Peace - Live

Having been ranked 14th on NME's 50 Best Albums of 2013, nominated for the BBC's Sound of 2013 poll and doing several major headline tours both in the UK and USA, it's needless to say that 2013 seems to have been a pretty good year for Peace. Their debut album In Love, released in April this year, broke in at number 16 on the charts in its first week of release. Don't seem bad for a couple of rookies.

This may be why, on their first night of a double bill at the Shepherd's Bush Empire, the crowd outside are so keyed up and rearing to get in there. In fact, when they do, the lucky few were literally elbowing past each other, sprinting to get to the barriers. They seem to have attracted an unlikely bunch; obviously you've got your indie kids (only to be expected, it is a Peace gig after all) although there is a group of girls standing behind me, wearing nothing but crop tops, leggings and hoodies for warmth, enthusing over the greatness of helmet-haired You Me At Six. Brilliant. But no matter, everyone's equal in the fight for a front row view.

Superfood

This motley crew of fans started piling in very quickly, and even before Superfood, the first support act, came on they were piled at least 10 deep. By the time Peace actually do get on stage, all tiers of seating and all of the stalls were full to the brim with eager, sweaty fans, craning their necks to get a glimpse of the performance on stage.

Superfood acted as a sort of aperitif for the evening. Owing to their limited material, they lasted only half an hour, but it was everything you expect from them: awkward, brilliant, raw. Superfood preceded Drenge, the second support act for the evening. Drenge, two brothers from Derbyshire, were great. If the fervent nodding of Peace drummer Dom Boyce (who gave a cheeky look-in from the side of the stage) was anything to go by, it was going very well. As a band, their self-titled debut CD can't hold a candle to their live performance.

Drenge

As the stage is set for Peace, excitement gradually mounts. Then, the music drops, the lights go down and they swagger on stage with all the confidence their new-found success has given them. The opening number is Waste of Paint, which sets the tone nicely for the songs to come. Peace aren't very engaging as performers, preferring to shut their eyes, stare at their shoes and instruments and generally make as little eye contact with the screaming fans as possible. The between-song chatter is kept to a minimum, although as Harrison Koisser, lead singer and guitarist, attempts to throw a towel out to the crowd, he remarks in the most nonchalant way imaginable "I was born to throw. High." as said towel stops just short of the barrier.

However, all of that doesn't matter. The strength of their material makes up for their slightly self-conscious performance. As they bound through the tunes from the album (notably Follow Baby, Higher Than The Sun, Toxic, Float Forever, Lovesick and Wraith) they manage to stick in a few surprises as well: halfway through Harrison introduces one of their new songs, entitled Money; they end the main set on 10-minute trippy anthem 1998 and even stick in their recent cover of Wham!'s Last Christmas during the encore.

As the last notes of Bloodshake echo through the room, I can't help but think that they are truly a very, very, very good band. Not just good, but really rather brilliant. Well worth the sore feet and throbbing ears.

Check out this alternate review of the gig by my friend Georgia

Obituary for Lou Reed

Source: Allmusic

On Sunday 27th October, the world was greeted with the news that Lou Reed, frontman of The Velvet Underground and a brilliant solo artist in his own right, had died at the age of 71. Reed had had a liver transplant in May, and his literary agent confirmed his cause of death was "liver-related ailment". Having been a self-confessed drinker and drug user for many years, it may come as no surprise to some that this has happened. However, to the majority of the music world, it was a very sad day indeed.

Iggy Pop has said it was "devastating news". The Who tweeted "RIP Lou Reed. Walk on the peaceful side". John Cale, fellow member of The Velvet Underground, posted on his website that "the world has lost a fine songwriter and poet... I've lost my 'school-yard buddy'". David Bowie said of Reed, his old friend: "He was a master." For all of these musical legends to say such affectionate things about Reed shows his popular and widespread appeal to anyone and everyone who loved, and loves, music.

Indeed, Bowie, Pop and Reed became relatively close in the early 70s. The two American musicians met Bowie in 1971, when Bowie was just another British musician trying to make it in America. The friendship between the three musicians grew, and in 1972, Bowie ended up producing, along with his guitarist Mick Ronson, Lou Reed's epic first album Transformer. The collaboration of the two Brits on this album undoubtedly gave Reed's creative flow a new lease of life, and gave him a new direction in which to make pioneering tracks. From this album come Lou Reed's most famous singles: Perfect Day, Walk on the Wild Side and Satellite of Love.

Source: Allmusic

The Velvet Underground made headway into a difficult musical environment by producing guitar driven rock. It helped that they were the proteges of Andy Warhol, but even without his influence it's clear that The Velvet Underground would still have had the same lasting influence on music that they had at the time. In their heyday, the band never really had commercial success. Despite that, the impression they had on many people, musicians or otherwise, is evident and immortal. Their music is so accessible that you could come from any walk of life, pick up their self-titled third album and fall instantly in love. Brian Eno famously summed up their wide-reaching impact by saying "the first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band." Hard to beat that, really.

Although Lou Reed then went on to have a long-lived solo career, it's his first album that sticks in one's mind as particularly brilliant/epic/influential/beautiful (please delete as applicable). With the aforementioned Big 3 Tunes on it, how could it not be? These three songs, Perfect Day, Satellite of Love and Walk on the Wild Side, sum up Lou Reed's career in a relatively succinct and lovely way. Each of them are tragically beautiful, like many of Reed's songs and like Reed's life itself. Take Perfect Day, for example. It starts off with what you might think was typical love song lyrics ("you make me forget myself", "it's such a perfect day, I'm glad I spent it with you") to then go into the hauntingly bitter repeated line of "you're going to reap just what you sow". That one line is enough to make me stop and think, any time and anywhere.

Source: Allmusic
c

On the face of it, Lou Reed's music was, much like his life, rock and roll, baby. Delving deeper, it's plain to see that there's a whole other level of emotional intelligence that's lost upon the average listener. Like getting to know a person, it takes time to get to know Reed's music very, very well. Every time you re-listen to an album, you discover new things about it that you'd previously been unaware of. If you don't believe me, listen to Pale Blue Eyes over and over and I guarantee you'll find something each time.

 Discussing Lou Reed with a friend, we came upon the perfect way to describe him. It's like musical philosophy; one song is enough to make you ponder your entire existence.

Fidlar

Source: Allmusic

Fidlar, or for those in the know "fuck it dog, life's a risk", are the type of band that could not suit their name more perfectly if they tried. They just exude the sort of "look at the number of fucks I could not and would never give" vibe in every song they produce. It's all very skater dude, badass, fun in the sun. Their self-titled debut album almost smells like a dingy garage that's recently been made into a hotbox.

It has to be, then, a testimony to their determination that despite their chilled attitude, there is absolutely no lapse in the energy of the album; every song is charged to the max with an
almost pre-adolescent level of testosterone. It is absolutely perfect headbanging material. Each song is structured cleverly so that you get a small break inbetween the relentless charges of guitar riffs - the large amount of guitar feedback at the end of each song allows for a bit of a breather before the beginning of the next song, when I can guarantee you'll be dancing like a fool.

The lyrical content is generally a defense of their right to be free Stoked And Broke ("I just wanna get really high, smoke weed until I die. I don't ever want to get a job. I fucked up, hey, nothing's wrong"), No Waves ("I feel, feel like a cokehead, I feel, feel like I can't get drunk no more") and Cheap Beer (the chorus is simply "I DRINK CHEAP BEER SO WHAT FUCK YOU". Need I say more.) That's what Fidlar are all about, though: the traditional, simple sex and drugs and rock and roll (mainly drugs with a bit of alcohol thrown in for good measure); it's suitably fitting that their lyrics aren't overly complicated or unnecessarily poetic. How much poetry can you realistically make out of smoking weed?

Source: Allmusic

What I really love about Fidlar, though, is their music. That is going to sound incredibly obvious and a little bit stupid, but let me explain myself further. Their riffs are really, really good. The drum parts are really, really good. Everything about the music is really, really good. It's not as though the music is particularly original or outstandingly game-changing, but there's something about it that's quite vibrant in the way that they piece the music together. The shrieks in Cheap Beer, for example, suit it perfectly, and Whore feels complete with its two verses and a bridge on repeat. They've got just the right amount of whatever it is that makes their music rebellious enough to be cool, but have held back just as it tips over into the verge of extreme. Balance is certainly everything.

On first sight, Fidlar appear to be reckless pothead skaters who exude the sort of fuck-it vibe you could only dream of. That's what they are. There are no hidden meanings or secrets to Fidlar. What you see is what you get. Sort of refreshing in a way.

Rating: 7/10

Recommended Tracks:
No Waves
5 to 9
Blackout Stout

Arctic Monkeys - AM

Arctic Monkeys broke radio history when their fifth studio album, following the pattern of the previous four, went straight to No 1 on the UK album charts, making them the first band to have all albums reach No 1 immediately. I think this must say something about the album itself. It does. It's fucking brilliant.

Source: Allmusic

The band have undergone a rather dramatic change of style over their 11 year career. They've gone from mod-y punk to QOTSA-esque dark, heavy rock, to this. An apparently hip hop-influenced album with an essence of seventies rock around it, AM wears its influences very obviously on its sleeve. It's all the better for it, it means you can trace the development of Arctic Monkeys, and even get inside their head by guessing what they were listening to whilst writing the album. At least that's how I imagine it.

Some of the songs are so different that it's hard to see how they fit onto the same album. For example, Mad Sounds has a very Lou Reed-esque sound to it, as though Alex Turner has listened to the entirety of Transformer and just summed it up in a singular song. It's about songs that make you love music, and it achieves exactly what it describes; it's not particularly technically difficult in any way, but the sheer brilliant timing of "then out of nowhere, somebody comes and hits you with an ooh la la la..." It could not describe any more perfectly the ability of certain songs to comfort you or cheer you up when you most need it. You can just picture Turner sitting in the corner of a room with some headphones on, listening to his favourite songs and having the time of his life. We've all been there, Alex.

The album contains some brilliant singles. I don't think I could forgive myself if I wrote a review of AM and didn't mention Do I Wanna Know? as it would be a heinous crime indeed. Fuelled by a riff penned by Jamie Cook, the song feels as though it could go on forever, and as a listener, it's all you want it to do. Suffice to say, it's a little bit bloody brilliant. Why'd You Only Call Me When You're High? has pretty much every female up and down the country screaming "YOU CAN CALL ME ANYTIME ALEX". Notice I'm not excepting myself in this description. R U Mine? pretty much has the same effect; it's very similar to Do I Wanna Know? in it's driven by a brilliant riff, but eases off into a relatively chilled chorus. Snap Out Of It is your typical rock single that has an amazing beat, a catchy chorus, and a great melody. If you haven't pretended that Mr Turner isn't singing this to or about you, then you're lying.

Source: Allmusic

That said, the softer side of Arctic Monkeys peeks through on occasion. No. 1 Party Anthem slightly draws on the figure portrayed in You Probably Couldn't See For The Lights... - the "certified mind blower" to whom you can't quite muster up the courage to speak. Apparently it's based on a real person (ooh, cheeky Alex) and the genuine emotions are brought to the forefront in this song; it's not written about a caricature or a stereotype, it's based on a real experience, allowing the song to reach a different level of emotional intelligence. I Wanna Be Yours has lyrics taken from a John Cooper Clarke song, written in around 1983. The extreme British banality of the lyrics (for example, "I wanna be your vacuum cleaner... I wanna be your leccy meter") only make it all the more romantic; the translation from the commonplace to the tender is given by the next line, detailing what Clarke would be able to do for the object of these desires. "I wanna be your setting lotion, hold your hair in deep devotion, at least as deep as the Pacific ocean" suddenly becomes poetry, because it perfectly describes every girl's dream without the need for poetic language.

There are some typical Turner lyrical gems in there, as well, showing he hasn't lost his flair in the slightest. Arabella: "I helter skelter round her little finger and I ride it endlessly". Do I Wanna Know?: "I've been wondering if you're heart's still open and if so I want to know what time it shuts". One For The Road: "from the bottom of your heart, a relegation zone". I could go on for a very long time. Like somebody once said of David Bowie, Turner writes the cosmos in the bus stop.

I don't quite know how to finish this. It's amazing and I love it. Perhaps I ought to leave it there, because I could go on for an inhuman amount of time about this album. It's a fucking good 'un.

Rating: 10/10 (note: if you're an Arctics purist, you will most definitely disagree with this)

Recommended Tracks:
Mad Sounds
Arabella
Do I Wanna Know?

Born Ruffians - Birthmarks

Source: Allmusic

The Toronto group are almost notorious for making their fans wait for their next album. Forming in 2002, it was then 4 years before their self-titled EP was released, another 2 before their debut album Red Yellow & Blue was released. This time, a 3 year gap has elapsed between 2010's Say It and this year's Birthmarks.

This time, they've moved on from their traditionally indie rock sound to a more considered sort of a sound. They're clearly playing around with their sound, fooling about with drum machines, vocal effects and distortion on Rage Flows. However, they still manage to maintain that intrinsically raw sound of their previous two albums; the plain lament of Needle's "I belong to no one" reminds one of the plaintive "oohs" that start off Little Garçon. Perhaps it's the minimal backing at the beginning and the voice of Luke LaLonde that manage to remind me of Fleet Foxes whilst I'm listening to it. Maybe that's just me. Needle is that type of song that every album needs to have. It's got the catchy chorus that anyone can pick up within 2 (minimum) listens; it's got the anthemic "A WAY" repeated several times for good measure; it's got the echoey, stadium-like backing vocals to emphasise the fact that you should and will like this song. It's got all of that and more; it's a pop song with an indie twist.

Source: Allmusic

Ocean's Deep is another one of those songs; one that offers a "deep" message put to a catchy pop tune. That wasn't meant to be sarcastic or sceptical, although it's been so overdone that it's hard not to be when you first listen to the song. As you keep pressing the replay button, though, the story portrayed in the song becomes more apparent (LaLonde's voice requires straining ears to decipher his lyrics). One particular lyric that stands out is "when she goes, she hopes you'll meet a woman who will fill those holes that she shot straight through you". It exemplifies the level of maturity that Born Ruffians have reached in their songwriting and lyricism. They've become much more direct in their style, not beating around the bush; they no longer need the minute-long intros to define them, as their songs are now able to speak for themselves.

In this, their third studio album, it's clear to see how Born Ruffians have refined and perfected their style, whilst delving into new areas altogether and still managing to sound like Born Ruffians. All of the songs seem to be uplifting and upbeat, and, whether it's the lyrics or the melody that achieve this, it's bloody working. I'm grinning like a fool at the computer screen and I'm being given funny looks. Fuck it, Born Ruffians make me feel warm and fuzzy inside, what you gonna do about it?

Rating: 7/10

Recommended Tracks:
Ocean's Deep
Needle
Golden Promises

Swim Deep - Where The Heaven Are We?

Photo courtesy of Allmusic

And so it arrives. The new album from Brummie lads Swim Deep is finally here. Having built up an impressive fan base largely comprised of dreamy females either in the throes of adolescence or in their 20s - I by no means except myself from this crowd - Swim Deep come from humble beginnings; lead singer Austin Williams and guitarist Tom Higgins met stacking shelves in Morrisons'. Perhaps that's why their album is so full of wistful riffs and escapism.

For Swim Deep, it's all about escapism. Their name itself evokes fantastic imagery of beautiful underwater scenes and, to some extent, their music certainly lives up to that. Each and every track contains some hint of wishing for a better life. In Honey, it's "don't just dream in your sleep, it's just lazy". In King City, it's "fuck your romance, I want to pretend that Jenny Lee Lindberg is my girlfriend". In Colour Your Ways, it's "life ain't beige so colour your days and see it in the right light". It's got the catchy tunes, the hazy images and the wistful romance needed to make for the perfect summer album.

Source: Allmusic

Many of the old favourites, like King City, are still just as brilliant in their composition. However, Swim Deep seem like good-time guys, they're all about having fun. On touring with Spector and Two Door Cinema Club, they say it was "just touring with your best friends for 30 days. It was insane" - hence the fantastically dreamy outlook of the album. You do get the feeling, though, that if they'd spent a bit more time on a few of the songs, the album wouldn't just be good, it would be incredible. That's the only criticism I have to make of this album; it's a little frustrating, as there is huge potential for many songs. Soul Trippin', for example, has the beginnings of a brilliant ballad, but if they'd only tweaked little bits here and there, it could have become an amazing one. As a listener, there are points in the album where you wait for the songs to take off and they just don't.

That said, each song has its own merit, whether it's the wonderful lyrics that urge you to make something of yourself (Colour Your Ways, The Sea and Stray come to mind) or the fantastic bass or guitar riff. I adore Swim Deep, and I am incredibly proud of their debut album. I can only hope that they'll continue on this upward trajectory with the next ones.

Rating: 7.5/10

Recommended Tracks:
Soul Trippin'
Make My Sun Shine
Intro

Molotov Jukebox

Photo by Tamara Craiu

There's no real way to put it; Molotov Jukebox make Latin music sound like the kind of stuff you just want to get up and head bang to, they have an awesome brass section couple this with an accordion. I don't quite know how it works, but it really, really does.

Fronted by Natalia Tena of acting fame (she's added roles in Game of Thrones, Harry Potter and About A Boy to her repertoire), there's more to her than meets the eye. Born to two Spanish parents, she is fluent in the language and uses her Latin roots to her advantage; Molotov Jukebox's music is undeniably influenced by Tena's background. Although they may draw on Latin rhythms and riffs to add flavour and colour to their songs, they are anything but one dimensional. For one thing, Tena's official role within the band is lead singer and accordionist. For another, the music video for Get Ready was filmed topless "because it's really hot". Yeah. Damn straight.

Photo by Tamara Craiu

Being the only female in an otherwise all male 6 piece band might seem difficult, but Tena commands the band fantastically. Avoiding the Karen O approach to being a frontwoman, Tena opts for the mysteriously seductive approach. She does this in a way that allows her to be both of these without being overtly grotesque. Humility, however, is constantly maintained throughout - she's always ready to acknowledge the input of her band mates, and is completely "diamond in the rough" in her attitude towards everything. She swears like a trooper, is utterly vulgar and feels completely fine to yell at her cat, halfway through an interview, "stop being horny". For all this, she makes it seem endearing and winsome, which is a skill in itself.

Whatever you do, don't listen to Molotov Jukebox with any sort of preconceptions. Go forth and adore them, but make sure you first listen to them with your eyes closed and with isolating headphones on, just so that your surprise will be even greater. With Molotov Jukebox, it's all about the mindfucks.

Rating: 8/10

Recommended Tracks:

Vampire Weekend - Modern Vampires Of The City

Source: Vampire Weekend

And so they return! With much rejoicing from my corner, because I love Vampire Weekend. No point in beating around the bush. This new album bears much more resemblance to Contra, featuring more pop-y sounds rather than their self-titled first album, which was more Paul Simon with a 2008 twist. However, there may be a resemblance to the last album, but this one is by no means along the same vein. It's much darker, much more introspective, as though they sat down having a good old bitch session about all the shit that happened to them in the three years since Contra was released. Whatever they did, it worked because this is genuinely their best album yet. It's gaining popularity, having debuted at Number 1 in the charts and sold 134,000 copies and counting. The proof is in the pudding.

The pace is much slower than their previous two albums, although they deliver the dancing goods in Diane Young. The official stream of the video before the album's release caused a fair amount of controversy; it pictured two burning 900-series Saabs as the infectious track played over the top of the visual - to anyone confused by this, the first lyric is "you torched a Saab like a pile of leaves". They received a huge amount of criticism from loving Saab owners; one Jalopnik article carried the headline "Vampire Weekend Are a Bunch of Dicks". All this for burning a couple of old, disused cars with, as frontman Ezra Koenig acknowledged in an interview with Spinner, "a lot of electrical problems".

The song, as a brilliant combination of rock and the pop melodies of previous tracks like Giving Up The Gun, is utterly deserving of the debate surrounding the ethics of its video. All good music should generate some sort of controversy, or you're doing something wrong. They experiment properly with vocal effects for the first time in the bridge, and the pitch fluctuations add that unmistakable Vampire Weekend touch. Not that it's their typical sound, but it exhibits their flair at exploring musical mediums and how to adapt them to their advantage.

The content of the songs has become much more thoughtful and grown-up, especially in the way that they approach their own material; a good example of this is Hudson. It references the recent economic crisis in Europe, saying "we watched the Germans play the Greeks". Their ability to make heavy topics such as these seem poetic and lyrical is a testament to their abilities. It's also the first song that they've ever written in a minor key. This in itself is a milestone, as it shows that Vampire Weekend aren't just there for the good times, they're there when you need a hug from Ezra Koenig's voice. Something we all need at one time or another.

Source: Huffington Post

Modern Vampires Of The City seems to be a significant move away from their image as posh boys living in a bubble of privilege and Lacoste shirts. This is done in very subtle ways, such as mispronouncing "we worshipped you" to make it "we worshopped you" in Worship You. They open with a slightly slower song, Obvious Bicycle, contrasting the other albums which opened with catchier, dancier tunes like Mansard Roof and Horchata. As I said before, the pace is much slower, but the ebbs and flows of the different songs allows for a much more mature and thoughtful side of Vampire Weekend to come through. They've always been very intellectual in their approach to songs (one particularly good example is Oxford Comma) but here it's much more exposed, much more open. Ya Hey's biblical imagery and the failures of  America's capitalist attitude provides a bittersweet outlook on modern life.

Not only have Vampire Weekend themselves changed, but the music has changed with them. The use of a drum machine as well as a live drum kit makes Chris Tomson's drumming so much more interesting to listen to and adds texture and feel to the songs. The decision to bring in Ariel Rechtshaid as co-producer with band member Rotsam Batmanglij has benefited them hugely; the change has allowed Vampire Weekend to grow more as artists.

I can't sing their praises enough. This album is brilliant. They are brilliant. And if you don't think so after listening to this album, you don't deserve to own it.

Rating: 10/10

Recommended Tracks:
Unbelievers
Step
Everlasting Arms

Leopard

Birmingham is on a serious roll this year. Having churned out bands like Peace, Superfood, JAWS and Swim Deep, to mention just a few, they've given birth to Leopard, "a 4 piece post jazz core, acid, baggy Korean, crabmetal, grunge destroyers." I interviewed guitarist Matthew Jenkins, who says of their style, "musically, we have no idea what we sound like, but people seem to like it." Why wouldn't you? To me, they sound like Arctic Monkeys jamming with Foxygen on some far off and exotic beach; their single Breathe gives off a chilled, relaxed vibe, added to by the distant vocals and the easygoing drum beat.



All of the new Birmingham bands seem to be very close and supportive of each other; "we met at one of the above mentioned gigs and that's how we formed Leopard. It's really weird being on the whole "in circle", everyone's so nice about stuff. It's odd, people who may not like your music still appreciate it and appreciate success." There definitely seems to be that sort of familial aspect to the B-Town music scene. All of the bands go to each others gigs, promote each others tracks and party together like there's no tomorrow. Just check Swim Deep's twitter feed and you'll see what I mean.


On the subject of the current music industry, Jenkins becomes very vocal; when I asked him what he thought about the digitisation of the music industry, he says "It's definitely a lot easier to get your music heard by people through Soundcloud and other services. I think it works both ways; both unsigned and signed bands want the same thing and that's just to get your music heard." He maintains that there definitely are real rock icons of the newest musical generation - "not strictly rock, but definitely Dev Hynes, aka Lightning Champion or Blood Orange. There's loads, it's just not obvious to enough people." When I asked him what could be done to fix this, he said "people just need to get outside their box and go to see bands every week." Simple as.

I wanted to know if Leopard felt any responsibility, as a new band, to improve on the musical trends from what the previous generation had achieved, and the reply I received was very pragmatic and considered; "to a certain extent, yes, but generally if you start writing music, it'll have its own features and elements that that make itself unique, even if you get compared to previous bands. Music works in cycles." This shows an observational and measured approach to the way that Leopard approach writing music, as seen in their newest single Quick History. The way that the track builds gradually throughout and the way that the original drum pattern is adapted whilst still maintaining the original feel reflects this notion of music working in cycles; the original motifs are returned to with a tweak here and there, making the track better for it.



As a blogger, it's very interesting to investigate the background to a band - their influences, the way that they view themselves. For Matt, the artist that has the most influence on their sound is "Kevin Parker from Tame Impala. Jake's would probably be Dave Grohl." Candidly, he adds, "no idea about the other two!", and if he could travel back in time to watch one epic gig it would be "Jimmy Hendrix at the Isle of Wight, but there are too many to pick from."

Forget all the musical stuff, this is what really recommends them to me as a band: if they could choose one movie to sum up their sound, it would "probably be the Iron Giant. I'm only saying that because I want to watch it again and because we're a big hunk of metal with attitude and super heroes." Can't say fairer than that.

As all new bands are attempting to do, Leopard are clearly trying to find their footing in the musical world. If they keep on in the same vein, however, they're certain to find success. Their sound is the complete opposite of their diplomatic mannerisms; it's loud, brash an unashamedly awesome.

Rating: 9/10

Recommended tracks:
All of the above, seeing as they're the only ones they've released.

Laura Marling - Once I Was An Eagle

This week, Laura Marling released her fourth studio album Once I Was An Eagle, featuring singles Where Can I Go? and Master Hunter. Marling started off, as apparently all great female singer songwriters do, by singing back up for Noah And The Whale on their first album Peaceful, The World Lays Me Down. She can be heard gleefully screeching out the chorus for 5 Years Time in a slightly mockney accent. She notoriously broke Charlie Fink's heart and then, at the tender age of 18, embarked on her first album Alas I Cannot Swim. Comparing those two albums, it's easy to see how much she's matured. Gone is the mockney accent and the blond hair cut into a bob. Now she's the established darling of the folk world, and she holds a place dear to the hearts of many people all over the world.

Comparing the vocals on Ghosts with those on Breathe, there is no doubt as to how much more skilled they've become. The gently quivering vibrato is constantly present throughout the album, making it distinctly Marling. The beauty of the long, extended "breathe" is undeniable.

The thing that really makes this album stand out among her other material is that it's not influenced solely by folk. In Little Love Caster, there is definitely a hint of flamenco to the simplistic guitar accompaniment, and the organ on Once could almost have been sampled from an early Sam Cooke or Curtis Mayfield recording. That's all they are though - influences. Laura Marling takes the little bits that she likes and twists them so that they become new again. Just one of her many talents.

At an epic 16 songs, Once I Was An Eagle is truly a testament to how far Laura Marling has come since the days of Charlie Fink. Granted, there was heartbreak both ways, but neither have seemingly been able to overcome it until their most recent albums. In When Where You Happy? (And How Long Has That Been) finally seems to have done it, asking "hey there, new friend across the sea, if you figure things out will you figure in me?" This plaintive request for love is made even more beautiful by the syrupy, low vocals. When she gets to the chorus, she seems to ask it of herself, not this new friend. Throughout the song she struggles through the expectations of her and the limitations these have placed upon her; particularly poignant is the lyric "my vote was never counted, so who upon this earth knows what it is I believe?"

The move to LA seems to have benefited Marling a great deal, especially in Master Hunter and Where Can I Go? The laid back attitude of the land of Hollywood seems to have seeped into her music, as these two songs are definitely much more relaxed than, for example, You Only Doll (Dora). On Master Hunter, Marling lapses into a lovely, lilting style of talk-singing at certain moments that hints at a watered-down Lou Reed.  Where Can I Go? is much more typical mid-west kind of folk, with typical lines such as "I was a daddy's girl sometime but I loved my mama til the end of the line", which harks back to songs like Salinas. The way that she makes her troubles seem so attractive by putting them to a catchy guitar line and adding a bit of tambourine is exactly what I love about her. The casual way that she throws in "it's no fucking life that I would choose" in Master Hunter, and "I feel like I'm better fucked than won" in Where Can I Go? only pleads her cause even further, because, horror of horrors, she can swear in a folk song. And make it work.

It's official: Laura Marling has actually done it. She's made an album that surpasses all else she's done. And for Laura Marling, that's a feat in itself.

Rating: 10/10

Recommended Tracks:
Too many to choose, but Once
Take The Night Off
Saved These Words

Daft Punk - Random Access Memories

I can't quite find the words to describe the oddity that is Daft Punk. They've had a career spanning over 16 years, their debut album Homework having been released in 1997. In the spirit of unpredictability, the two Parisian DJs Guy-Manuel de Homem-Christo and Thomas Bangalter announced that they would be doing the soundtrack to Disney's Tron: Legacy. Undoubtedly, the duo's signature electronic sound perfectly fits the mould for the film, but for two pop stars to turn their hand to writing film scores is a turn of events that nobody could really have predicted. IndeShaft, but somehow Daft Punk don't seem to be the likely candidates to make the same kind of move. But that's exactly what makes them so refreshing.
ed, it has been done before by the legend that is Isaac Hayes for

There's an element of mystery behind the two Frenchmen; in the more obvious sense, they're constantly in their robot gear and pictures of their faces on Google Images are hard to find. In a more musical sense, they keep their voices disguised by a copious amount of electronic effects, and many of the songs don't feature any vocals at all. Not only does it allow them to maintain a relative amount of anonymity, but it abides by Walt Disney's golden rule: "Always leave them wanting more."

By now, pretty much everyone has heard the unforgettable Get Lucky featuring Pharrell Williams. At 6:10 it's not your typical single; catchy, yes, but the length is not exactly radio friendly. Nile Rodgers, the man who produced David Bowie's Let's Dance and has played alongside musicians like Aretha Franklin and Chic, collaborated on Get Lucky to create its infectious guitar rift; this essentially makes the song.

It's incredible to see how skilled the two Daft Punk members really are, even with their robot hands on. The bassist (whoever he may be) is slightly awesome, and handles the funk-based riff with ease. The drummer sits at leisure at the drum kit, not really bothered by the antics of the rest of the band. Pharrell Williams doesn't have the strongest voice, but the low-key nature of the backing means he's not overpowered. It does have a slightly whiney quality when it gets to the higher pitched bridge, but it does lend something to the chorus.

One of the more stand-out tracks is Giorgio By Moroder. It's 10 minutes of an interview with Giovanni Giorgio Moroder, an Italian producer and musician who came to prominence in the late 1960s with his single Looky Looky. It's interesting to see the fascination he holds for Daft Punk, particualrly as he talks about the "sound of the future" being the synthesiser. The song is exemplar in the context of the album because the interview acts as the vocals, shaping the song and leading down into its different sections, and indeed, the sections become symbols for the message contained in that specific part of the interview. For example, the breakdown occurs just after Moroder talks about freeing ones mind of "harmonic and melodic progressions". The song is a sort of tribute to the man whom Nile Rogers claims invented dance music, and it's clear to see the iconic status he holds for Daft Punk.

It's the perfect summer album, timed perfectly to exacerbate the longing for summer of all the tired, bustling workers. Expect to hear Get Lucky at every house party you attend this summer.

Rating: 7/10

Recommended Tracks:
The Game Of Love
Lose Yourself To Dance
Contact

The Family Rain

The Family Rain are yet another one of the new bands coming out of the UK that are doing it oh so very right. A group of three brothers from Bath, Ollie Walter (guitar/vocals) and twins William Walter (bass/vocals) and Timothy Walter (drums/vocals) officially formed The Family Rain in 2011, although William says they "started to play in bands together about 8 years ago, but the bands always included at least one other member as well as the three of us". This stripped back line-up, showcasing just the essentials of a rock band, really does these boys justice; the result is a raw, bluesy sound that refuses to get out of your head.

Their new single Pushing It is the perfect example of this. It starts off in a suppressed but nonetheless unapologetically heavy fashion; the grainy effects applied to the voice and instruments make it sound like a scratchy old vinyl record (which is the god-given method of playing music). Although the song stays on the same level all the way through, they maintain interest by slight variations in the music, like the guitar backing in the second verse, or the guitar solo after the chorus. As the song progresses, you get the feeling that this would be fantastic live, just because of the mood and the level of energy in the song; indeed, the band have been called a fantastic live band by many fans. The band are currently in the process of a headlining tour around the UK.

 

The band have a small yet select (and fantastic) repertoire: their new EP Pushing It recently came out, and a Youtube search brings up several live performances and previous songs that are each as brilliant as the last. They have a distinctly vintage sound, harking back to the days of The Rolling Stones or AC/DC, which sets them apart from some of the other contemporary indie rock bands. They most certainly aren't a copy-cat band, as the back-to-basics line up and driving drumbeat will tell you.

The band themselves are clearly very ambitious; in an interview with NME Ollie said that "this is not meant to be a small thing. We gave up everything to do this". It's starting to pay off, as they've recently been signed by Virgin EMI, a record label that represents the likes of Arcade Fire, Elton John and Rihanna. I have a feeling that the future is going to be bright for these lads.

Rating: 9/10

Recommended Tracks:
Carnival
Trust Me... I'm A Genius
Friction

The Anecdotes

There seems to be nothing that new British bands cannot do. They're coming from every corner: prominently Birmingham, Liverpool, and obviously London. One city that's been slightly under-represented in the newbie stakes is Manchester. Home of The Smiths, Joy Division and The Stone Roses, it would seem that indie rock bands would have a whole lot to live up to. And so The Anecdotes step up to the plate, and they seem to be doing a very good job so far.

Their new EP Origami Waves, released on 22nd April 2013, aspires to escape reality with songs entitled Kaleidoscope and Fell Into A Dream. This seems to be the new vogue amongst up and coming artists; indeed, I'm not complaining, if there's one thing I need right now it's a bit of escapism.

The title track opens with a nod to The Smiths, sounding oddly like a remastered version of The Headmaster Ritual, but the song comes into its own when the vocals come in. The dark, brooding tones of lead singer Matt Hensley
give the song a tone of modern teenage daydreams. Despite their youth, they clearly have some proper skills, which the air-shredding guitar solo in the background will tell you. In fact, just tune your ear into any of the individual parts and you will find some talented musicians behind them. Bassist Nick Bradford, drummer Ellis Cullen and guitarist Mike Rowlinson all have an equally important part to play in the song, and they make sure none of them are forgotten.

The Anecdotes site Peace, The Cribs and The Strokes as their main influences, and their songs are very transparent in revealing exactly how those influences have seeped into their music. The opening of Kaleidoscope sounds like a rehashed version of Peace's Bloodshake, but the lyrics echo a much more distinctly adolescent emotion: that of wanting to escape and make something of yourself. This sentiment is much more reminiscent of the more recent Noah and The Whale material (i.e. Waiting For My Chance To Come), although put into an entirely different context of smashing drums and wailing guitars - if Charlie Fink had done hardcore indie rock, it would sound like this.

Fell Into A Dream is the one which really allows you to ease yourself in, like into a swimming pool on a hot day. The gradual build up of the song to the last instrumental section, where the guitar blends into itself and the drums go crazy, makes me long for being in the middle of a massive crowd at a festival, dancing like a mad person and nobody giving a monkey's. The slight change in the music after the first chorus moves the song on to new heights; they never do the same thing twice.

I think we've done it. I think there is finally a new band coming out of Manchester that aren't trying too hard to be Morrissey, and yet sound just as awesome. N.B. Do allow yourself some time for them to grow on you, it needs a bit of an adjustment period.

Rating: 7.5/10

Listen to the EP here:

Noah and The Whale - Live at the Palace Theatre

The Palace Theatre on Cambridge Circus has a banner of yellow around the top of it advertising Singing in the Rain; a cluster of brightly coloured umbrellas adorns the front of the theatre, brash and loud. The only sign that Noah and The Whale are actually playing here is the beige tarpaulin sign announcing their show (which is swiftly dismantled at the end of it), the clusters of dedicated fans waiting to get in and the boiler-suited concierges. More on them later.

Inside the theatre, it’s much the same; the dark wood of the circle has a certain elegance to it without being overly showy. The stage is quite small, and there are faded rugs on the floor for the convenience of the performers. It’s a relatively small venue, and yet there were still whole rows of empty seats. This surprised me, seeing as their single L.I.F.E.G.O.E.S.O.N reached Number 14 in the UK charts and their third album Last Night on Earth reached Number 8 in the UK album charts.

However, the whole set up of the show, the understated intimacy of it all, perfectly reflects the vibe of Noah and The Whale. They don’t need to scream and shout for the limelight, because their skill and humility speaks for itself. Charlie Fink’s muttered “thank yous” after every song, Tom Hobden missing his cue on the piano at the beginning of There Will Come A Time – it all seems very human and easygoing.

The concept of the show was this: they wouldn't have a support act. Instead they would play an acoustic set, then there would be a showing of the short film that accompanies their new album Heart of Nowhere, a short interval, ending in a full live set. This worked so well. They acted as their own support act, easing the audience in with acoustic versions of Give A Little Love, Tonight’s The Kind Of Night and Not Too Late. It shows a confidence in their material that they allow themselves to start off with the more intimate songs.

All of the songs were so skilfully played and done so with such passion from every member that the audience refrained from the usual mid-song whoops; instead they sat enthralled and reserved the cheers for the end. The original 5 members were accompanied by Tom Hobden’s string quartet, and they added a new level to the already layered and intricate songs; they slot right in, and complement the band so well.What I loved about the acoustic set was that they played some songs from their achingly beautiful second album First Days of Spring. You would think that the subject matter would be
too painful, too personal to be able to play them live, but the band did an amazing job of translating the intimacy of these songs into an inclusive live performance.

It was with First Days of Spring that you could particularly appreciate the difficulty of such a task.  It built up and dipped down again just as on the CD, but as a live performance the meaning of the lyrics and sentiment of the song became suddenly clearer. Towards the end of the song, a disco ball lit up in the corner, and a full-on light show came into play, adding to the strength of the emotion.

Next was the short film, written and directed by Charlie Fink, sharing a name with their newest album. Each band member has a short cameo, mostly as wardens for the fictional Teenland, an island where all teenagers are kept in quarantine until they can be integrated back into society. This is where the boiler-suited concierges come in. The premise of the film was that three boys, presumably based on the three founding members of Noah and The Whale, run away from this imprisonment. They then decide to play one last gig to go out with a bang instead of being caught “like rats”.

Although it’s only half an hour long, the quality of the acting and cinematography mean that you get the entire plot without it needing to go on for two hours. The closeness of the shots allows for an almost intuitive assumption of each character’s personality and back story  One distinctly touching scene was when the bassist tells his future self not to “let them cut your hair. You have great hair.” Indeed, it has to be said that Noah and The Whale’s bassist Matt Owens (more affectionately known as Urby Whale) really does have great hair.

The interval allows for some comfort that you don’t usually get with live shows; Fink refers to this during the show laughingly, saying “next we’ll be playing in the DFS showroom. Then you won’t even know we’re playing because you’ll be asleep”. But again, this unusual, almost theatrical set up reflects the tone and vibe of the band themselves.

Although the acoustic set was fantastic, it was with the full live set that Noah and The Whale fully came into themselves. They made it so the audience felt a particular affinity with every song, as though the band were playing it just for them. The way that Fink’s voice bounced and glided off each note draws you in; you can’t possibly look away. They’re clearly all so passionate about their material, shown in Charlie’s bouncing, Urby’s hair swishes, Tom’s toe tapping, Matt’s swaying and Fred’s air drumming. If anything, this part of the show emphasised their versatility; songs like Heart of Nowhere and All Through The Night show that Noah and The Whale can do rock as well as anyone. As they played Silver and Gold, Fink announced that it was the first time they've performed it live, and it kicked off magnificently.

Throughout all of this, the audience’s excitement is slowly building, until someone plucks up the courage to yell “I love you!” to which Fink gives a thumbs up and goes “thank you!” Somebody then yelled “Stranger!!” To my absolute delight, they played it. Halfway through, Fink forgot the words, and Tom Hobden, Michael Petulla and Fred Abbott were clearly improvising, but this only served to embed the idea that they are just five normal guys playing music they love, grateful for the attention. Speaking to Urby Whale afterwards, he thanked me for coming out to see them. Astounded, I replied it was my absolute pleasure, that I’d love to any time to which he just smiled thankfully. Charlie Fink shook our hands and thanked us for our support. The actual Charlie Fink. Yes, really.

During Still After All These Years, somebody handed Urby Whale a guitar, and he and Fred Abbott exchanged guitar solos, with Charlie Fink standing back, grinning at each one. Again, this not only reaffirmed the versatility of their music, but the versatility of each band member. This was when you truly got to see the amicability between them, the
sincere friendship. Long may it last – I want them to keep producing albums for as long as possible.

As soon as the opening chords of 5 Years’ Time began to play, the entire theatre got up on their feet and began to dance; my photographer, the lovely Maya Colwell, said to me afterwards that she doesn't think she’s ever danced that much in a theatre before. It allowed the audience to be as uninhibited as if they were at a festival, and danced madly, hands in the air, screaming all the words. Then came the amazing L.I.F.E.G.O.E.S.O.N. I, personally, went slightly crazy, arms waving everywhere and bawling out each line. I think I got several odd looks from those sitting in front of me, but I really couldn't have cared less. The band themselves looked invigorated by this outpouring of support that they allowed the crowd to sing the last chorus, stepping back modestly from the microphones to allow our generic voice to come through.

As they went off, the screams of “encore!” got louder and louder, so they conceded and came on again to play the fantastic Lifetime. Some might say that ending on a new song was risky, but in all honesty, it integrated the new material further into their repertoire, making them firm favourites with everybody.

Rating: 11/10. Every time.

Superfood

Part of the new wave of bands coming out of Birmingham, Superfood have never released an album, and only have one official song released. They are currently touring with Peace, a fellow B-Town band, and are gradually building up a loyal fan base all over the UK. Considering the amount of songs they've released, this has been done purely on the strength of their live shows and word of mouth, which, when you think about it, is pretty damn impressive.

Superfood only have one sound on Soundcloud, and it's their self-titled debut track. The quality of the voice is slightly gritty and unclean, and the shouting in the background gives you the impression it was recorded in someone's spare room - it's by no means a bad thing. All of that compliments the raw quality of the song. The bass in particular, played by the awesome Emily Baker, holds the whole thing together; the rest of the song is built around the ever-present slides and pangs of the bass. But it's not all unwashed and somewhat slightly dazed: the clean kick of the drums and the backing vocals that croon "superfoooood" add the tiny bit of polish needed so they don't sound like they recorded it in the back of a moving tour bus. However, the fact that the majority of it is very much guitar-based allows the song to do Rolling Stones with a bit of Foo Fighters. The one thing that I don't like about the song is the tendency of the lead singer to sound a bit Top of the Pops during the verses, by which I mean a bit boy band-y in the way he pronounces some words - however, that's all gone by the time you get to "YOU'RE ALWAYS HUNGRY!!" Crowd-pleaser if ever there was one.



Superfood sound like the illegitimate lovechild of Alex Turner and Dave Grohl. Which makes me love them. A lot. Jump on the Superfood bandwagon now, before their Facebook likes and Twitter followers get above 5,000! It'll happen soon, trust me. Especially if they keep on going like this.

Rating 8/10

Swim Deep

 "It's like escapism, and really good imagery. When you say "Swim Deep", you imagine good stuff, very picturesque". This is how Austin Williams of Swim Deep described the band's name, in an interview with Freshly Squeezed last year. But really, he could've been describing  the music they make and it would still be just as appropriate. To some degree, every one of their four singles has a sense of freedom and beauty, as though they were written in a daydream to which only Swim Deep are party. Their songs make you long for the days of summer, when you can forget the pressures of everyday life and just relax, behave like a complete twat, whatever. Just because you can.

I feel an urge to smile whenever I hear their latest single She Changes The Weather, a beautiful song about loving a girl to the ends of the earth. Close your eyes and pretend the song's about you, and you'll see what I mean. The low-key lyrics and understated voice allow the sincerity of the lyrics to come across, and the movement from the acoustic introduction to the full-blown ending flows so perfectly that the music carries you with it. It's in the verse, when it's stripped down to the bass, drums and voice that you really appreciate the importance of the piano riff in this song. Speaking as a pianist, I love that it's been given a "starring role", so to speak, in this song; it's not often that a piano is given much importance in an indie rock song, and I applaud them for it.

The Sea is another gorgeously uplifting song - the perfect gig closer, or encore song. It's so wonderfully optimistic and upbeat about life that it makes me want to smile at strangers, or start dancing in the middle of the street. The truth is, Swim Deep don't need to do dark, moody and introspective, because they make you think anyway, with encouraging choruses and fantastic melodies.

They also make it ok to be a little bit scruffy. Take the video for King City. They're wearing jumpers and trousers that are too big for them, they skateboard, and Zachary Robinson has pink hair. What more could you want from a band that validates your own slightly unwashed hair? Just for this, I adore them. Honey makes me love them even more. The cheeky flirting with the Honey, the paint splattered faces (and bass) and the playfulness of the lyrics - my personal favourite is "don't just dream in your sleep, it's just lazy". Wise words indeed - somehow all come together to make life ok. And that's why I love Swim Deep.

Rating: 10/10

Recommended Tracks:
Honey
King City
Orange County

Daughter - If You Leave

In trying to find words to describe Daughter to my friends and interested parties, I start off with "imagine if Laura Marling joined The xx". The truth is, they're so much more than that. Yes, Elena Tonra's voice has the soft, intimate tone associated with Laura Marling et al, but it's the work of guitarist Igor Haefeli and drummer Remi Aguilella that set them apart from that cliche. Because frankly, just because Laura Marling is gorgeous and oh-so acoustic, it's just lazy to brand every artist that sounds vaguely like her as "THE NEXT LAURA!" More imagination, please.

There are so many subtleties and nuances to Daughter's music that it's hard to know where to begin. My favourite track on the album is definitely Youth, a heart wrenching song about the pain of losing a lover. It starts with a delicate guitar solo, and as Tonra's voice comes in with "shadows settle on the place that you left" my heart starts melting. Her voice is so ethereal and gentle that it just transports you to a whole different world, there and then. But the credit can't all go to Tonra; the talents of Haefeli and Aguilella can't go unnoticed. Neither the drums nor guitar are there to take centre stage and demand attention - it's very clear from the start that the music is very much about Elena (she wrote all of the lyrics) - but they do such a good job of building up the song around her that it feels so natural for the drums to be kicking in at "it was a flood that wrecked this home, and you caused it"; that certainly isn't a one-woman job. To forget the importance of Haefeli and Aguilella is to forget the entire essence of the album, which is a crime against Daughter.

Frontwoman Elena Tonra

The thing that struck me most about this album was the pain and heartache that ran through it, almost as a unifying theme. Still is the perfect example.The poignancy with which Tonra writes about heartbreak makes you sure that the album has been her way of dealing with it - and at that I just want to give her a massive hug and tuck her into bed with a hot water bottle, because she takes it all upon herself. Take Smother, or Tomorrow. In Smother, she berates herself for the end of the relationship, singing, almost angrily, "in the darkness I will meet my creators, and they will all agree that I'm a suffocator", as though she's still in the what-did-I-do-wrong phase. The music calms down towards the end, as she whispers balefully "oh no, I'm sorry if I smothered you". Tomorrow pleads "don't bring tomorrow, cos I already know I'll lose you". This fatalistic sixth sense Tonra has about the end of relationships is haunts every song on the CD, making it even more beautiful.

This album reaches an emotional level that I didn't even think was possible. Not only does it reach it, but it ascends it in the most elegant and gorgeous way possible.

Rating: 10/10

Recommended tracks:

Amsterdam

Shallows

Human

Blackfoot Circle

Yesterday, Blackfoot Circle announced that they were joining the likes of stadium-filling names such as The Stone Roses, The Maccabees and Paloma Faith who are going to be playing the Isle of Wight festival this June. It's good going for a band who come from Portsmouth and who haven't released a full studio album yet. They haven't even been signed yet, for Christ's sake.

However, there is a very, very good reason why they are playing at such a prestigious festival. Their songs possess a folky quality with just enough electric guitar so as to make them not too Mumford & Sons, but just enough banjo so as to give a nod to them. There's also an undertone of incessant anger and discontent behind the insistent guitar and scratchy vocals of lead singer Jake; the same thing has worked for bands like the aforementioned Mumford, so may it work its magic again with these boys.

As is often the way, I stumbled upon this gem of a band on Youtube, and I really didn't expect what I found. The track that I clicked on was Whiskey & Gin, a song that's about "going home and catching [someone] with your missus", according to Jake. The unpolished-ness of the whole song, the tone of the vocals, the subject matter, the way he mutters "fuck it!", pretty much sums up who Blackfoot Circle are as a band. There's no pretentious air of a band who think they've made it before they really have - these guys are waiting quietly for their turn in the spotlight, and in the meantime keep bashing out some fantastic tunes. Keep 'em comin', lads!

Rating: 8.5/10

Recommended tracks:
Racket of the Records
Counterfeit
Texas Headlights

Peace - In Love

This last week has seen the release of Peace's debut album In Love and already they've enjoyed considerable success, taking into account the fact that they're just four lads from good old Blighty. NME lauded them as "Britain's best live band", giving the album a 9/10 and finishing with "this is their time". None of that is misplaced. They do rock anthem in a whole new way. Take Follow Baby, for instance. No guitar-shredding solo, no moments of rock 'n' roll diva behavior, but it manages to combine the rock 'n' roll lifestyle with surprisingly thoughtful lyrics, like "I'm scared to die but maybe a faithless bribe could save me".

The title of the album encompasses everything it's about; first love, awkward crushes, teenage fantasies and lust. The subject of love and all its friends may be a bit overdone by now, but because it's so universal it can never get old - the trick is finding an unexplored niche. That's pretty much what Peace have done. They've taken the gawkiness and obsessiveness of teenage love and turned it into something that seems glamorous and really damn awesome. Float Forever is an example of the "lighter in each hand" kind of song, but the tone is something completely different; it pleads with you to trust them, despite all your faults. I don't know about you lot, but I'm definitely willing to do so. 

The band themselves are also "rock and roll" but with a twist. The line up is Harrison Koisser doing lead vocals and guitar, his brother Sam Koisser on bass, Doug Castle on guitar and Dominic Boyce on drums. Even the way they dress isn't quite right for a rock band (in the Follow Baby video Harrison is wearing a green be-sequined top under a leather jacket with Marilyn Monroe on the back) but it works so well. They're not just a pretty face either, they're clearly highly intelligent and very well spoken, which is something you're lucky to find in people that cool. And there's something slightly odd and disconcerting about their music videos. Bloodshake takes psychedelia as an inspiration and as a consequence is hard to fathom. Wraith sees the boys staring nonplussed straight past a pair of scantily clad women that have the incredible ability to move their bums independently of the rest of their bodies. But again, it all comes together in a beautifully quirky and individual way.

These guys are definitely destined for something big, and if they don't get it by the end of this year, I'll eat my hat.

Rating: 9/10

Recommended tracks:

Toxic (with Lucy Rose on back up!!)

Higher Than The Sun (")

Waste Of Paint