down until the moment he leaves the stage. This gig was proof that not only has he regained his confidence with a lion esque roar, but that the comeback-that could have been perceived as risky, with a new album and new sound, after such a long break- has well and truly paid off.

Palma Violets Danger in the club album review

There’s always that one album that hits you so hard and so right that you almost fear the inevitable follow up, so sure are we that nothing could possibly beat the sheer beauty of this particular record. That album for me has always been Palma Violets 2013 debut 180, one of the only records that I’ve taken literally as a part of me; those tracks have been the boozed up accompaniment to my Friday nights throat stinging pre drinks, the kick in the shin to wake me up on that befuddled morning bus journey to college and ultimately the caress of comfort when my tiny little word seems to be falling apart and my pillow is somewhat damp at three in the morning.

So with the release of their second album at the beginning of May, more than anything I was eager to hear something fresh from the boys after two years of the same twelve or so tracks, with that lurking doubt that it just might not suffice. The band spent time on a rural welsh farm recording the album, which is reflected in short, warbling introductory track “Sweet Violets”.

Danger in the club is certainly one of those albums that won’t reach you straight away; it’s a grower and it will take more than one quick listen to appreciate the depth of most of the tracks. Stand out tracks are the rugged, acoustic elegance of “The Jacket Song”, in which we see bassist Chilli Jesson take centre stage with his throaty vocals and sharp use of a jacket as a metaphor in which to base this melancholic love song on. On the other end of the spectrum another track I thoroughly enjoy is “Peter and the gun”, based upon a dream front man Sam Fryer had about keyboardist Peter Mayhew embarking on a crazed rampage. The great thing about this track is how it almost sounds like two different songs that have been merged into one, somehow managing to sound both atmospheric/gothic and itching-ly catchy all at once as it takes you from low and dark, to upbeat and defiant and back again, all the way painting you this beautifully disturbing narrative of a weapon wielding psychopath stumbling on his dastardly journey.

“Coming over to my place” with it’s blazing declaration of “I would rather die than be in love”, is a refreshing steer away from the stale and done-to-death celebration of being in love that we hear all too often in music. The satirical brilliance of fast paced track “Gout! Gang! Go!” with lyrics about the menopause and craving for wine, shine if anything for the content of the lyrics alone. Eponymous tune “Danger in the club” will strike a chord with any of us who have ever entered a bar/club and felt that ripple of anticipative fear as you both partake in and undergo the ritual of being sized up by everyone in the room. It articulately pin points that feeling of not knowing quite what to expect that we’re all familiar with. The album ends on a high with “English Tongue”, a sing-along track that follows the aggressively poignant tale of woe of protagonist “Hugh Diver”, with hints of folk in the storytelling aspect that are bound together with the bands definitive, energetic, pub rock sound.

Overall the album makes for an intriguing and fulfilling listen. Although they’ve retained their punk orientated, pub rock style and sweat soaked, adrenaline fuelled flare, it’s great to see some growth in the length of the tracks and the progression of the lyrics. The shambolic, lurching, loud mouthed undercurrents of the record are exactly what make it so brilliant. Having heard some of the tracks live at Rough Trade East on the day of their album launch, it’s safe to say that the combination of tracks from both albums makes for a powerful set list and one hell of a crowd reaction. If you haven’t already, this is one band that you need to see live as they put on the best show out of any live act I have ever seen, as well as having one of the greatest crowds in terms of movement, atmosphere and reaction.
100% would recommend buying this album!

Review of Arctic Monkeys at Reading festival 2014

Upon entrance of the reading festival arena on Saturday the 23rd August 2014, one thing is glaringly obvious; this is a day dominated by one band and one band only.
Confronted by a sea of t-shirts screaming phrases such as “why’d you only call me when you’re high?” and the eponymous “Arctic Monkeys”, the boys have worked up one hell of a vibe an entire twelve hours before they’re even due to grace the stage. In the half hour or so leading up to their set, I spotted more than ten members of the crowd having to be pulled over the barrier and carted off by security, worryingly limp limbed and rolling eyed. There’s a lot to be said about a band that can generate this level of buzz and excitement, it’s verging on out of control but demonstrative of the impact and influence Arctic Monkeys have on their fans.

As the set kicked off with the discernible, thumping beat of Do I Wanna Know there was no need for any grand entrance to work the crowd up, the atmosphere was already way past electric and surging towards an inferno in the crowds impatience for their headliners.

One thing that is abundantly clear is front man Alex Turner’s evolution from awkward, mumbling lead singer to suave and searing show man, expertly addressing and guiding the crowd with no more than a swing of the hips and languid flick of his arms. Gone are his days of urging his audience “don’t believe the hype” and horsing around in his music video in a post box coloured turtle neck, singing into a dicta phone; Turner has morphed into a leather clad, foul mouthed rock n roll star and his fans are loving every aspect of it.

The show being a sizzling salute farewell to the touring of the monkeys latest album AM, the set list was a clear reflection of that, including smooth, anti love song No 1 party anthem, slick lyric Arabella and ending with heavenly heart warmer I wanna be yours.

Nostalgic older tunes such first single I bet you look good on the dance floor and When the sun goes down were ravaged by the crowd, but Arctic Monkeys flourished most with rock n roll tracks My propeller and Crying Lightning from heavy third album Humbug.

There’s a reason that Arctic Monkeys have become such phenomenon’s and it’s largely down to their explosive live performances, as opposed to Turner’s slick quiff and sex appeal. This is a band that put’s on an almighty show, with the crowd quite literally eating out of the palm of their hands. At the end of the set a ten minute long chant of “we want more” eventually coerced the monkeys back on stage to perform an impromptu three song encore. Jamie Cook on lead guitar and Nick O’malley on bass and backing vocals flank Turner with their own testosterone fuelled, assured style with Matt Helders bringing up the rear with furious drumming and occasional soft backing vocals-although for half the show there was so much smoke surrounding Helders that he could barely be deciphered. Although he more than made up for this by ending the show by flinging his drum sticks into the crowd to most likely be fought over in the style of vultures for this most coveted of souvenirs.

With so much anticipation and expectation for this slot, Arctic Monkeys didn’t disappoint in the slightest. Everyone got precisely what they paid for; a send off to the AM tour worthy of the globally successful, number one album. The boys set Reading festival off with not so much a bang as a meteoric explosion and set the bar very high for future headliners…

Review of Jake Bugg’s main stage performance at Reading festival 2014

 

Performing on the main stage at Reading and Leeds festival is no mean feat for any artist, much less for one at the tender age of twenty but Jake Bugg managed it with more than a little touch of his trademark stoic nonchalance.

In the unenviable position of the last act before the evenings feverishly popular headliners Arctic Monkeys, Bugg churned out a solid, impressive set littered with tunes from both albums including debut singles Two Fingers and Lightning Bolt. If he felt any inkling of pressure preceding such blatant crowd favourites, Bugg didn’t betray a flicker of this in his mounting stage presence.

Highlights of the show were melancholy melodied heartbreaker hit Broken, in which the crowd created a chant of “smile, smile, smile” to the solemn faced star, who sheepishly interrupted his song in response with an endearingly flustered chuckle.

Strongest in the acoustic tracks such Seen it all, Me and You and Trouble Town, Bugg manages to make you feel like you’re sitting in front of a stage in a Texan bar with a warming tumbler of whiskey laced between your fingers. His country twang and soaring notes are in direct contrast to his rumbling northern speaking voice, making it all the more invaluable when he opens his mouth to sing.

Vocally Bugg is strong, adhering few bum notes and presenting no negative differences to listening to one of his records, an accolade that’s few and far between in most musicians these days. Admittedly he needs to work on his between song patter and more interaction with his audience, but this will surely come with age and progression as a musician.

For a musician who has self proclaimed a dislike for playing festivals, Bugg certainly appears at home on the main stage and possesses the instinctive ability to work a crowd through his music alone without having to verbally encourage his audience to “put their hands together” or “make some noise” for his songs.

Council estate anthems Messed up Kids and Slumville Sunrise were particularly well received, a refreshing dose of reality amongst the hedonistic rock n roll lifestyle that seems so flagrant among previous acts on the stage Bugg occupied.

The hair raising, ethereal notes and stomping chorus beat of Simple Pleasures as the sun had set into atmospheric dark was also a personal favourite moment.

After an impressive hour long sunset slot, Bugg more than proved himself to be headliner worthy in a few years time. The horizon is clearly golden for Jake Bugg, who has managed to remain both humble and honest on his whirlwind journey from playing the festival republic stage in 2012 before his first album had even been released, to performing on the main stage just two years later with two phenomenally successful albums under his belt…

Review of The Libertines at Hyde Park 5th July 2014

The Libertines at hyde park: these are the good old days?

Undoubtedly one of the most anticipated and disbelieved gigs of late hyde park was exactly what any Libertines fan expected; exquisite carnage and electrifying anarchy.

The boys in the band put on a firecracker of a show whose spark triggered an adulterated inferno. Any bitters whispers of the comeback being money orientated and therefore lacking true passion were well and truly cast aside, in the wake of the raw emotion, energy and friendship that held that stage together.

There’s a lot to be said about a band who can unsuspectingly whip a crowd into a delay tower clambering, barrier hurdling, security battling beast that caused the gig to stop three whole times. You know that things are a bit awry when you’ve got Pete Doherty himself bemusedly pleading with a crowd to take safety precautions…

Gary Powell perplexedly claiming “we love you, but you guys have got to look out for each other!” to the crowd, after the momentous crowd crush, was a personal highlight of mine.

None the less, the content of the gig itself more than sufficed for the see sawing, stopping and starting, with the boys really coming into their own further down the set list.

Highlights were the insurmountable, ironic beauty of Carl singing the chorus of Albion, dusting Love is on the dole off the shelf and sending it out with a clatter and the sheer melodic chills that Music When The Lights Go Out incur.

Doherty and Barat compensate for their lack of a stereotypically pitch perfect voice with a charisma and chemistry that is so much more captivating to watch for any greedy voyeur desperate for more, more, more.

 

The Libertines were a united front, with Pete and Carl once again iconically sharing a mic in that familiar gesture of love that’s enough to send chills caressing down any fans spine. As for their shared recital of suicide in the trenches, I’m ashamed to admit that I had tears in my eyes and a lump the size of a golf ball in my throat by that stage! And any band whose essence as well as music can evoke that level of emotion in a fan, really does deserve a whole lot of credit.

Tunes such as Don’t Look back into the sun, what a waster and I get along were shrouded in a golden nostalgia, like looking back on your childhood best friend with a knowing smile.

Although The Libertines were out of their depth at such a giant venue, they more than delivered what every person in that crowd wanted; a true comeback, as opposed to the fleeting 2010 jack-in-the-box reunion.

It was all there, the explosive friendship of Pete and Carl and the solidarity of the foursome in general, with them linking arms to perform the hokey cokey at one stage in a school boy esque moment of light heartedness.

Overall, the greatest thing that I took away from this gig was the smug feeling that they were truly back, with all the chaos that it entails. One thing I noticed throughout the gig was their nerves ebbing away, and the consensus of the band slowly starting to rise to the fore.

My only real fault with the show was the gaping hole were What Became Of The Likely Lads and The Good Old Days rightly should have been.

With my ticket for Ally Pally booked and an alleged third album on the cards, let’s see what the future holds for The Libertines. With so much notoriety and past success already achieved, is there any further distance for the albion sail?

We’ll soon see.