• Live: Fanfarlo, First Aid Kit – Brighton Hanbury Ballroom – 08/10/09

    8 Oct 2009, 12:01

    Wed 7 Oct – Fanfarlo, First Aid Kit

    They called it an ‘Indian Summer’, and we knew it was coming. It seems very boring to start a review with the weather situation but it did seem to dictate the days of everyone who eventually made it to the Hanbury Ballroom by 9 in the evening. What had preceded was a monsoon of sorts – rain, not just rain in fact: sheets of water coming down from the skies, constant, merciless. When you experience a long, dry summer it’s always nice when rain first arrives but by the time the day filtered out, life was pretty miserable. And so it seems particularly apt that once dry, covered and free from the onslaught, the gig-goer is welcomed by two of the most warm-sounding, wholesome acts around today, rousing enough to help you forget about the damp smell tightly wrapped around everyone’s clothes.

    An annoyingly dry looking pairing of Swedish sisters, First Aid Kit, commence proceedings with just a single acoustic guitar accompanied with the kind of whimsy, perfectly-tuned vocal harmonies you’d expect from those related by blood. Their relationship is a little too intimate at times; on stage banter drifting off for those watching, but still clearly leaving a whole lot to talk about for Klara & Johanna Söderberg. Their set, albeit limited due to the lack of instruments onstage, is endearing, cuddly – just as good as a pair of warm tracksuit bottoms to put on after coming home drenched.

    Fanfarlo begin minimally too. A stripped-down performance of ‘Drowning Men’, with just three of the six members on stage, remains uplifting despite its lack of the uplifting, arm-in-arm grandiose found on debut album ‘Reservoir’. Once fully-formed, Fanfarlo treat the busy crowd to an all-out rendition of said passion, intense but smile-inducing crescendos in ‘Finish Line’ and set highlight ‘The Walls Are Coming Down’. They manage to silence a rather talkative faction of onlookers who happened to put a slightly hindrance on First Aid Kit’s set.

    But it’s only common sense to save the finest for the tail-end of the set. ‘Luna’ and ‘Ghosts’ – the closing pair – are the most energetic, fruitful tracks that ‘Reservoir’ offers, providing a refreshing get-up-and-dance aspect to the more static but triumphant bulk of the performance.

    Once closed, the Hanbury Club only offers you the exit door, for which the rain awaits to plummet itself down on you more more. But the occasion gives you this false sense of bravery, prepared for anything. In reality, you’re back to being soggy and hopeless within ten seconds of leaving, but the memory of such a balmy night in the company of First Aid Kit and Fanfarlo is a comfort.
  • top artists in occurence order

    23 Dic 2008, 21:45

    This is a list of all my top artists over the last year and I've counted 'em up to see which ones have come about most. I'll update this on the 31st but I'm quite bored so deemed this to be a good time...

    Los Campesinos! 1
    British Sea Power 1
    Interpol 2
    Throw Me The Statue 1
    Pete and the Pirates 2
    Foals 2

    Elbow 1
    Spoon 1
    Mystery Jets 1
    R.E.M 1
    Tokyo Police Club 1
    No Age 2

    Fleet Foxes 1
    Cut Copy 1
    Bon Iver 1
    Johnny Foreigner 2
    Deerhunter 3
    Ratatat 1
    Sigur Ros 1
    Radiohead 1
    Beck 1
    The Smiths 5
    Conor Oberst 1
    Casiotone For The Painfully Alone 1
    Bloc Party 2
    TV On The Radio 1
    of Montreal 1
    Jeremy Warmsley 1
    Crystal Stilts 1
    Gang Gang Dance 1
    The Killers 1
    Kanye West 1
    The Pains Of Being Pure At Heart 1
    Telepathe 1
  • Crystal Stilts - Alight of Night

    23 Oct 2008, 17:45

    Alight of Night

    Let die the petty comparisons that come with a new band with a bad mood and a bass-heavy, stripped down sound. I needn't mention the name of the act that's gotten cosy with the likes of Interpol, Snowden and Editors. They're also becoming a familiar face with Crystal Stilts, but that could be put to shame with 'Alight of Night' because with this album, we see glimpses of a new intelligence that divides them from the 80's contemporary, we see a glimpse of light at the end of the tunnel with this situation that has bogged down the moody, modern day, garage punk band.

    And this "new intelligence" is as visible as breath on a cold window, it'd be hyperbolic to try and claim Crystal Stilts to be revolutionaries of their genre but they're playing new tricks and they're all the better for it. Their debut is minimal, making the obnoxious, flared-up punk energy that's so raucous in their live shows, not peaceful, but tolerable and most of all, explorable. With Times New Viking's purposely lo-fi 'Rip It Off', it's difficult to uncover anything other than the frenzy of a sound they claim as their own. But with 'Alight of Night' you hear sensitivity, melancholy and most importantly, vulnerability on top of this fire-starting punky vigor.

    Wherever this was recorded, it added a new-found atmosphere to the band's already carefully moulded outlook of doom. It crafted this new sense of variety to their sound. Whereas 'Departure' (previously of a different title) used to be a bog-standard, enjoyable none the less, pessimistic punk piece, a newly added complex bassline, a lower pitch of vocals and a more simplistic drum pattern has given the option to the listener to interpret the song in their own way. That's not always the case, 'Bright Night' retains its rude and abrupt attitude, as does 'SinKing', a racey number that never lacks in its determined and almost angry stance.

    But on 'Alight of Night' it seems as if Crystal Stlits have set out to defy any critics that classify every one of their songs as similar to one another. They've added diversity in mood, pace etc. and have in turn, truly surprised me, among many others I'd expect. 'Shattered Shine' may present an exclusive slant of happiness, but inside it's still very much the same band we're listening to as in the background a giant slap of feedback is brought into peice halfway through. Nevertheless, this is very much a different scope of sounds altogether; we're drawn striaght towards it with opener 'The Dazzled', a classy, smooth welcome mat for the listener - a complete contrast to the predatory beast that follows in the form of a self-titled second track. And from then-afterwards the quieter, more melancholic chunks are scattered in between the conventional up-tempo "anthems" of sorts that were on display from the start with their debut EP.

    And this self-titled EP was a quick, sure-fire way of getting some much-deserved attention and since then, they're clearly worked on and almost mastered a sound that blends optimism and tenderness into something we'd never have expected to hear from such a frankly, miserable bunch.
  • Los Campesinos! - We Are Beautiful, We Are Doomed ---mfm review

    20 Oct 2008, 5:30

    The Music Fan's Mic review of the new Los Campesinos! "record" which is out this month with Wichita.

    Los Campesinos! - We Are Beautiful, We Are Doomed

    Sometimes it's an achievement to boast about - to be able to release more than one album in a year, to resist the temptation of sitting back and opening the cigars whilst the royalties arrive in their masses. But it’s been proven that some things are worsened when rushed; handwriting, Tottenham Hotspur’s growth as a bidding football giant, the Pigeon Detectives’ second album as a particular example. Musically, good things tend to take time. But when you have a true incentive to move onwards, that may not be the case. Los Campesinos! perhaps wanted to clean the slate of a dubiously-produced and dubiously-received debut record, to move onwards hastily and to shun away and scepticism towards their ability to support what was an unimaginably huge cloud of hype emerging prior to ‘Hold On Now, Youngster’. With their second “record” (members have recently dismissed this to be a proper, official album release), the erratic Welsh troupe have well and truly defied all odds by bettering their debut album with what has now be declared a spur-of-the-moment project.

    This is all but confirmed with plenty of time to spare. The opening three tracks of ‘We Are Beautiful, We Are Doomed’ are every bit as thrilling as each other, topping the majority ‘Hold On Now’ simply because of the feeling that’s given off. There’s the sound of enthusiasm, the sense that these sounds are fresh and exciting to the band themselves. We get the second-hand effect of that inspiration. A grungy opener in the form of ‘Ways To Make It Through To Wall’ documents the introduction of a dark-tinged album full of shameful anecdotes and the most extreme cases of self-doubt. Yet this isn’t mimicked sound-wise, with a chirpy and traditional sounding guitar line never escapes an outlook of optimism whilst an expectant Gareth declares, “we are waiting here for catastrophe!” This consistent sense of doom and gloom is echoed throughout, particularly so in the following couple of tracks. The lengthy passage of “I cannot emphasise enough that my body is a badly designed, poorly put together vessel harbouring these diminishing, so-called vital organs, hope my heart goes first, I hope my heart goes first!” on the title-track is enough to fuel self-confidence in any listener, regardless of emotional state. Again, there’s an ironic contrast musically and the piece is all the more for it.

    The jaunty, shaky ‘Miserabilia’ makes up the third piece of this simple-to-complete jigsaw and from then onwards hints of experimentation overwhelm the melodies and the ideas when the record isn’t listened to with eager ears. The album becomes far too soaked up in its own spontaneous thoughts of shame and misery at times, with a couple of exceptions. ‘You’ll Need Those Fingers For Crossing’ disguises a simplistic verse-chorus formation with another stunning offering of lyrical darkness – “You worry a million raindrops will die, with the last memory of you and I, in a soft-porn version of the end of the world”, the delicate touch of xylophone and strings make it a heartbreaking tale of, you guessed it, pessimism. ‘All Your Keyfabe Friends’ supports the view that this record had even more to offer if it was given a year’s worth of attention and work. A thrashing crescendo of energy and self-loathing comes to an abrupt end and even though at various points, ‘We Are Beautiful, We Are Doomed’ sounds fatigued, it’s a fact that’s entirely forgotten about with a quick-fire listen to the more fearless tracks on the album.

    The clever thing about this album is that it’ll have an effect of swinging those “haters” towards a guilty love of the band, whilst the hardcore fans remain endlessly in love with no distractions. They’ll fall weak at the knees for the lines “As if I walked into the room to see my ex-girlfriend, who by the way, I'm still in love with, sucking the face of some pretty boy, with my favourite band's most popular song in the background, is it wrong that I can't decide which bothers me most?”, as any music fanatic would. Doubts will be cast aside in all corners. This is something to rejoice.

  • Of Montreal - Skeletal Lamping

    20 Oct 2008, 5:27

    This record had me questioning everything. I still don't think I've got my head round it but he's my preliminary review below.

    Of Montreal - Skeletal Lamping

    Is it wrong, heartless even, to put an albums tracks on shuffle? Yeah, probably. Try getting the same effect from 'Kid A' or 'Untrue' when you let iTunes make its own tracklisting. So it's quite obscene that 'Skeletal Lamping' it more enjoyable when the tracks are scattered -they were scattered in the first place so by all means you can cross out the "heartless" part of the opening question above. This is only really because Kevin Barnes is a scatterbrain of the finest kind, a melting pot of weird ideas that the finest of psychedelic drugs couldn't force out of The Beatles or Floyd. Barnes has always been a flickering light, changing his works before they can be classed as perfection, simply because one idea after another, things are improved. And even though Georgie Fruit (sex-obsessed-alter-ego) is the frontman of the band for the majority of the time, and even though that'll make you feel a tad uncomfortable to start with, whoever's behind the voice, things sound busy.

    One piece of advice: try to forget what Barnes has said in interviews during the build-up to the record. This is an album made up of segments, true, but it's difficult to believe that he's randomly assigned places for these segments like say, your media player would. Because if he has, things have turned out suspiciously well. There is variation though, to say the very least. 'Plastic Wafers' is determined to confuse, to prevent you from working out exactly what this record is about whereas the highlight on the album, the more straightforward 'Beware Our Nubile Miscreants', has it all figured out. At times 'Skeletal Lamping' is reflective ('Touched Something's Hollow'), at times it's joyous ('Id Engager'), at times it's seductive ('St.Exquisite's Confessions') and it all provides a startling insight into that mind we all want to aquire a piece of, that belonging to Kevin Barnes. Lyrical content provides us with interest more than anything else, Barnes is vunerable and egotistical when he shares with us that he "wanted to fire all my friends, and just start over again" and all of a sudden he's alive, "I wanna show you off, I wanna tell you lies, I wanna write you books, I wanna turn you on, I wanna make you come, two hundred times a day". This album will go down as the most scitzophrenic of all their releases to date, and to some, their most compelling.

    The problem with 'Beware Our Nubile Miscreants' being the album's peak-point though is the fact that it's the first and only real break you receive after enduring, yes, enduring, a relentless frenzy of concepts and musings that refuses to die down, refuses to go to bed, sort of like a 4-year-old-child who's been given too much orange juice. And so as this delightful refrain becomes your personal favourite, you come to realise that a giant proportion of 'Skeletal Lamping' may be fascinating, but that's about it. 'Mingusings' combines two straightforward pieces together, and that's perhaps the way the rest of the record should sound. Because when the opening 'Nonpareil Of Favor' suddenly breaks into a gigantic clashing of sound and noise, it's dissatisfying - something that Of Montreal have rarely been previously.

    Listening to Fruit's erotic threats of "making you come two-hundred times a day" is enjoyable on face value but it makes you question whether Barnes is all head and no heart. 'Hissing Fauna' excelled in giving us this distorted but exposed and fractured personal content throughout about Barnes' divorce. 'Skeletal Lamping' represents the moving on of that period but perhaps we'll all be wishing personal trauma on this kind fellow once more, as unkind as it may be. Once observed a little closer though, this album does have personal touches to it. Its purposeful lack of direction represents the indecision on behalf of Barnes, his confusion at the present time and that's what makes 'Skeletal Lamping' a lot more than just a messy bedroom of a concept album. Eventually, after a seemingly never-ending quest of discovering just what the Hell is going on, you come to terms with the fact that this is just too difficult to understand. Instead, you just await the "best bits", listen after listen.
  • white lies - brighton, komedia - 29th September

    1 Oct 2008, 6:30

    Mon 29 Sep – White Lies

    Coming along at exactly the same point that the buzz surrounding them reaches a higher gear, as well as the also coinciding with the much-awaited release of ‘Death’, this White Lies headline tour couldn’t come at a better time. In the audience it’s easy to pick out the hardcore fans over the newcomers but they all share something in common; they’re all very, very interested in this West London outfit.

    And who could blame them? They’ve quite clearly mastered this doom-and-gloom image to accompany their equally drastic sound that plays around with lyrics about funerals, the cost of love and the death of a relationship or the death of someone even closer. Right from the moment they left the stage for the last time as Fear of Flying and re-appeared as White Lies, they had every intention of bringing the glory days of black suits and frowning faces, back to our music scene.

    There’s something peculiar and fascinating about Post War Years too. They enter the spacious Komedia stage first to a few undying screams from local fans but by the end of their set, they’ve won nearly everybody over with their experimental, sample-crammed set, buzzing with energy and guts. One effort played towards the end, sounds remarkably similar to something Battles would conjure up on their future record but the follow-up shines with its Hot Chip-esque simplicity. They’re easily the best support band I’ve watched this year and it seemed that a few surrounding me felt exactly the same.

    The same words couldn’t be gifted to The Joy Formidableunfortunately. Although they dress similar to White Lies or even Glasvegas, their sound wasn’t nearly as intriguing at any point in the stadium-lusting, seemingly lengthy set. The lead vocals of Ritzy sounded formidable when placed against a contrasting, thumping eerie riff from her guitar but when exposed on their own, there was little to shout about. Similar to White Lies, you could see they had clear intentions of the big time but there was something very underwhelming about their energetic set.

    What White Lies succeed in over the second act on stage is sheer quality of songs. ‘Unfinished Business’ and ‘Death’ have been doing the rounds for some time now but even the b-sides on the latest single glow in audacity and intensity. The crowd is bulky and agitated by the time they enter to rapturous applause and drunken wails but by the time the opener gets into a consistent and confident waltz, those around me are silent, completely and utterly silent. A risky tactic but ‘Unfinished Business’ is unleashed early on, obviously to a wild response. Harry McVeigh’s vocals are placed perfectly above his gloomy guitar and the spiky bass courtesy of Charles Cave and even though their voices are near identical, it only adds to the oomph-factor of each and every song played.

    A memorable rendition of ‘From The Stars’ is followed soon after by a predictable closer but the only one suitable, ‘Death’. Those previously silent are now opening their mouths wide open, shouting back the words, ‘”FEAR'S GOT A HOLD OF ME!” over and over again. And it is just one of those performances where even though you’re not familiar with the majority of the songs played, you can enjoy yourself and anticipate any future releases even more so, whilst licking your lips with impatience. And even though this set has probably been rehearsed countless times and even though if you turned up for the gig tomorrow, you’d be witnessing a replica performance, it wouldn’t be a difficult task in forking out the ticket value once more.
  • Eels @Dome, Brighton - March 2nd 2008

    4 Mar 2008, 22:05

    Sun 2 Mar – Eels

    written for gigwise originally but I thought I'd share it with you all, especially those who went.

    So you go into the 2000 plus capacity Brighton Dome, take your seat, stay there for three hours and leave with the sense that you’ve just seen an intimate gig. It shouldn’t make sense, but when someone of the status of Mark Oliver Everett is just yards away from you, playing an electric guitar on his own, with one single light zooming in down from above him, it’s a special, special moment. Some would have called the gig a “one-in-a-lifetime” event, indeed a rock-star playing his greatest hits in laid back, up-close scenes can be a little overwhelming, a rare coming.

    Sadly though, while extracts of E’s autobiography were being read out in between songs there were constant heckles of “play some music!” from drunken audience members who spent the whole night acting like dickheads rather than listening to the genius from L.A. But the fact is those heckles were unjust and spoiled many peoples' nights somewhat. This concert wasn’t just a concert, it wasn’t just a performance, it was a tribute to the last decade or so of Everett’s life. He did things his way; no supporting act, instead the documentary he embarked on with the BBC about his Father was played an hour before he came onstage. He read fan letters, praising gig reviews and proved that these attempted-comedians of hecklers would never be as funny as the man on stage.

    While the hecklers were satisfied (when E was playing music), there were two men on fine form. Everett was joined with Jeffrey Lyster, aka, ‘The Chet’ who proved a particular success with the audience. The two swapped from drums to piano flawlessly in ‘Flyswatter’ the set highlight, and showed variety between pedals and instruments throughout. Showcasing the best of the material predominantly from latest album ‘Blinking Lights and Other Revelations’ and the understated masterpiece ‘Daisies Of The Galaxy’, every song received a gigantic reception. The majority of the audience were more than satisfied, a few standing in ovation once they realised the second of E’s encores would be his last – others were confused about whether it was time to stand or not. Standout moments from the many were a melancholic take on ‘Bus Stop Boxer’, a full-on energetic performance of ‘The Sound of Fear’ and particular crowd-pleaser and overall fan-favourite, ‘I Like Birds’.

    In between songs, E put on a witty, fake, arrogant persona and praised himself every now and again, even though some of his words were entirely true. Most of the audience were fully aware of his flawless input into modern day music which has got him to headline a venue of such magnitude as the Brighton Dome. Tonight was truly a night to remember.
  • A Guide to 2008

    3 Ene 2008, 20:20

    MFM’s Guide to 2008

    Last year we predicted success for Klaxons, Fields, Jamie T and The Maccabees. They went on to produce some of the better albums that we set our ears to in 2007. Now it’s again our turn to conclusively give you a list of bands to look up and listen to. Most of these bands will be releasing their debut records in 2008, so not only is this a list of new artists, it’s also a list of essential purchases.
    Improving from our list last year, we’ve got more writers having their say leading to a wider range of artists being included – more for you to check out!

    Note that this is just a list of bands we like – some lists carry names who they know will be huge – the list below contains bands who we WANT to be huge.

    ARTISTS OF 2008

    With live performances becoming that little more priceless each time, Foals won’t be playing in small, intimate venues for much longer. A triumphant Reading set had hundreds watching from outside the tent and this is all due to the raw, ferocious and fun sound that Foals produce. Melodic guitar hooks compete for attention while lead vocalist Yannis defines ‘cool’ with his shy yet unbeatable stage presence.

    Their debut, produced by TV on the Radio’s Dave Sitek is already shaping up to be a must-have.

    Laura Marling
    At the age of 17 and already writing some of the most beautiful songs to ever come out of the city of Reading. Her EP ‘My Manic & I’ opened many eyes including mine – an appearance on Jools Holland recently outlined her capabilities with her outshining almost every other guest Holland had on the show all year.

    A debut is due early 2008. We have hope after all in singer-songwriter’s.

    Los Campesinos!

    A route to success for the grand Welsh posse seems inevitable. Singles have received stellar reviews, gigs are hyped to be a must see and they’re apparently some of the nicest people you’ll ever meet. They’re giving their country a proud stance seeing we’ve had to endure Stereophonics and The Automatic.

    However lots of pressure is on these guys to produce in 2008, let’s hope they can do themselves justice.

    The Rosie Taylor Project

    An MFM discovery in 2007 which Jamie stumbled upon while browsing about on myspace, they turned out to be the most talented and friendly people alive in Leeds today. Acoustic lullabies to send you to sleep, comforting you through a difficult day, the Rosie Taylor Project are more than just a simple accidental discovery. Word has spread quickly about these guys, spending their first year as a band supporting Jens Lekman and Camera Obscura isn’t bad going.

    Late of the Pier

    With ‘Bathroom Gurgle’ being one of MFM’s singles of the year, these guys have hype coming at them from all sides. Optimistic, frantic and vibrant music accompanied with a gung-ho live performance that nobody can fail to notice, Late of The Pier are here to wake us up – by pinching us lots and lots of times.

    One man with two at his helm, it could be that Joseph Mount won’t be seeing this as a solo project for much longer. Metronomy’s live performances are trippy, dancey and these days, accompanied with backing dancers! You become addicted – wanting to see them again in an instant. Another electro act with an undeniably clear future. Foals adore them too.

    Broken Records

    Arcade Fire+Beirut influenced joy from Scottish triumphs. Expect either a subtle rise in the next two years or sudden dominance from here onwards. Full of multi-instrumentalists, they are heading the right way in becoming one of the most exciting acts around.

    Tired Irie

    Note them down as an outside tip but ensure that you spend at least an hour of your day repeating the tracks up on their myspace. Tired Irie are yet another electro-indie act who have the backing of Foals and the talent to match, it seems like these future stars are all in one special friendship group. A listen to ‘Sumerian’ will blow you away.

    Pete and the Pirates

    Indie rock’s only hope for next year? Maybe. Pete and his crew are here to shake you by the sides and open your mind to something that makes so much sense. Indie songs have never sounded so complex and catchy at the same time, people have been going crazy for these guys, Plan B love them and so should you.

    Johnny Foreigner

    With mini album ‘Arcs across the City’ ripping the living shit out of any pleasing victim that played it, it seems that Johnny Foreigner have officially landed on planet Earth, and we are bowing down. Already well known in and around London, their fanbase will have multiplied a million times in a year’s time. A listen to Johnny Foreigner is like the greatest, most liberating slap in the face you’ll ever confront.

    Blood Red Shoes

    The album has been leaked and it’s been heard by many, but others are waiting for the storm to brew. A two-piece with even more edge than the White Stripes, ignore lazy Subways comparisons and when this album gets its eventual release in or around April, force yourself to purchase it.

    We Smoke Fags

    Myspace wonderkids with ever-growing fanbase and tunes to match.

    Gorgeous acoustic band with a mature and steady alter ego. A live act to behold.


    Dominated with the odd electronic element here and there, could get tedious but could get fantastic.

    a. human

    Style blended with substance, ideal electronica rage.

    Vampire Weekend

    Sophisticated indie/alternative bliss, certain for success.

    Friendly Fires

    Listen to ‘Paris’ and let go of everything in your body. Dancey, elegant, 2008 stars.


    Putting obscene psychedelic images into your head, but still keeping the music sensibly and wonderfully upbeat and brooding.


    The Foals that never were, thus far, underrated afro-beat glory.

    Lightspeed Champion

    As far from Test Icicles as one could possibly go, acoustic heaven from the scenester adoring singer-songwriter.

    Ice,sea, dead people

    A song about Elvis and instant success via. Zane Lowe, youth at its most brutal.


    M.I.A’s Bessie suffering from early stardom, needs to produce something special in 2008 to match the NME cool-list hype.

    Emmy the Great

    Beautiful songs to play in your bedroom - one talented star on an acoustic guitar.

    These New Puritans
    An album out early Jan, ‘Colours/Numbers’ is a must have 7” purchase for now.

    Rolo Tomassi

    Odd-ball, raging juggernauts with a live show to leave you shell-shocked.

    It Hugs Back

    As innocent and pretty as the name suggests, one of the many acoustic-based acts around the South of England.

    Crystal Castles

    Record due out, showing the kids what real rave is all about.

    ‘What You Will Get’ outlined how serious and talented this band was. Big future if they keep at it.

    Elle Milano

    Seen as a tip for 2007, they still pursue success and look a dead cert to gain even more recognition with their guitar-fuelled fire starting tunes.

    Black Kids

    Something original and catchy we can behold in 2008, with an indie-king status.

    Cut Off Your Hands

    Fired up indie dance-off holders. Chants galore with a team spirit to match, Maccabees-esque groove.

    The Albums + Acts we’re looking forward to the most

    Some of these albums are unannounced, some are planned out and ready to hear and some have already been leaked. Nonetheless, all will be essential listens over the next 12 months. You may recognise a lot of these acts from the list above, or from a couple of years+ ago when they shot to fame originally.

    Beach House- Devotion
    Be Your Own Pet - Get Awkward
    Bloc Party – TBA
    Blood Red Shoes - Box of Secrets
    British Sea Power- Do You Like Rock Music?
    Coldplay - TBA
    Crystal Castles- Crystal Castles
    Deerhunter – Microcastle
    Doves - TBA
    Elbow - The Seldom Seen Kid
    Foals - Antidotes
    Franz Ferdinand – TBA
    Guillemots - TBA
    Hot Chip – Made In the Dark
    I Was a Cub Scout - I Want You To Know That There Is Always Hope
    Late of the Pier - TBA
    Lightspeed Champion - Falling Off the Lavender Bridge
    Los Campesinos! - Hold On Now, Youngster...
    of Montreal – Skeletal Lamping
    R.E.M. – Accelerate
    The Futureheads – TBA
    The Magnetic Fields – Distortion
    The Raconteurs - TBA
    The Young Knives – Superabundance
    These New Puritans – Beat Pyramid
    Wolf Parade – TBA
  • CSS + Metronomy + Joe Lean and the Jing Jang Jong @ Brighton Dome

    18 Dic 2007, 13:49

    Fri 14 Dec – Cansei de Ser Sexy, Metronomy, Joe Lean and the Jing Jang Jong

    After having released their debut album in 2006, CSS have spent the majority of their year partaking in monthly tours across UK venues, building a more than pleasing reputation. Their show at the Dome saw them transfer from one of Brighton's smallest venues (concorde), to their second grandest. This obviously hasn't been easy work and on the basis of their performance (or the lack of it), the band may have finally got bored.
    A good 45 minutes into a more-than-strong set, and a shoe was thrown in the direction of Lovefoxxx from rumour has it, a very drunken fan. With regards to where it hit her and how much damage it caused her, it's still unknown but when CSS left the stage and never came back, the glorious moments had all been forgotten about – replaced by persistent, outraged boos. Hundreds fled to the box office to get their money back without hesitation, which seems a little unfair as the band may as well have played a whole set without an encore. However when you see what the likes of The Horrors and Panic! At The Disco have had to endure, it's with feeling that the Brazilian fun-guys may have overreacted a little.

    The support acts didn't cause such a fuss with their actions, more with their music. Joe Lean and the Jing Jang Jong gave the evening an early momentum with their soon to be regionally-huge indie hits, lead singer Joe Lean had impressive stage presence and it was easy to see why the hype has been flooding in recently.

    As for Metronomy, they returned to their hometown with backing dancers to back-up their head-swooning, electronic monsters of songs. Keeping the crowd moving about from start to finish, Joseph Mount led his troops to a well-received set (in particular recent single and closer 'Radio Ladio') that kept up the pace and prepared all for the snowstorm, Christmas set of Cansei de Ser Sexy.

    They suited the larger-than-life venue that would intimidate many other bands of their reputation, but they seemed to pull it off. And with that, they did cause a ruckus and frenzy with their recognizable set - 'Alala' and 'Alcohol' in particular getting the fresh-faced audience bouncing and mouthing words. Unfortunately for most, they were planning to save the likes of 'Patins' and 'Let's Make Love…' for the encore that never came…

    I happen to know who the owner of the criminal shoe was. She wasn't the culprit of the throw, but it was evident when she got her shoe back that it was light as a feather and that the average loudmouthed moron that exits pubs in Brighton at midnight with a bleeding nose gets hit with a lot more on your typical Friday night. For what it was though, CSS's set did not make it necessary for that troop of fans to demand their money back with any serious intentions. Here's to hoping the band return to Brighton without any hesitation and without any injured body parts.

    Jamie Milton

    originally written for tasty fanzine
  • Act of 2008

    13 Dic 2007, 20:39

    Now's your chance to give one of your favourite bands some much needed attention for their actions in 2007.

    For my blog, I'm naming an 'act of the year' but seeing as I can't make my mind up, I'm making you all tell me your favourite.

    Just post a comment or send me a message stating your favourite (no-one who isn't on this list)
    and I'll add up all the votes to crown a winner.

    So choose from the listed:

    Animal Collective
    LCD Soundsystem
    Arctic Monkeys

    Voting has closed:
    View the winner at