Happy Birthday GoldFlakePaint

As many of you probably know, I write for a music ‘site called GoldFlakePaint. Today is their 3rd birthday.

There’s an unlimited amount of music blogs/websites out there and finding a consistently decent, reliable, and enjoyable one can be a challenge. Luckily, GoldFlakePaint are there to tell us all what’s new, exciting and worth spending our precious pennies on. You might consider me bias, as obviously I write for them, but I couldn’t be prouder to be involved in what they do, because it’s genuinely brilliant.

On top of that, they’re now also hosting events, like a recent film night with a set from Scott Hutchinson of Frightened Rabbit (Kissing In Cubicles).



In an age where music writing is done by so many, quality is no longer a guarantee, but the fact a webzine like GoldFlakePaint can last this long shows that there’s hope yet.
Long may it continue.

Some of my contributions to GoldFlakePaint

First Listen // Sailplanes ~ We Are An Industry

 Read on Goldflakepaint

An important component of any good band is a clear sense of certainty in their sound. It’s no good listening to something that’s confused, or as a result of an uncertainty, seems like it’s chosen to be boring instead (although I should be clear – that doesn’t mean I don’t enjoy the sound of band experimenting or trying something new). This requirement is exactly why the new EP by Sailplanes is something of a gem. Only three tracks long, it’s hardly going to tax your ear or your time. But with a solid, comfortably delivered sassy sound it’ll be an enjoyable ten minutes of post-punk, with female vocals that are distinctly reminiscent of the excellent Life Without Buildings.

There’s a definitively relaxed feel to their cheery, noisy, jangly tunes and, on The Fox, some lovely girl/boy vocals from vocalists Stacey and Tim. “Blue, grey-green eyes” they sing, in a lovely medley of sound. The effective use of boy/girl vocals is rare outside of twee music and is something to be valued.
 
Sailplanes sound great and fun, and if you’re looking for a pleasant, charismatic, engaging listen, then look no further.

bandcamp

Johnny Foreigner @ Firebug Leicester - 10th Oct '12

Firebug is a cosy pub/bar with an upstairs venue area, with what is probably the greatest feature of a small venue I’ve seen yet – sofas! It’s not a big room either so there doesn’t feel anything impolite about sitting comfortably in a sofa/armchair to watch the supports. First up are Falcon who launch into some Tall Ships-esque math rock, but with lovely melismatic female vocals (although she’s a bit quiet – but that could be down to the down the sound person, or her cold). Playlounge wander on stage next with little ceremony, shaking the wooden floor with their furious noise-pop. There’s quite a bit of buzz around these guys at the moment, and they certainly deliver live.

Johnny Foreigner begin their set with Alexei and Kelly standing in the crowd to deliver ‘Johnny Foreigner Vs You’ entirely acapella (except for the piano melody playing quietly in the background). It’s a nice chance to see just how good Alexei’s voice is, it easily fills the room and Kelly’s slightly huskier answering phrases contrast well with his clear, emotive vocals. The softer atmosphere is soon shattered as they leap on stage to thrash out ‘Feels Like Summer. The set list is well chosen and they’re on top form tonight (despite some initial technical difficulties). There are a couple of new songs in the mix as well, from an album due out at the end of this month (“called NAMES…because names are important”). It’s difficult to judge new material on the basis of one listen at a gig, but it seems like Johnny Foreigner are set to continue with the gorgeous success that is ‘Vs Everything’. Both tracks are that blend of catchy beautiful melodies, and angry violent guitars, that Johnny Foreigner weave together so well.

They opt to leave out the usual ploy of leaving the stage only to return for an encore, instead explaining the situation and then diving straight into an old favourite ‘Sofacore’ (which at one point meanders into Star Trek and then back to ‘Sofacore’ again). The sublime ‘New Street, You Can Take It’ sees the whole crowd singing along for the final few lines, followed by ‘Absolute Balance’ – another old favourite, which closes things perfectly.

It’s the first gig Lobandwidth has reviewed in its/my new home of Leicester, and it’s a fittingly special one. Johnny Foreigner are perhaps not the most consistent live band in terms of sound - if you’re unlucky they can be a little ramshackle (but in a very endearing way). Either way you’re guaranteed a good show and an enjoyable evening regardless - and if you do catch them at their best, like tonight, they’re very very good indeed.

words by Mel Reeve
@melreeve

Review // Nosferatu D2 ~ Live At The Spitz

 Read on Goldflakepaint

Everyone is familiar with the particular kind of sadness that comes when a band you love breaks up, the gigs you’ll never get to experience again, the thrill of a new release that will never happen. So it follows that there’s probably nothing worse (musically speaking anyway) than discovering an incredible band, after they’ve split up. In the case of Nosferatu D2 we were all somewhat on the backfoot to start with, as their incredible album ‘We’re Going To Walk Around This City With Our Headphones On To Block Out The Noise’ was released two years post-humously. It’s thanks to the efforts of the excellent record label Audio Antihero that you can hear them at all. You’d be forgiven for thinking that with basically all ND2’s recorded music having been released and no intention of reunion that there’s nothing more left for ND2 to five, but in typical AAH fashion, almost magically they’ve produced a new release.

It’s a live recording of ND2’s last ever gig, supporting Los Campesinos! and Sky Larkin. Described as a “DIY” recording, you might be expecting something fuzzy and unlistenable, but that’s not the case at all. Remastered by Benjamin Shaw (of ‘There’s Always Hope There’s Always Cabernet’ fame) this album captures the messy power that gives ND2 such a charisma and pull. Crashing cymbals, emotive vocals and some truly unbelievably good drumming, framed with the occasional mumbled “cheers” and the audience’s reactions. There’s also a track not on ‘We’re Going To Walk Around…’ called ‘A Man At War With Himself’ which is fast paced, furious lo-fi indie at its best and shows just how good ND2 really are/were.

What was always my favourite song of the album ‘Flying Things And Pests’ is brought somewhat further to life than the album version. With the barely audible murmurs of the crowd adding some great atmosphere and the dark, honest lyrics giving extra punch – which combined with lead singer Ben Parker’s vocals, quivering with feeling, create something really special. Parker achieves a particular kind of honesty and wry humour with his clever way with words, the opening lines of ‘2 People, 0 Superpowers’ embodies this talent “a heart with no soul is just offal, and a soul with no heart is something I don’t wanna talk about today”. Lines like this, and the gloomy descriptions of everyday life are widely applicable in that very specific way that can lead a band to real success, but more importantly create music that really means something.

This live album is partly a way to discover just how good ND2 were, but nostalgia and hindsight aside, it’s a very good listen in its own right. Seeing a band live is often a good way to refresh music that you’ve over-listened to, and if you’ve been suffering (as I have) from having only ten ND2 songs to listen to, ‘Live At The Spitz’ is the perfect way to re-engage with the band. But that’s not to say that it’s only for ‘fans’ of ND2, it will lead new listeners to discover a truly vibrant and enjoyable band.

Review // Why? ~ Sod In The Seed [EP]

Opening title-track and first single from the EP is essentially irrefutable proof that Yoni Wolf is an unbelievably talented lyricist; his delivery of clever lines is slick, quick, charismatic but never so much so that you miss the words. It’s always of such a quality that for most other bands even one verse of the same standard would be considered impressive. The EP version of this track is slightly longer, with a few more lines to break up the repeats of the hook – which is where it falls down slightly. “I’ll never shirk, this first world curse” Wolf echoes, and after he’s done it a few times it begins to get on your nerves. The rest of the track I could listen to almost endlessly, and it’s perhaps more a reflection of just how unbelievably good the rest of the track is, rather than a true criticism.
But that’s pretty much the only point of the entire EP, that isn’t quite up to WHY?’s usual (very) high standard. ‘Probable Cause’ features a rather lovely piano and soft vocal hook, a little reminiscent of their Sanddolars EP. ‘Twenty Seven – For F.M.V’ features a beautifully poetic image, elegantly crafted and delivered impeccably, “pulling the first soft feathers from a new born robin fledgling, saying she loves me not, she loves me” and with the dark undertone that often shows through, giving WHY? something more of an edge.
Wolf’s incredible way with words is always going to make WHY? an enjoyable band to listen to, but it’s even better when the quality is matched by the surrounding music; which in this case it is. It’s perhaps not as totally flawless as say, their 2005 album Alopecia, but it’s still of the high quality you’d expect from the band and most definitely heightens the excitement around their forthcoming fifth album.
Read on Goldflakepaint

Amateur Historians - New Homes/New Hopes

The trio have already received high acclaim, Jen and Ally’s BBC Introducing show on Radio 1 featured them a few days ago, and sang their praises. First single ‘These Cities Are Stealing My Soul’ has also been very popular, making the rounds on various blogs.
Comparisons with Johnny Foreigner and Los Campesinos! are somewhat inevitable (the glockenspiel on Interlude could well haunt them) but by no means are they re-treading old ground. There’s the strong hooks and melodic certainty that calls to mind bands like Tellison, as well as the messy euphoria of Johnny Foreigner’s earlier stuff (or Cap’n Jazz) and ‘These Cities Are Stealing My Soul’ opens with a gorgeous guitar riff that wouldn’t sound out of place on a Dananananaykroyd track.

But it would be unfair to consider Amateur Historians only in the context of other bands; they’ve got an energy and intelligence all of their own that marks them out. There are many excellent moments of euphoric-emo-pop but the contrast of those with softer track ‘Interlude / Arterial Route From Heart’ is what shows the range of their talent. The chorus seems almost designed to be shouted back by heartbroken teenagers - it’s the perfect blend of clever, emotive and widely applicable. But still with that all important sincerity.

Their lyrics weave stories of beautiful cities at night, long-distance relationships and the strains and stresses of youth, all wrapped in a glorious, rousing combination of yearning guitars. With an occasional hint of glockenspiel and a certain kind of charm achieved only by bands you know are trying to create something genuine.

Buy: bandcamp

The Bronze Medal - The Bronze Medal

For a while the only tracks by The Bronze Medal available have been a heartbreaking serenade on the importance of calcium for strong teeth called ‘Milk’ and a couple of acoustic videos on youtube (including a beautifully harmonised Frightened Rabbit cover). No more, however, must I listen to the same two songs on repeat to get my fix, as they’ve released an EP.


Only four tracks long, it’s perhaps a little short for my taste, but then that’s only because I could listen to the gorgeous, yearning sound they create for hours. With distinctively powerful and emotive vocals that somehow also manage to sound fragile, and a constant undertone of longing and sadness The Bronze Medal are probably best compared to bands like Dry The River and We Were Promised Jetpacks. But that’s not to say they’re going over old ground musically, the final track of their self-titled EP ‘Womb’ epitomises their Mogwai-like talent for morose guitar music, but with the addition of those soft, mournful vocals, the crescendo-ing waves of sound become yet more painfully beautiful.

Xiu Xiu Larsen, The Croft Bristol - 25th June '12

If you're reading this between 8-9pm GMT on Thursday 28th June then go HERE to listen to my radio show, where I'll be talking more about the gig and playing music from EMA, Xiu Xiu, Gunning For Tamar, Alt-J and more (as well as the new WHY? track).


The Croft is filled with the sounds of heavy metal guitars and screaming. This isn’t because Xiu Xiu Larsen have had a drastic change of sound, there’s also some kind of heavy metal evening going on in the next room tonight. Thanks to The Croft’s design, this is fairly easy to ignore, although it can be a little surprising later when XXL are keeping the audience enraptured, things fall silent, and there’s some thrashing going on in the background.

In the ‘main’ room we find Anta setting up in front of the stage – the rather large gong next to the drum kit attracting some attention. Without microphones as they are, there’s no in-between song chit chat (or singing), they don’t even pause at any point during the set. It’s a constant influx of noise, which can be a little overwhelming (and leaves you feeling a little dazed afterwards). But there are some catchy melodies and things never become self-indulgent. You might be fooled into thinking that there was no set structure to their set, but the clever fluctuating changes in rhythm and texture make it clear that everything is well calculated. Their set up in front of the stage allows the space to feel a little fuller but they soon pack away their (very impressive) array of amps, clearing the way for XXL. The latter are surrounded by a barrier of pedals, guitars, drum kit and unusual instruments - there’s even a theremin (although that doesn’t get much use) as well as several keyboards and a variety of small percussion.

XXL’s set begins gradually, building a blend of sound that seems almost without melody, until the drums lead with a beat and a much more defined shape emerges.  The audience is surprisingly small, at its peak there are perhaps no more than 30 people, which has the strange effect of making this feel like something secret. They all seem utterly absorbed in the performance, and there’s a small ripple of excitement when the opening notes of ‘Paw Paw Paw Paw Paw Paw Paw’ echo out. Invariably, Jamie Stewart (the Xiu Xiu part of Xiu Xiu Larsen) is drawing out a heart wrenching guitar melody, keenly emotive and almost unbearable in its beauty. It rises above the rest of the sound, pulling the reverberating chords and melodies around it into a web of noise that demands your attention until it’s the only thing you can think of.

Several of the tracks descend into the cacophony of fuzz and noise that Stewart’s band Xiu Xiu sometimes make use of. We’ve described before here at LBW how effective and affecting that can be, and whilst there is arguably a less calculated effect here, it somehow wraps itself inside your ears until the stabs of noise feel comfortable and necessary. It’s perhaps important to assert that this is certainly not a Xiu Xiu concert, but it also seems a touch illogical to consider tonight’s performance out of the context of Xiu Xiu.

Both bands are capable of evoking very strong feelings in the audience, often unexpectedly, and both feature that wonderful guitar - but there’s something rawer and less predictable, less safe, in XXL’s playing tonight. At times this can make it a harder listen and less rewarding. If you’re not in the right frame of mind then the bursts of noise and fuzz could feel alienating, but if you give them your full attention then it’s hypnotic, aggressively emotive and a powerful thing to watch.

Los Campesinos! + Tall Ships; Thekla, Bristol 21/03

Wednesday night at Bristol’s Thekla gets underway early and Tall Ships perform in a way that would be commendable for a headlining band. It’s rare to see a support band captivate the audience so fully, but completely understandable. The gently harmonised vocals are a contrast to the fast, sharp guitars; a powerful combination, strengthened by the vast crescendos overlaid with solid, lyrical melodies. ‘Vessels’ is a set highlight and a fitting track for the venue, not only in title (for those unaware, Thekla is a boat). The misleadingly slow and delicate opening melts into a thrumming drumbeat, filling the air and we all join in the chanting, “the vessel, that carried you and me, now sits at the bottom, the bottom of the sea…”


The boat was busy enough for Tall Ships, but waiting for Los Campesinos! it somehow manages to get even cosier; the balcony area looks fit to burst and down on the floor it’s already uncomfortably warm. That’s not a surprise. It’s a sold-out homecoming gig, as LC! are fond of reminding us they’re local (and definitely not Welsh).
Rocking back and forth to the beat, the entire band seems to be perfectly content with the newer songs. Coming after a few shaky first gigs with the new material, this is a positive sign. After the aching beauty of ‘To Tundra’, Gareth solemnly intones that quality is guaranteed from here on in, as “all the songs left have been featured on BBC3 programmes”. This is said with a wry smile, he’s fully aware that most people here are going to know the words to whatever they choose to play. With that, they launch into the infamous “beer song”. The days of bratty shouting and atonal glockenspiel are certainly long behind them, but the anticipation of the gradually building guitar on ‘You! Me! Dancing!’, comes only partly from nostalgia. It’s a testament to the band’s understanding of what they mean to their audience that they don’t leave this one out......

Read the rest on GoldFlakePaint

Xiu Xiu Bristol Fleece - 12th March '12

The first support band, Crash and the Bandicoots, shuffle onto a stage filled with fairy lights and paper lanterns. They're enjoyable and confident, using audio clips to introduce their songs (in much the same way as Fight Like Apes). The clapping, fairy lights and "ooh ahh"-ing looks on paper a bit twee, but that's not the case at all and they're a fun, interesting band to see. Up next are Trumpets Of Death; unlike their predecessors they don't stop between songs, each echoing note melding into the next. It's an impressive show, including some incredible saxophone playing, the only flaw being that they lack the immediacy of the other bands. Of course, the real trouble with supporting a band like tonight's headliners is that they are who we're all really here to see.

There's no talking between tracks tonight (as is usual with Xiu Xiu), but the band all seem perfectly content with the silence. Stewart speaks only twice - thanking the support bands at the start, and then thanking us in an equally hushed tone. His speaking voice is at odds with the raw power of his singing; he dodges between howls on 'This Too Shall Pass Away' (the only track they play from 'Dear God I Hate Myself'), and the beautiful, heart-breaking melody of 'Fabulous Muscles'. Silence falls almost completely for this track. The drummer, Marc Riordan, makes his way to the front of the stage to stand silently next to Stewart, hands clasped with a solemn expression, looking for all the world like someone in mourning. The crowd is unexpectedly small, especially for a band that's travelled so far to get here, but those that have come seem to be dedicated fans. There's a smatter of impolite talking over the start of a few tracks but that soon settles down as the songs develop. The set-list is clever and well thought out, the sublime refrain of 'Suha', "I hate my husband, I hate my children...when will I be going home?" is right at home next to the melodic "la la la"-ing on 'Joey's Song', one of the tracks from the new album 'Always'.

There's definitely something religious about the dedication of Xiu Xiu's listeners, and in the fairly small number of people here, there doesn't seem to be even close to a "type" of fan. If you just can't understand what makes people fall in love with this band, then seeing them live is probably the best way to appreciate the magnetism they undoubtedly have. I've seen Xiu Xiu casually dismissed in reviews on grounds of 'weirdness'. And yes, there can be some surprising and unusual moments in their music, but you soon come to realise there's nothing random about those crashing cymbals, or interjections of noise. It's all been crafted delicately together to form a powerful undercurrent; an unstoppable barrage of melodies that suck you in, wrenching at your gut, and all the while Stewart's lyrics, bizarre and startling at each turn, weave and float on top. They finish tonight's set with the magnificent 'I Love The Valley OH!', probably the closest thing they've got to a "hit single". As Stewart and the crowd roar out the infamous "OH!" of the title, I realize that (and it's completely clichéd) there's no easy way to put into words how a band like Xiu Xiu can make you feel. With those infamously unflinching lyrics, agonizingly catchy guitar riffs and drums that thump like a heartbeat, they were never going to be everyone's cup of tea, but that doesn't stop them being the most brilliant, surprising, and unforgettable band of the last ten years.

Perfume Genius - Put Your Back N 2 It

Mike Hadreas’ first album as Perfume Genius was ten short songs of pain, whispered out in his trademark delicate voice and recorded in his mum’s house without any particular intention to be released, it’s intimate in a way that can be almost difficult to hear at times. Hadreas himself is a shy, almost damaged seeming character, singing of awful things with a smile and a shaking voice, over a gentle piano. ‘Put Your Back N 2 It’ does not show much deviation from this effective formula, even using a couple of re-recorded demos from before ‘Learning’, the beautiful piano arpeggios and hushed vocals remain.

Hadreas’ words seem to be precisely shaped from an almost exquisite hurt, but they’re never complicated, no overwrought metaphors or vivid descriptions, instead, his words almost tumble out, and seem obvious once they’re said – the sign of a true lyrical talent. The second track, ‘Normal Song’ opens with an uncomplicated line that somehow manages to communicate a whole lot more; “hold my hand, I am afraid” he asks plaintively. It’s not all doom and gloom though; often what makes these songs seem so upsetting is the glimmer of hope they describe. For example, on ‘Dark Parts’ (written as a present for his mum) he promises “I will take the dark part of your heart into my heart”. This album also shows a little more instrumental variety than ‘Learning’; a dark bass riff that wouldn’t sound out of place on the Twin Peaks soundtrack opens ‘Floating Spit’, and the gentle pounding drums on ‘Dark Parts’ add a sense of urgency, when things could otherwise have felt a little too heavy. It closes with ‘Sister Song’, the Perfume Genius version of an arena-filling anthem – a reverberating guitar picks out a melody that sounds patriotic in some strange way, with typically revealing yet mysterious lyrics, and a sense of anticipation.

Bands like Snow Patrol and singers like Adele are often lauded for the ability their songs have to induce emotion (…and how well their songs go with sad montages on the TV). But true heartbreak, true grief – almost at the point where it seems cathartic, wretched and destructive – is to be found in this album.....

Read the rest on GoldFlakePaint

Yr Friends Have Already Left

Alexei Berrow of Johnny Foreigner is almost disgustingly productive, not six months have passed since the last EP from his solo project Yr Friends - and in that time Johnny Foreigner released their brilliant third album 'Vs Everything'. Such prolificacy would be annoying, except anyone who finds more music from Berrow/Jo-Fo to be a bad thing is clearly not listening properly, if at all.  This EP is in much the same vein as his previous release, 'Yr Friends Have Been Lying To You', which we described as "wrapping you up in gentle guitar melodies... addictive and affecting".

This time Berrow sighs his accounts of bills, exhaustion, late nights and hope over soft electronic humming and warm harmonies, rather than the gently plucked guitar of the previous EP. It gives you a fleeting glimpse, on a misty night, in to Berrow's world - he promises to "sing from the heart" and he does. The stories he weaves are given all the more weight for the authenticity they communicate. But it's not all beautifully worded realism, on the fourth track things get a bit more morbid "I wanna sea burial, I won't leave a mark". Tackling money woes, relationships and death in less than 17 minutes, it's a real gem and we can only hope there's yet still more to come.

Buy it for only £4

Live: The Twilight Sad - Bristol Fleece, Feb 13th '12

The Twilight Sad's latest album, 'No One Can Ever Know' is the result of a conscious decision to change the band's sound. Any decision that attempts to avoid stagnation, in a climate where bands often seem almost afraid to try anything different on the next album, is certainly admirable. So, gone is the crashing wall of wailing guitars. But at its heart, the album still has the confidence and individuality that make the Twilight Sad stand out, something they've maintained since their first releases. 

 They begin the gig with the heavy droning beat from 'Kill It In The Morning', the final track on the new album. The unsettling feeling that their music has always induced in their audience so well is even more powerful live, and as the first synth melodies shiver out it's clear that this 'new sound' is going to be even more potent live. Lead singer James Graham barely opens his eyes throughout, contorting his face as he shudders along to the beat. His vocals are one of the best things about the band - consistently strong, clear and melodic - in fact sometimes on record they aren't quite given the spotlight they deserve. Graham's intense concentration may be contributing to the fact that tonight his voice is something of a magnet, grabbing the audience's focus and holding it. Although that's not to say that the rest of the band aren't equally talented; the echoing thrum and fuzz of the surrounding sound contrasts well with the solid beauty of his voice. 

 The between-song chat is kept to a minimum, Graham mumbles with a smile in reply to a heckle of "I love you", that "you wouldn't, I'm a total nobhead" and aside from their murmured words of gratitude, that's it.  Each song is blended into the next; they are clearly comfortable playing the new songs, side-by-side with some of their older stuff. The melodic hum of 'And She Would Darken The Memory' swells around, as Graham howls "the rabbit might die" then, without missing a beat the next track is reverberating around the dingy, fairy-light lit interior of The Fleece. The constant barrage of sound is arresting, but in a consuming, intense way and the open (if slightly chilly) interior of the venue suits their sound well. They seem genuinely surprised and grateful at the turnout, modestly calling themselves "only a tiny band from Scotland. The Twilight Sad may only think of themselves as a tiny band, but they are a band guaranteed to give an atmospheric performance and in the context of tonight's show their latest album has really starts to make more sense for me. Captivating, engaging, and well worth watching.

The Fleece have got some really great gigs coming up, take a look (the Xiu Xiu date in particular should be incredible).

Benjamin Shaw - There’s Always Hope, There’s Always Cabernet

Audio Antihero Records, November ‘11

In much the same ways as a wise old man might sit down by a fire and impart his wisdom, Benjamin Shaw uses ‘There’s Always Hope…’ to tell tales of everyday trials and tribulations with flair and a humorous sense of gravity. ‘Interview’ details the inevitability of stressing out about a job interview, knowing that even if you got the job it’d only make you more miserable. His self-deprecating humour is one of the reasons this never even begins to sound like the work of ‘just another bloke’ with an acoustic guitar, no mean feat when you’re a bloke with an acoustic guitar making music. He may be keen on chaotic clamour, but you’d be a fool to let Shaw’s talent for melodies pass you by. These melodies sink their claws into you, refusing to let go as they ride the ebb and swell of the surrounding fuzzy mess. That’s not to say that we’ve not been shown this talent before, the opening track on his EP ‘I Got the Pox, the Pox Is What I Got’ gives us over a minute of beeping and unintelligible voices, before the gentle guitar strumming begins and his characteristically heart-wrenching, yet simple, lines are mumbled out. It could be suggested that Shaw is trying to disguise an ability to make very listenable and pleasant music, behind a barrier of noise and dissonance. But that would be unfair and inaccurate at best. The droning and creaking that begins ‘HULK’, the closing track of ‘There’s Always Hope, There’s Always Cabernet’, only adds to its absolute, aching beauty. This track pulls at you, it’s addictive and there’s a bizarre sense of joy permeating through the pain. And as Shaw declares in his dejected but strangely powerful voice that “I can’t control…what it does to me”, you’ll begin to wish that not only is there hope and cabernet, there’s also more to come from this (self-confessed) ‘singer-songwanker’.
Buy it

Yr Friends Have Been Lying To You

Johnny Foreigner have always had a talent for soft, delicate ballads of heartbreak and this EP from lead singer Alexei Berrow feels almost like a collection of their finest, quiet tracks. It wraps you up in gentle guitar melodies and Berrows’ trademark; quotable, repeated choruses will swirl around your head long after you stop listening.

His talent for narrating a story in an engaging but deeply personal way is concentrated on this short release, thanks in part to the beautifully sparse arrangement. Over a sea-shanty like rocking guitar he murmurs, “I think he’d be good for you, I think you’d be good for each other “. One of the best things about Johnny Foreigner is their ability to be widely relatable to - without becoming clichéd and while I’m being careful to try and view this out of the context of Johnny Foreigner, this still comes across
.
There’s something addictive and affecting in the simple guitar melodies and Berrows’ despondent tone, perhaps why this EP feels like it’s for escaping in to on a lonely journey on a misty evening. Maybe even thinking about how (as the first song is titled) ‘the walk home was not as dramatic as you’d hoped for’. Again, their brilliant descriptions of tiny scences of teenage love, heartbreak and day-to-day life are partly what make Johnny Foreigner such a great band and this EP just shows what a talented song-writer Berrow is. Well worth £3.

One Of The Finest Albums of 2011 (That I Missed Completely).

As the New Year dawned, it did not cross my mind that I'd missed anything major off my 'Best Of...' list. Sure, it was a struggle to cut down, let alone order. But, I thought, there aren't any glaring omissions....of course, I was completely wrong about that.

In April 2011 Elena Tonra released the first of two EPs, 'His Young Heart', then, in November accompanied by Remi Aguilella on drums she released a second four-track EP, 'The Wild Youth'. Both EPs are hauntingly beautiful, Elena's voice softly murmurs out detailed stories. On 'Landfill' she begs to be left on the train tracks, in the rain, thrown in a landfill, covered by snow or left at the altar. The simplicity of her writing is part of its charm, these descriptions of abandonment surround the crucial line of the song, widely applicable but feeling like a revelation of her darkest secret as she whispers "this is dangerous 'cause I want you so much but I hate your guts".

Both EPs are prime examples of how successful that format can be. Four songs long, each song a fairly average length with mostly one-word titles - if you chose to, you could listen to them together (as I normally do which is why I said album in the title), but there's no need to. Elena Tonra's gentle guitar plucking and husky voice are likely to become a key part of the music I'll listen to in 2012.

Listen to the EPs on Soundcloud or purchase from Bandcamp.

Bill Wells & Aidan Moffat – The Arches 20/12/11

It’s been quite a year for messrs Wells and Moffat with a critically acclaimed debut, followed by a jaunt around the UK and Europe. Tonight is the star on the top of the metaphorical tree, their Christmas revue.
I arrive fashionably late to catch the last 15 minutes of the first support act, RM Hubbert. He sits alone on a chair in the middle of the stage with just his acoustic guitar and has the crowd captivated. Songs blend so seamlessly into each other you’d be forgiven for thinking that he was just performing one marathon track. The small part of the set I did catch only left me disappointed that I wasn’t there to witness it all.
Next up were The National Jazz Trio Of Scotland. They say trio. I counted 5 - 6 if you included Bill Wells on piano. With it being a Christmas show, their set consisted of Christmas classics reworked in a slower, more solemn fashion. One by one a singer would approach the mic to perform a song, the pick of which was a hauntingly beautiful version of ‘Walking in a Winter Wonderland’ which even succeeded in making a Grinch like myself forget that it was a sodden Tuesday night in Glasgow.

With various pianos, mic stands and amps draped in fairy lights Aidan, Bill and co walk on stage with minimal fuss, cases of beer in hand. They begin with instrumental album opener ‘Tasogare’ before continuing straight into ‘Let’s Stop Here’ with Aidan playing away with a set of symbols and drums he has set up around his mic stand. As you would expect, Moffat is chatty throughout – “Good evening everybody. Are we all looking forward to the big event? …by that I mean Hogmanay, of course.”

Tonight’s set consists mainly of tracks from Everything’s Getting Older, one of the exceptions being a cover of Bananarama’s Cruel Summer. “Does anybody remember Bananarama?” Moffat asks… “Of course you do, nobody can really forget something like that, can you?” The result wouldn’t be out of place amongst some quieter Arab Strap tracks and fits in very well with the set as a whole. ‘Dinner Time’ is the only uncertain point of the set and seems a little out of place with its strictly spoken word vocals and very immediate piano backing. ‘A Short Song To The Moon’ (“okay, it’s time for the happy song. I mean it… THE happy song.”), ‘The Copper Top’ and ‘The Sadness in Your Life Will Slowly Fade’ all sound fantastic, the latter being the highlight of the set.

After playing the majority of Everything’s Getting Older the band leaves the stage to a rapturous level of applause and cheers from the local faithful within the caverns of the Arches, before returning for the encore. Moffat dips into his recent Christmas EP ‘Oh! What A Not So Silent Night Before Christmas’ to play ‘(Oh What) A Night Before Christmas’ which has the crowd cackling in laughter throughout and is a perfect reminder as to why Moffat is such a brilliant song writer. Not many people can work S&M, NEDs and an alcoholic, near death Santa into a cracking Christmas song. ‘And So We Must Rest’ is the last song of the night and with a final “Good night, good night, oh my children goodnight.” everyone is sent back into the wet Glasgow evening. Everything may be getting older but most things are better with age, right?
Words by Luke Phillips

WHY? - Bristol Coulston Hall, 23rd Oct '11

Bristol Coulston hall is heaving when we arrive, I’m a little surprised by this, until I remember it says on my ticket that we’re going to hall 2 for WHY? Rather than hall 1, where Stephen Merchant is playing. We’re told that they’re running an hour behind, and so we hang around. Eventually the foyer is almost empty, it’s at this point that someone else who’s there for WHY? Turns to my

friends and I to share with us the story of “how my friend has found the most beautiful, true kind of love” (the reason I’m mentioning this will become apparent later). After an embarrassed “uh, ok, that’s nice…” from his friend, and us, the sea of beards and plaid shirts drifts towards the doors, and we’re finally allowed in. 

The room is draughty, and feels a little like a church, with prints of famous musicians performing on the walls, in a similar manner to stained glass windows, and we’re all seated in very neat rows. Serengeti, the support, shuffles on stage, with a nervous air, he perches himself on the edge of a Westlife-esque stool. He welcomes us and introduces Doug, the pianist, because of course, this is not just any gig, it’s part of WHY’s acoustic grand piano tour. He tells us how his album was produced by WHY’s Yoni Wolf and Owen Ashworth of Casiotone for the Painfully Alone (now Advance Base), and begins.

His charismatic stage presence is magnified by a sense of uncertainty, fiddling with his mic, before standing again, clearly more comfortable when he’s able to move, and move he does. Swaying he sings the chorus of ‘PMDD’, with Doug on piano harmonising on Joey Fever’s part. Picking up a recorder he apparently “just bought in Berlin”, he manages to make it fit beautifully with the looped piano and vocals - either he’s been practicing or is one of those infuriating instantly musical people. With a wave he has us all echoing his shouts on ‘The Whip’ and then that’s it, laughing he says “I’ve got shit for sale over there…WHY Will be here soon” and wanders offstage.  

With slicked back hair, thick-rimmed glasses and a shirt buttoned up to the top, Yoni Wolf doesn’t look quite how you might expect. The band launch immediately into ‘These Few Presidents’, to much whooping from the crowd. There’s a masterful surge of dynamics, shrinking almost to nothing and then rising instantly when Yoni begins singing. He rubs his recently broken hand, with a recently broken finger (which led to the cancelling of their tour of America) and tells us they’re going to “play a bunch of new songs”, with a quick plug of their forthcoming album, and how it’s really “taken it out” of him. The first new track is darker and heavier than much of what they’ve done before, and it’s certainly piqued my excitement for the new album. Josiah Wolf is playing bass guitar and bass drum (with his feet), while a new member of WHY? Plays the high hat etc, she’s soon introduced as Liz Wolf, Josiah’s Wife (and musical partner). Laughing they thank Stephen Merchant for opening for them, and “wish him well”.

Yoni’s quick humour, always evident in their lyrics, is shown as he mutters out a joke about how Liz is allegedly “from Bristol” and does a passable British accent when he makes a pun about her maiden name, Hodson (“Hodson, as in what a hot son you have”). They also deal rather well with some half-hearted heckling, including calling one shouter “coward” and inviting him to come up to the stage and repeat himself, this is all done with a smile. Much to their surprise however, to the stage he does come, asking to shake hands with Yoni (oh and look, it’s the guy from earlier who told us about his friend’s new love). Yoni turns this into an elbow shake because of his broken hand - which still looks pretty swollen and his dancing is a little wooden at times because of it. They rush off stage after their final song, but after much cheering return for ‘On Rose Walk’. Two songs later and they finish, this time for good.

So I have another blog...exciting?

I now also have a Tumblr, yeah, I know...contain the excitement guys.
If you've managed that go check it out at:

http://lobandwidthh.tumblr.com/

(lobandwidth with one h was already taken so I used my imagination and stuck another one on the end)


Anyway, I'll try and post on here and on there simultaneously but I think Tumblr is better at supporting streaming stuff (such as interviews I've done etc) so some things will probably only be available there.


I'll see how it goes.

TEETH

The debut single from Teeth (or TEETH!!!, T3ETH and T∑∑TH as they can be known) is released by Moshi Moshi on the 16th of August, which means until then if you want to hear some of their music you'll have to visit their myspace, where you can in fact hear the single, See Spaces, as well as a very enjoyable Dolby Anol remix of said song.




They make the kind of music that listening to and remaining still at the same time is basically impossible, another of their tracks, Confusion, feels a bit like HEALTH put through some sort of Bikini Kill filter which can only be a very good thing.

As summer slowly draws closer to its end, expect to hear Teeth echoing out over dark fields filled with drunk teenagers dancing very energetically. Because that's what this music makes you feel like doing, going out and having a good time whilst listening to great songs.