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

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

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).

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.

Yeah, Yeah

Dylan Moran

Yeah, Yeah

Dylan Moran is perhaps most well known for his comedy series Black Books, which he wrote and starred in, as misanthropic bookshop owner, Bernard Black. For several years his talent for stand-up has been one of the hidden highlights of British comedy. Shunning panel shows, Moran is not quite a household name - unless you happen to be in a house with excellent taste in comedy, in which case the mention of his name is likely to release a torrent of compliments about this Irish comedian. On top of this, he's appeared in many films, the brilliant dark comedy of 'A Film With Me In It' (one of my favourite films, everyone should go and watch it immediately) and as unrecognisably different characters in 'Shaun of the Dead' and 'Run Fat Boy Run'. Clearly broadly talented (he's also writing a book) his stand-up is a real treat.

Looking around me, the audience members are from a variety of different demographics; largely it seems young students, but also some middle aged ex- students. It is perhaps a cliché to say that the atmosphere at the Bristol Hippodrome is one of palpable excitement, yet the hold Dylan Moran has on his fans is evident.

The stage is the same set up as on Moran's previous tours, a chair, a table with a wine glass, a screen with his drawings projected on and a microphone. As he walks on stage we all cheer, smiling, he waves and grabs the microphone; the loud "hello!" causes the audience to suddenly fall quiet, expectantly.

Clearly at ease, he begins. Everything he says immediately feels fresh and as though it's just occurring to him - joking about Bristol being a great place because it feels like it's "run by 23 year old Rastafarians", and his knowledge of the area and its stereotypes, traditions and habits is refreshing, he clearly knows where he is.

Moran tackles similar subjects to his past comedy shows. Middle age, love, youth, ageing, death, sex, politics and society in general, all fall prey to his razor sharp observations. It never once becomes a rant, his voice rises at times, increasing in volume until it seems that he can't possibly be following a pre-written script, he must be making it up on the spot....and then, with a disarming grin, he almost starts to whisper, as the previous point links beautifully to his theme. His bizarre analogies and quotable comparisons on DVD are certainly funny, but the clinical atmosphere of a recorded live show makes them seem perhaps less brilliant. Live however, it's clear that this humour is genuine, nothing he says is there to make us laugh for the sake of it, and every sentence carries a hidden weight.

Which brings me onto my favourite thing about Dylan Moran: he jokes about women and men, and not always in a particularly complementary way. He asks the audience with a small frown "who wrote Frankenstein?" and it's difficult to be sure if he's really forgotten, or is just making us feel more involved (the latter being more likely). The quick echoed reply of "Mary Shelley" perhaps proving something about the type of people that enjoy his comedy. This leads him onto a routine in which he compares men to The Creature and women to Dr Frankenstein/Mary Shelley. Such a comparison could easily alienate either all the men, or all the women in the audience but at the bottom of it all, a question remains about our society and the roles of gender within it. Not the easiest thing to do in comedy without being 'offensive'. It's unbelievably uplifting to spend about two hours in the power of such an intelligent comedian, and at no point feel uncomfortable, particularly when he by no means steers away from topics that could lead to offence. Instead, his disarming charm and perfect delivery mean that the audience are completely within his power and as it ends, it feels like barely ten minutes have gone past.

He ends saying, "the thing is....I don't know what the thing is" , apologizing for not having any more to say, although whether that's because he has forgotten to say something, or because the audience are so clearly hungry for more, is difficult to say, he wanders off with another wave, glass of wine in hand, leaving a projection of his unusual and amusing drawings and one of his silhouette alone on the stage.

Xiu Xiu and Former Ghosts at Bristol Arnolfini

Freddy Ruppert, main member and creative drive of Former Ghosts, stands slightly to the left of the stage in front of his Mac with Jamie Stewart, core member of Xiu Xiu, on his right. Freddy Ruppert has talked about how he performs music live in a very different way to a conventional 'indie rock band', using a computer and a synthesizer rather than the more traditional set-up.

Before they begin playing, Freddy Ruppert asks the crowd to join him in singing 'Happy Birthday' to a friend of his, obligingly we all sing and once we've finished, with a very slight pause they begin playing. The fairly cheerful atmosphere immediately disappears. Ruppert bangs a floor tom with such aggression it's a wonder he doesn't snap the drumsticks. On record, his vocals are integrated into the synthesized world he creates, but live they rise above the music and add another level to the performance. Stewart teases some phenomenal noises out of his guitar (using a drumstick at one point) and even when his guitar strap comes un-strapped, he kneels to the floor playing on furiously.

Jamie Stewart goes off midway through the set leaving Freddy Ruppert standing alone behind his computer. Between tracks, The Auditorium is silent apart from Ruppert's laboured breaths and the occasional curse; it's a slightly tense atmosphere, but more one of anticipation than awkwardness. (I assumed it was the strain of playing such deeply personal music live, but it later became clear that he was having some major technical difficulties.) As the introduction to 'Us and Now' echoes out, Ruppert leans forward to begin dancing and the music cuts out. Remaining silent with a deep frown on his face he furiously tries to sort things out, which leads to some engaging with the audience. He smiles almost coquettishly and murmurs "Maybe I should stay more still in the future?" and the atmosphere begins to feel a little more relaxed.

The newer tracks (from their incredible latest album 'New Love') in particular 'Taurean Nature' and 'New Orleans', sound brilliant live. The older ones like 'Hello Again' and "Flowers' sound fresher and less claustrophobic than on record. Declaring that Xiu Xiu are up next, looking sweaty and a little drained he begins the last song. Telling tales, as they do, of utter heartbreak, Former Ghosts leave the audience feeling empty, especially without the music, to soften the brutal honesty of Freddy Ruppert's lyrics, which are still raw in our minds.

Xiu Xiu are a little more comfortable with the expectant silence, Angela Seo and Jamie Stewart exchange whispers and some sort of pre-gig clapping game (?) before launching themselves into their music. After the gig I spoke to someone who had not really heard any Xiu Xiu before, who said they felt it was 'a little too death-metal and emo for me'. A surprising statement, sure Xiu Xiu have a guitar and scream a bit, but there is so much depth to their music.

'I Love The Valley OH!' a personal favourite track of mine, seems ten times louder than anything that has come before and Jamie Stewart's screams are torn from his mouth. The pink Nintendo DS on which much of their latest album 'Dear God I Hate Myself' was composed and played, is brought out for some of their more recent songs such as 'Apple For A Brain', and 'Chocolate Makes You Happy' is given an added menace as Stewart hisses out the lyrics. Angela Seo uses a variety of percussion and different whistles, some of which make some really quite interesting noises. Behind them words flicker up on a screen, 'END' in particular is a favourite, as well as scenes from an old vampire film. The mood is slightly sinister and a very different sort of melancholy to Former Ghosts'. 'Boy Soprano' and 'Sad Pony Guerilla Girl, some of their older songs build upon this.

Xiu Xiu perform in the truest sense of the word, they are in control of the emotions of everyone in that room and they are doing what they want with them. As they finish the crowd applauds, tentatively hoping for an encore but they leave us, despite it being a cliche, wanting much more. They've caused controversy and polarise opinions but there is not doubt, at least in my mind, they are a superb band with something to say, saying it in the very best way possible.

Perfume Genius/Lonely Galaxy at The Cube cinema in Bristol.

The Cube is a small, independent cinema and is perhaps more used to putting on films than the kind of thing I was there for (EDIT: they actually put on at least two gigs a week). It's hidden away down a little side street in Bristol. The building itself is a little confusing - it's all on different levels. While we waited outside the actual room where the gig was going to be, we watched at least seven people ask where the toilets were, only to be sent back out the door from where they had come. (The toilets had some of the best graffiti I've seen in a while, which I posted just below).

There were only about fifty people there in the end, in a small theatre style room. Considering the buzz there's been around Mike Hadreas and his music, I was quite surprised, and even more astonished when I overheard someone saying they hadn't actually listened to any of his music before coming.

The support act, Lonely Galaxy, are signed to Transparent Records which means they're label mates with bands like Yuck and The Smith Westerns. Main member, Harry Granger-Howell, has an incredibly beautiful, powerful voice; accompanied by just his guitar playing and a viola, creating a really mesmerizing and haunting atmosphere. Their best tracks were 'Waiting', 'Time' and 'Have A Heart' - including the lyrics "I've been feeling pretty low". Unsurprisingly quite obvious, but if gloom can produce music like that it might not always be such a bad thing.

In between Lonely Galaxy and Perfume Genius was some quite perky jazz, which I assume was played so that people didn't start crying while the lights were on. Once Lonely Galaxy finished playing, they sat in the crowd to watch Perfume Genius.

When Mike Hadreas and Alan Wyfells walked on stage, it took a while for people to notice because Hadreas is a small, unimposing guy. Even after all the hype, the live sessions I've seen online etc, it was a surreal feeling to see him on stage. Seated nervously behind a keyboard, draped with dark material, he started playing the first song of the set, 'Lookout, Lookout'. Very quiet, whispery singing, close enough to the mic that you could hear everything perfectly, even his shaky intakes of breath. After only a few lines, he started giggling and had to pause before continuing. Considering the dark subject matter of the song, this was a little strange, but endearing. He played a variety of songs from Learning, as well as some of his rarer demos, including 'Put Your Back Into It', an emotive track.

During the gig, Hadreas and Wyfells continually glanced at each other, their eyes meeting rarely. Nervously adjusting the microphone, in a low voice Hadreas mentioned that he couldn't see the audience at all it was so dark saying that, "it's like a nightmare, a beautiful one though".

There was just something about his naked vulnerability on that stage, singing about such personal, and often-horrific things that really reached out to me (and the rest of the audience), almost painfully intimate perhaps, but far from awkward. His final song was 'Never Did', the lyrics of which were almost like the light at the end of a dark and beautiful tunnel, "it's all part of his plan, it's all in his hands". Wyfells and Hadreas shared the same keyboard for this one, their chemistry an important part of the success of the performance, seeming to support each other through what cannot have been an easy performance, dealing as Hadreas' songs do, with such deeply personal material.

The encore was 'Write To Your Brother', and for this Hadreas came out on stage alone. His eyes flickered towards the door whenever someone came in late, perhaps drawn in by the music, adding to the performer's slightly uneasy, timid demeanor.

Afterwards, Mike Hadreas walked past me, I'd been considering this throughout his performance, and it sounds strange, but as he walked past it appeared as though he was illuminated by a different light to everybody else. His pale skin and dark hair give a beauty, that when combined with his singing and piano playing, is striking. Due to a lack of confidence, I didn't go over and say thank you to him, but I wish I had, as it was an implausibly brilliant, heartbreaking, yet uplifting night. I will be praying that he comes on tour again, soon.