With a hint of sea air, this folksy group from the deep dark depths of Kodiak Island, Alaska, have created a relaxing but catchy and almost addictive new album. It’s a move away from the acoustic sounds of their first but Port O’Brien has managed to retain a sense of their previous identity.
The album as a whole creates a brilliant relaxed
A splash of The Go! Team style shouting/village singing on their first track draws you in with excitement although the remainder of the album is not quite so uplifting. There is a woody, dusty feel to each song, I couldn’t help but imagine sitting round a camp fire with a few old chums, a guitar and everyone singing until their heart’s were content. Maybe even a porch, a straw hat and that trusty guitar would do the trick.
Quite a good album over all, indeed, all I could do was sing along (to the first track anyway). It won’t be making history any time soon, but a nice little listen.
White Denim's drummer Joshua Block comes from the same physical gene pool as Will Ferrell, Tom Waits and Ron Perlman and rides his kit right at the front of the stage. His arms wind milling like a man swimming with meat knives, cutting into each wave as it passes with the zeal of a drunk mid remembrance of a favorite song. Straddled either side by guitarist and bass player to make up this year's Banana Splits. This year's Magic Band. This year's Monkees.
Debut album, Workout Holiday just in the shops. A frenetic yet accessible blending of southern wildcat zest and inventive charm that could only derive from a band that are far more clued up that they'd ever let on, a similar trick to that pulled off by prime era Pavement. White Denim have everything going for them this year. Tonight's appearance at Koko's Club NME is marred by the kind of volcanic reverb an old theatre style building generates and this ill fits a band you need to see tight and dry as fuck in a sweaty bar to get a full grip on their maniacal moonshine melodies and near math-rock riffage.
White Denim are shape shifters, and tonight the song's are in mid mutation, arriving somewhere else by the time you grip what they had been playing a moment ago. A short blast of new single Shake, Shake, Shake's Beasties-esque gang intro gallops into frenetic lashes of wah wah, while the venue's reverb adds an oddly rockabilly twang to James Petralli's voice. Losing your grip here is to be encouraged. It's been a long time since a band came along both so viscerally for-the-kids and yet truly idiosyncratic and White Denim still have some way to go in terms of their name catching on before a song like 'Don't Look That Way At It' is crowned the guitar looped anthem it demands. Judging by the way they blast through tonight, like pirates drunk on loot, the more we have of White Denim, the better.
The people who run record labels have traditionally had an image problem. Musicians are cool, obviously; djs are cool; hell, even some music journalists are, but company execs? Not so much.
Both cynical and prone to hyperbole, they have a reputation for chalking up ounces of coke to their ‘flowers and chocolates’ expense accounts, spouting jargon and inventing spurious music genres in the pub. Indie labels fare better in musical mythology, of course, but with their earnest dedication to the egalitarian principles of Marxism, you can’t escape the feeling that Geoff Travis and his associates at Rough Trade couldn’t make the tea without voting on it. Well, Art and Commerce were always going to have an uneasy relationship. Anyhow, everyone knows that record company execs are frustrated musicians themselves. And they’re all boys.
The Young and Lost Club label is different. Reassuringly, founders Sara Jade and Nadia Dahlawi most emphatically don’t yearn to get up on stage. “We know our limits!” says Sara. This might be a touch disingenuous considering the girls’ status as precocious veterans of the London indie scene – at only 23 apiece, they’ve been fanzine editors, label owners, and club promoters as well as djing as the Pyrrha Girls.
“The first musicians I was into were the Velvet Underground, Jonathan Richman, Television, Richard Hell and Patti Smith and that led me to reading "Please Kill Me", she says. “The DIY aesthetic and attitude in that book was a big influence on us, everyone just did things for themselves and created their own scene for similar minded people”. The idea of creating a scene seems to hold a continuing magic for Sara and Nadia, for whom the founding of a label seems to be the logical progression of their other interests. Already there’s been a Young and Lost national tour while recent clubnights have seen The Teenagers, Klaxons and Horrors play alongside their own signees.
They are clearly blessed with excellent taste. Currently on the Young and Lost Club roster are the Golden Silvers, who’s glorious Arrows of Eros - an arch disco track about lovelorn boys and girls dwelling in ‘London Town’ that recalls the best of Orange Juice - is getting played loads on 6 Music and looks set to be one of the defining songs of Summer 08. Previous highlights for the label have included the debuts of Vincent Vincent and the Villains, Joe Lean and the Jing Jang Jong and Larrikin Love’s Six Queens – in which Ed Larrikin memorably traded his usual pastorals for a glammy Velvets pastiche. Currently on their books are Pull Tiger Tail, Noah and the Whale (who will be Young and Lost’s first album release), Lord Auch and Naked and the Boys.
And they don’t see the gender thing as an issue: “I don’t think there is a big difference in the way boys and girls approach djing,” says Sara. “Girls are probably approached more for song requests though”.
Oh, and as for that vow not to take up instruments themselves, there is one exception... “Nadia would definitely make a guest appearance on someone’s album playing the harp, if asked”. Bet she’s a really good harpist, too.
Photo: Sam Butler
Around this time last year, I spent a very depressing weekend staring at a television getting progressively more annoyed at the presenters on the BBC’s coverage of the hallowed Glastonbury festival. As Lauren Laverne, or whichever doofus it was, complained about the rain, me and the handful of my friends who were also unable to get tickets sat in a living room, sat inside a children’s play tent, gawping at what looked like more fun than an Olympic sized ball pit.
This year was definitely less of a sob story - thank god for Jay-Z and trench foot I say. I was finally able to experience my first Glastonbury and with the added bonus of being with the overwhelming majority of my chums.
We arrived around midday on the Wednesday due to our eagerness to make the most of the very expensive weekend. Our camp, in a prime location near the park, was filling nicely by late afternoon and everybody was in a party mood. Muchos kudos to my friends who brought a tent the size of a small aircraft hanger, it’s fair to say it served us well.
What struck me first of all as something that sets Glastonbury apart from any other festival i've been to is the amount of effort they put into making it look nice. There is art literally everywhere, making it such a pleasant place to be. The whole time I was there I was literally not bored once.
Glasgow four piece Errors are a band of precision - being on a label run by Mogwai, it's no surprise that their music has a similar ability to pull cold beauty from a tool - like discipline, fashioning smooth, sleek and slippery surfaces from rugged terrain. The album often drifts into a post-rock glaciality with a Warp-esque glitch like a more humane Squarepusher. It often resembles almost any album from 2003, and at its least successful it illuminates how far we have moved from the implied seriousness of five years ago into a much less consistent and more creatively free era. Here Errors can sound overtly studied, like four intelligent men working their way through a BA(Hons) in Structurally Complex Musical Ideas at the Battles University.
Album opener Dance Music sets the pace for what's to follow, blurring the line between a live and a studio-textured sound. A series of evolving motifs played with cold clarity, drums mutate between fixed live grooves and laptop spluttered electrical showers - while the guitars remain glassy and spidery.
There is a real depth of ideas to Errors music that feels like it is yet to free itself from an unnecessary adherent to musical disciplines. Definitely a 2.1 dissertation in Mathematical rock yet it would be great to hear these chaps a little after Graduation, nine months into menial jobs and a few heartbreaks later. Then, maybe we could hear a band managing to structure their inventive, texturally fascinating ideas into something more idiosyncratic, more individual and certainly more unfamiliar than their only standout track Pump - in all its echoes of a cut loose acid New Order strives for.
Monday 30th June
Goldfrapp and frYars – Royal Concert Hall, Glasgow
Erykah Badu – Brixton Academy, London
Joan As Police Woman and Peter Greenwood – Borderline, London
Tuesday 1st July
The National – Metropolitan University, London
Black Kids – Thekla Social, Bristol
Bound to be a certified hoot. Black Kids seem to make the catchiest tunes around at the moment.
Vessels and Maths Class– 229, London
Kid Sister – Hoxton Square Bar & Grill, London
Wednesday 2nd July
Errors – Tyne End Bar, Newcastle
Gig of the week
Beck – Apollo, Manchester
It’s beck. If this is bad then I’ll eat my own hat, with no condiments or dipping sauce or anything.
Brian Wilson – Royal Albert Hall, London
If you long for some sort of British summer then turn to the warm indoors of the Royal Albert Hall filled with the summery songs of the Beach Boys legend. It’s bound to be full of dancing dads, and that may prove to be very entertaining.
My Bloody Valentine – Barrowlands, Glasgow
Ghostwood, Barringtone and Underground Railroad – Buffalo Bar, London
Metronomy, They Came From The Stars and thecocknbullkid – The Barfly, London
Thursday 3rd July
Scanners, Fangs and The Electric City – Hoxton Square Bar & Grill, London
The Answering Machine and The Golden Silvers – Bloomsbury Bowling Lanes, London
A couple of months ago I was getting very excited about The Answering Machine, and recently I’ve been getting even more excited about Golden Silvers. So I’ve pretty much spent the last few months getting very excited. If I can calm down for just a minute then I’m sure this would be splendid, especially if you decide to indulge in a bit of bowling as well.
White Denim – Cargo, London
Friday 4th July
Wild Beasts – Cockpit, Leeds
Jeremy Warmsley, Absentee, So So Modern and Esser – Zodiac, Oxford
I saw So So Modern in a very small venue in my homeland of Coventry about a year ago, and they blew me away. They need to be checked out.
Ox. Eagle. Lion. Man, Maps, Johnny Flynn – Matterley Bowl, Winchester
Saturday 5th July
Bjork – Wild In The Country, Knebworth House, Hertfordshire
Jaguar Love – Barfly, Brighton
Bad Science, Samsara, Mouthwash, Yes Sir Boss and Abstract Genius – Rhythm Factory, London
Sunday 6th July
Applicants – Westhill Community Centre, Brighton
Neon Neon, Willie Isz and Heartbreak – Hearn Street Car Park, London
This Anglo-NY quartet is hardly breaking any new ground here. After a largely unnoticed but well received first album, ‘Speak Your Own Language’ sees Five O’Clock Heroes making a second stab at success. Priding themselves on their simplicity, this back to basics affair sees them dusting off their Dad’s old Clash LPs and splicing them with both the UK and New York’s finest musical alumni but not really going anywhere with it. Singer Antony Ellis switches between New York New Wave and Brit bravado, hiding his Northampton roots and doing his best impression of an inner-city urchin while the rest of the band try their hardest to recreate their very own piece of 70’s underground London, at times treading clumsily over the fine line between ‘influenced by’ and ‘stolen from’.
Flirting with the media on new single, ‘Who’, model du jour Agyness Deyn sprinkles her sugary vocals over what would otherwise be another non-descript slice of indie pie. This aptly timed marriage of convenience has succeeded in raising both the bands profile and proving Ms. Deyn is more than just a pretty face, but it leaves a slightly cynical after taste and leaves you wondering if without the models presence this one would have just silently slipped away.
They come into their own on the more upbeat songs with creeping tinges of reggae that will have you secretly tapping your toes and not caring who sees you doing so. Top of the guilty pleasures list is ‘New York Chinese Laundry’, a perky crowd pleaser scoring highly for its irresistible use of tambourine and sparkly melodies. I’m also a sucker for a hand clap and ‘Everybody Knows It’ definitely fulfils my quota, bouncing along like Joe Strummer’s well spoken, radio friendly cousin from the country. Maybe they’ve taken this whole Clash thing a bit too far, especially when I just can’t help but sing ‘London’s Calling’ over the top of ‘God And Country’.
Attempts at the heart felt and lovelorn fall rather flat, with their efforts being more reminiscent of an overblown power ballad rather than anything really capable of singling them out from the sheer hoard of similar sound-a-likes. For a band who say it’s their sole intention to create memorable tunes, much of this album merges into mild mannered mediocrity. Not quite catchy enough to be instantly loved, and not subtle enough to be a slow burner, but still agreeable enough to warrant a listen. This clean cut courting of mainstream success leaves me thinking that the trouble with these pretty boys is they just don’t want to get too dirty.
A small queue outside the door upon my early arrival was perhaps a sign of how great things to come were going to be. Every band on tonight has a degree of buzz surrounding them, and all deservedly so.
Wet paint began slightly unannounced, firing off with their well-crafted grungy sound, kind of like the best side of Pixies, but these guys have a certain adorable quality to them. Lead singer, James Wignall, has a voice filled with emotion, even though at points it’s as dry as a bone. Their set goes down well with the gathering crowd, and was a pleasure to watch.
The Luminaire was fairly heaving by the time I got there - a couple of other bands had earlier taken to the stage to entertain what was apparently a largely post-exam student crowd, whilst the DJ played what seemed like Joy Division’s entire back catalogue (not that I was complaining, but it did seem a little strange – maybe some cheeky scamp had half-inched his other CDs and all that was left was the Heart and Soul box set) before segueing not very convincingly into something a little more dancey for the impending arrival of the RGBs.
I’d seen the RGBs a couple of times before, having heard of them via another review on this fair blog, but this was the first time I’d seen them headlining. Led by the commanding presence of Becky Jones, their music is as spangly as their outfits - three keyboards and a drum kit combine to create a heady mix of 80’s electro pop and early 90’s dance. Come Alive throbs with the energy of an old school rave, whilst The Day name-checks Van Morrison’s Gloria amidst its’ driving electro beat.
Despite a technical hitch about half way through the set, the sheer energy of the RGBs’ performance won over any doubters in the crowd. With some festival spots coming up over the summer, I’m sure there will be a few more crowds that the RGBs will be winning over as well.
This week in June
Monday 23rd
Televised Crimewave, KASMS and Mirror! Mirror! - Hysteria@SIN, London
Beggars - Madame Jojo's, London
Wave Machines, F.Lunaire and Telegram - Chess Club@The Social, London
Ghostwood - Barfly, Cambridge
Tuesday 24th
Franz Ferdinand - Thekla, Bristol
The opportunity to see Franz on a small stage sounds fairly inviting, but the thought of them playing on a boat sounds like almost too much fun. I really wish I lived in Bristol so I could swashbuckle along to this.
Liam Finn - Barfly, London
The Sugars - Charlotte, Leicester
Radiohead and Bat For Lashes - Victoria Park
Beat Stevie, Does It Offend You, Yeah?, Metros and Example - Old Blue Last, London
Wednesday 25th
Goldfrapp and FrYars - Royal Albert Hall, London
Personally I would be more interested in seeing how well frYars goes down at the Albert Hall. I'm sure it will be epic.
School Of Language - Ten Feet Tall, Cardiff
Furthest Drive Home - My Kyps, Poole
Thursday 26th
The Cave Singers - Faversham, Leeds
Lou Reed - Theatre Square, Nottingham
I just imagine this to be something really quite special, and Nottingham is a fantastic city. I heartily recommend the Robin Hood museum while you're there. Just imagine, a day full of musical pioneers and merry men, what more could you possibly want.
My Morning Jacket - Bristol Academy
The Cool Kids - King Tuts, Glasgow
Friday 27th
The Presets - Barfly, Brighton
Gig of the week
Errors and Munch Munch - Barden's Boudoir, London
Errors are really intriguing me at the moment. I can't wait to see them live, and I’m not sure you'll be able to catch them playing boudoirs for much longer (please note, I’m not sure if the venue is an actual boudoir).
Jorge Ben Jor - The Coronet Theatre, London
Sole, SJ Esau and Joe Dangerous - The Freebutt, Brighton
Saturday 28th
Fields, Sian Alice Group and Animals Talking - Proud Galleries, London
OK Tokyo - Chinnery's, London
Sunday 29th
Underground Railroad - Boogaloo, London
A1 People, Les Hommes Du Train and Overlap - Slipped Disco@93 Feet East, London
I'll be honest, I am not a massive fan of holding parties cos I tend to get a bit stressed about whether anyone will turn up, and it's especially hard when promoting the very thing that I have put my heart and soul into... hence I am loathe to organize my own parties these days and it has been some time since I last had one. But when Pure Groove approached me to put a joint party on I thought what the heck... they are a great record shop and I've had a good relationship with them for awhile – they like the same sort of music as me and their new shop in Farringdon is a great space for both an exhibition and some live music.
We got there early – me by bike and the interns by tube. Pure Groove have these amazing magnetic display boards that can be hung from the rafters pretty much anywhere you fancy – and the magnets are so damn strong that it takes a sharp and strong pair of nails to separate them. So we had a bit of fun arranging the Positive Future prints... with text alongside by each artist to explain what they have done.
the magnetic display boards
Before long the linen-clad boys from O Fracas turned up to do a soundcheck, and I got to thank them for making the mission down to do the party (turns out I did have to get somewhat involved in the preparation after all – always the way)
O Fracas
The drummer's parents were also in attendance and were grateful to hear that my dad would also be coming "so we won't be the only old people then!" I thought this a very impressive sign of dedication, but turns out that they were in London anyway (O Fracas came down from Leeds)
diamond Cindy, who helped me out in China for issue 06, and my dad
I also discovered that said drummer is studying art and has produced a very cool little zine that he gave me to take a look at – you can ask him for one yourself if you contact him via their website.
The start of a party is always the most painful part – in this instance a bunch of very young boys loitering around early for the Tokyo Police Club performance did not do much to put my mind at ease. Definitely not fans of Amelia's Magazine. This was also the first time that I have put such a general invite out over the internet so I didn't really have a clue who would turn up.
the fab Abi, one of my favourite ex-interns, now designing for a christian mag!
Gradually more girls started arriving, surely a good sign... and so there was a very strange mix by the time we lugged the Brahma beers upstairs (who's idea was it to empty the ice into the buckets in the cellar?!) and we were worried we might have to ID some of the younger creatures, but I think in the eventuality they stayed away from the freebies...
me with Hannah Perkins, who was an intern several years ago and is now a stylist
Matt and Sophie in the middle. Matt now designs for a famous tv magazine, and Sophie came to RUSSIA with me, but now works at a children's charity, which she loves
Brahma were very kind to have donated a few beers at the last minute (although I would have prefered an advert, hello, 100 pages of modern Brasilian culture?! what more could possibly fit better a cool Brasilian beer brand!) and they sure went down a treat, if a bit fast.
Charles and Tanya serving Brahma
We also had Alibi, a pretox drink that allegedly prevents a hangover if drunk before the booze. Well, I was very perky the next morning although I had a few beers to be sure, so maybe it works, but more importantly it was actually very tasty – a bit like Purdeys, full of yummy healthy ingredients, including milkthistle and artichoke – it was easily swigged. To be recommended.
One of the members of Tokyo Police Club played a heartfelt acoustic set of covers on his own, which wasn't quite what I was expecting but it seemed to go down well. I have to admit that by this point I was stuck outside with a considerable amount of my guests because the store was by then rammed. I was quite alarmed to realise that my dad was trapped inside because he's not good with loud music, but he was out like a greyhound from the traps as soon as the noise stopped. O Fracas were up next and they were a joy – really really ace, and lots of people commented to me on their way out how impressed they were. Check out the track they made for my USB stick; what all round lovely lads. Theoretical Girl also put in an appearance with two of the girls from her new band, all with very good eye make-up.
Theoretical Girl
Kotki Dwa were also there with daddy Kotki who doubles as their manager – both bands are featured in my new issue too, and wrote for the USB, so it was great to have them make it down.
Me with the Kotki boys
By this point lots and lots of people had arrived – my gang are always notorious for being fashionably late, and by jove they were... a significant amount of them managing to miss both bands, and the advance copies of the magazine too.
me with one of my best friends Craig
I only had 25 copies of the mag to sell with advance versions of the USB stick, and they swiftly went... it was really nice to meet a few avid fans of the mag, and at one point I swear there was a queue of people wanting to talk to me, mainly about getting work experience or contributing to the mag in some way. I actually felt quite overwhelmed by it all and couldn't quite remember everything that was being said to me – it's really flattering though and I am really grateful that people like what I do.
James and Matt, both ex interns. (Matt isn't really that small, honest)
Jenny, Charlotte and Lauren, who were interns on issue 09
the lovely Jojo, who was a joy to work with!
James really is very tall!
Lots of my old interns turned up which was ace – some I am now really good friends with, and I love getting a chance to catch up. They are all doing very well (and earning alot more than me, maybe I should be an intern of me and then leave and get a better job?!) and it makes me very proud to hear what they are up to. There were also lots of contributors there – lots of the illustrators featured in the exhibition of course, many of whom I met for the first time, and lots of others too, including Fred Butler, looking as amazing as usual (I see she is featured in Time Out as an up and coming jewelery designer: she was wearing a fabulous necklace customised with a fuzzy felt bird that first appeared in one of my issues – my dad was transfixed by it!)
Fred is looking fab in the orange!
Illustrator Andy Macgregor – one of my cohorts on the Illustrators in Nature weekend and erstwhile designer of the Pure Groove calendar – was there with James Hatt who designed the treehouse. Oxana Korsun, who is a wicked stylist was also there, looking fab as ever.
Oxana outside Pure Groove
Annie Collinge and Louise Harries of Prick Your Finger, who put together the ace How To Make A Crochet Moustache were there, but I am not sure they actually got to meet each other.
Annie Collinge on the left
me in a fab fluffy jumper with the lovely Louise
Julia Kennedy made an appearance; she shot the fashion shoot in this issue that was covered in that hideous Class Of 2008, we're-a-bunch-of-posh-kids-largin-it programme shown on the BBC recently, because the model was Portia, one of the featured kids. The shoot looks amazing though and also comes with a message, so don't be fooled by the vacuousness of the coverage (AND they called the mag Amelia Magazine. Don't they know that is a run of the mill women's mag in Sweden?!)
reading issue 09
By 8.30pm it was time to leave and head to the pub around the corner – this was only ever destined to be a short early evening event, but maybe I should pull all the stops out next time, it will be my 10th issue after all. Everyone seemed to enjoy themselves though... Any sponsors interested?!
Sharp, observational lyrics and experimental timings have always been the strong point of Hot Club de Paris’ music, and it’s safe to say they haven’t changed the formula. Tracks vary from the slow paced ‘We Played Ourselves (Ain't Nobody Else's Fault)’, which has beautiful swaying guitar loops, to tracks like that are brasher, with gruff yells that give some of their songs sound like old sea shanties.
Their math rock style indie pop always seemed to be ever so slightly smarmy, but I think this new album has eradicated what i felt was their only minor fault. All of the comedic asides that were a major part of their last album have been limited, constrained and have therefore become a more effective aspect of their music. In fact I really enjoy the more heartfelt songs on the album like ‘Let Go Of Everything’ and ‘The Dice Just Wasn’t Loaded From The Start’. I don’t know whether this is a sign of the band maturing since the last album, but I think it’s a sign that anything they do in the future could be even better, and that they should be a band that will be around for quite a while yet.
The album doesn’t really differ too much from their first album ‘Drop It Till It Pops’, but this isn’t necessarily a bad thing. Most bands who try and make their second album different fail abysmally and produce something that just dissapoints there fan base. So for once, i think their lack of innovation is commendable. Hot Club De Paris have a sound that you could pick out from a mile off anyway, they don’t need to experiment.
Varying from one side of your new wave record collection to the other, Carsick Cars fuse the polar opposites within art rock. Tracks set off with the presence and gusto of something set to be in your head all day, but as the guitars rise there is a sense of a liars-esque, strung out, Sonic Youth vibe that comes through very strongly. This escalates until the barrage of guitar feedback and vocals is so gripping you find yourself needing to crank it up just that ever-increasing notch.
I was introduced to them by Amelia, who discovered them during the production of issue 6 of the magazine. After first meeting them for an interview during her trip to Beijing they were again reunited at ATP festival earlier this year. To see them release their debut album, as well as play around the world, has therefore been quite a personal experience.
The undeniable stand out track on the album for me has to be ‘Zhong Nan Hai’. The rolling jangle of guitar and sporadic Theremin style interruptions sit perfectly alongside the fantastically dulcet repetition of ’Zhong Nah Hai’ to create a song that personifies this band. It also has a fantastic interlude of soundscape feedback that sends the listener into dismay, only to slowly be introduced back into some type of structure by the recurrence of the bass line.
Perhaps it was a little naïve of me to single that track out, as the entire album works best as an entire body of work. It’s quite difficult to listen to just one or two tracks, as they all seem to lead on from one another. They really do fly the flag for Singapore’s burgeoning music scene, and if I have to sum up this album I’d say it’s the most entertaining album I’ve heard since ‘Mirrored’ by Battles.
Photo: Matt Bramford
Laura Marling, you say? Count me in. In a church? Lovely, sign me up! On Friday 13th? Oh, go on then!
I couldn't quite believe my ears when I heard about the fascinating Miss Marling's church tour - it seemed too good to be true. Arriving a little late (as almost every Amelia blogger seems too) wasn't a massive problem this time, and I found a friend of mine waving from a very subdude queue leading to the grand church entrance in the heart of London. The atendees filed in calmly and quietly, with none of the usual teenage, angst-ridden pushing and shoving. People made their way slowly to pews, even letting others pass to get in first. What on Earth was happening?
Two support bands raced through a collection of lively folk-pop tracks - Mumford & Sons and Melody & Me. Both bands are worth a mention and had been chosen to suit perfectly: it comes as no surprise, then, to learn that the first - the more mature and superior of the support acts - form together to become Marling's band in Act II.
When it was finally Laura's turn to grace us with her presence, the sun had set outside and an array of imposing church candles and tealights were lit in order to modify the ambience. The congregation shuffled between pews and appeared behind pillars to catch a better glimpse of the diminutive folk sensation. When she appeared at the altar, sporting a short crop, a t-shirt with a hole in and battered pumps and carrying an acoustic guitar far bigger than her, there wasn't a sound to be heard, except for the odd creak of old wood.
Tonight is the official launch party for issue 09 of Amelia's Magazine which is to be held at the brand spanking new PURE GROOVES SHOP IN FARRINGDON! 6-7 West Smithfield, London EC1A 9JX
In order to show her support for upcoming artists, Amelia will be offering a sneak preview of the illustrations showcased in this issue. There is also the opportunity to order limited edition art prints at a discounted price!
So come along and help us celebrate, view some great art, listen to the sounds of TOKYO POLICE CLUB and O FRACAS who, I must add, will be playing live throughout the night!
There can't possibly be a better way to spend an evening than in the company of the Amelia's Magazine crew x
A Positive Future - by Amelia
When I was little I was obsessed with a book called Future Cities (The World of the Future) published in 1979. Looking back at the predictions therein it is interesting to see what they got right, even if the graphics on the home computers that would certainly fill every home feature cute Pacman styles instead of slick Mac graphics. Alongside more fantastical ideas such as space cities and towns on the moon, (where the 2020 Olympics were anticipated to be held!) the book also foresaw two very different possible futures – one where green cities support locally sustainable populations not disimilar to those towns envisaged by today’s modern Transition Towns movement, versus the polluted hellholes of a “dying world”. And for me the big question now is which way are we heading?
This book really fired my imagination as a child, something which I remember vividly to this day. Tempted as always onto Google to do a bit of research, I found this comment, from someone on Amazon: “I read the Chinese version of this book when I was a kid. For a children’s book, it’s surprisingly insightful. It’s also interesting to see how some of the preditions in the book have come true. The illustrations are great too. I find this book pretty inspiring even for an adult and I highly recommend it especially if you like sci-fi.” So it is clearly not just me.
We are intrinsically drawn to aesthetic beauty and art and creativity in all their forms are essential to human happiness... I love beauty – it is the reason why I produce my magazine and why people want to look at it. And this is where the role of illustrators and designers comes in – we could be the most amazing force for instigating change, because done well design can become all invasive and inspiring – a stimulus for a better way of life, where family, friendship, freedom, community and shared experiences are prized more highly than the possession of any kind of material goods.
Most communication about ecologically sound practices and speculations of what we need to do to alter the future of earth focus either on alarmist doomsday scenarios or the nebulous idea that small actions can make a big difference and technology will take care of the rest... but humans need experiences that stimulate positive thoughts to avoid becoming paralysed with fear; visions of a better future, a future where people have come to their own conclusions that to live sustainably in communities is actually a much better and more fulfilling way to live.
Of course noone can really know what our lives will be like in the next decade or two, but one thing is certain, things will be different. They have to be. What we desperately need are visions of a Positive Future... for it is ultimately in our hands to decide whether our future cities look like the “polluted cities of a dying world” or a “garden cities on a cared-for planet.” All this needs to happen soon because a shift in global consciousness needs to come before the double tipping points of climate change and peak oil send us into a spiral of unstoppable chaos, so let’s fire our collective imaginations and dream our way into the reality of a better world...
an original version of the article can be found here:
Performances kick off with No Lay, who is apparently the best female MC in the grime scene. This is the grime scene that was pronounced dead not so long ago, and I have to say I agree. It was entertaining to a point, but where is the fun in shouting “put your hands up” over and over to a non-responsive crowd.
The DJ then proceeded to generate a definitive party vibe between bands, busting out plenty of Modular style house and electronica. All of which put the crowd in a frame of mind any band would welcome, especially one that practically specializes in sleazed out party tunes.
This evening however, the bumbleez's attempts at sleaze sometimes seem to drift unnecessarily over into the nearly shambolic. With electronic beats pouring out the speakers there seemed little point in a drum kit, but it was used nonetheless. I couldn’t help but think that more use of it would have made their whole sound sit together better. If anything tonight’s performance highlighted the production talents. They certainly have the songs to keep a dance floor going when on record; I just wish this came across more in their live show.
The monthly helping of Dance Magic Dance at Shoreditch’s Old Blue Last was tonight serving up a distinctly female-fronted indie dish. First up were Kids Love Lies with their agreeably frenetic post-punk sound.
We were then treated to Betty and the Werewolves, who gave us bouncy garage-fuelled stompers with lyrics guaranteed to put a smile on your face.
Main course tonight was the all-girl group Mentalists. Taking to the stage in outfits that a cynic might have deemed as a touch Bangles-y, they mix a New Wave edge with power-pop sensibilities, led by singer Kim E. Leon’s powerful vocals, and they launched into a blistering set. With a spot at Glasto in a couple of weeks, they are bound to go down a storm. Watch out, Worthy Farm, these girls rock!
This week in June
Monday 16th
Deerhunter and High Places - Brudenell Social Club, Leeds
Coldplay - Brixton Academy, London
Theoretical Girl and Hathcam Social - The Social, London
Trouble Over Tokyo - 93 Feet East, London
Tuesday 17th
The Twilight Sad - London Cargo
Bumblebeez - Hoxton Bar & Grill, London
Liars and Deerhunter - Koko, London
Le Tetsuo, Kids Love Lies and Joy of Sex - Buffalo Bar, London
Wednesday 18th
Amelia's Magazine Issue 9 Launch Party w/Tokyo Police Club - Puregroove Records, London
Thieves Like Us and Midnight Juggernaughts - ICA, London
XX Teens, Attic Lights and Trash Fashion - The Fly, London
Thursday 19th
Ghostwood - Proud Galleries, London
The Twilight Sad, Her Name Is Calla and Fran Rodgers - Brudenell Social Club, Leeds
Yazoo - Hammersmith Apollo, London
Friday 20th
Goose, Joe and Will Ask? - Koko, London
The Chap, Gable - Puregroove Records, London
Vessels - Bar 1:22, Huddersfield
Deerhunter and High PLaces - Barfly, Brighton
Saturday 21st
The Week That Was - Brudenell Social Club, Leeds
I Was A Cub Scout - Phoenix, Exeter
Sunday 22nd
My Bloody Valentine - Roundhouse, London
Franz Ferdinand - The Adelphi, Hull
Goldfrapp and Fryars - Symphony Hall, Birmingham
A short stroll to the venue is a very welcome change, and seemed to pass quickly due to my excitement over tonight’s bill. Golden Silvers are as Henry Dartnall from The Young Knives later states, “Very up and coming and hip.” They’re also one of my personal favorites at the moment. Their single ‘Arrows Of Eros’, which is yet to drop on Young & Lost Club, encompasses Morrissey on a shoestring vocals, jabbing, squeaky keys and Talking Heads era funk – all with a twist of beguiling originality.
The Young Knives take their place on stage with that straight from work to the office Christmas party look that they do so well. They really do know how to sport a fine pair of M&S slacks.
The first song to get the crowd hopping is the exemplary ‘Terra Firma’. I’ve never understood the meaning behind this song. I mean obviously it’s about fake rabbits, real snakes and the ground, but I’m sure it probably also has some deep metaphorical meaning which is way over my head. To me though, it just makes for a brilliant chorus, and you can’t help but get caught up in the raucousness of it all.
Between songs the most hilarious and delightfully coarse banter is exchanged between Henry and The House of Lords (I swear that never gets old). This finally escalated to point where the House of Lords shouted out to the sound guy, “Can you turn my vocals down, and turn up the voices telling me to kill him”.
‘Weekends and Bleak Days’ insights drunken, two pints aloft, shouting of “Hot summer, what a bummer” from some members of the audience. I think it’s always a delight to see stuff like this happen, in any other situation this act just wouldn’t be acceptable. I suppose it could only happen at what it says on wikipedia is “the 'rarest gig' of their career”. I know I shall treasure it like some sort of Fabergé egg of a memory.
The brand new puregroove store opened just over a week ago, and it’s fantastic. They’ve ditched the endless aisles and racks that you usually have to sift through and now only stock the 100 CDs and vinyl that you really want. You don’t expect to find something innovative that isn’t music when you walk into a record store, but this truly is.
Photos: Lucy Johnston
It’s also where we're hosting the launch party for issue 9 of Amelia’s on the 18th June, which is only next week!
The 100 consist of all kinds of special editions with signatures or posters or other great stuff attached. It also links up with their website, and you can even go in and listen to tracks on some type of special computery thing.
As well as being a shop, the space also works as a venue. They have lots of in store gigs coming up which are definitely worth checking out, as they’re all totally free. There are some really great people coming up like Golden Silvers, Late of the Pier, Bumblebeez and O Children, to name just a few.
The line-up tonight does appear a little bit thrown together, as all the bands don’t really lead on from one another. What Would Jesus Drive kick off the night’s proceedings. I’ve yet to decide on how feel about bands who get their names from bumper stickers, but judging a band by their favored car trinkets should always be avoided. This duo and their drum machine manage to put on a quirky live show of American tinged indie rock that seems to entertain this crowd at least.
Next on the bill is Polka Party, who offer a perfectly enjoyable bunch of pop songs with more southern drawl and dandy temperament than you could shake a stick at. Their latest single ‘Japanese Haircut’ is almost perfect indie disco fodder and it certainly had one girl at the front pulling Agyness Dean style pouts for the camera. I think this must be how indie music is rated nowadays.
Dananananaykroyd stole the show quite easily, though it’s not their style to do things effortlessly. The energy from their live show was infectious, and I’d have to say the catalyst for this was their duo of drummers. Facing opposite ways they dual perpetually, and the effect is almost hypnotic. Thankfully there is a large distraction from all the fun drumming in the form of the ever so brash lead singer. His microphone seemed to be broken for the majority of the set, but he truly didn’t care, and neither did I. He was shouting so loud that you could get the jist of what he might sound like if the microphone was working, and his flailing was for more interesting than any type of lyrics. I’d like to think of him as a lead flailer than a lead singer.
I’d seen the Amarylas a couple of weeks ago at an Oxjam night at Brixton’s Windmill and had been pleasantly surprised. Heading over to Islington’s hallowed Hope & Anchor, it was time to reacquaint myself with their psychedelia infused sound.
Tonight they were the opening act on the bill, so the venue was still pretty quiet, which was a shame. A guitar based four-piece, led by mop haired singer Luke Segura, they blend that classic, slightly psychedelic pop whimsy of Syd Barrett or Ogden’s Nut Gone Flake-era Small Faces with a Clash inspired New Wave edge. Basically, what Pete Doherty might sound like if he didn’t have quite so many, er, distractions!
For all of you still mourning the passing of the Libertines, make sure you check out the Amarylas when they play a venue near you.
JUNE
Wednesday 11th
HEALTH at Korova, Liverpool
Emmy the Great, Diane Cluck, younghusband at Cargo, London
White Williams at Puregroove Records, London
The Dodos at Night and Day Cafe, Manchester
I Was A Cub Scout at Wedgewood Rooms, Portsmouth
Semifinalists at Amersham Arms, London
Beach House, Fleet Foxes at ULU, London
Thursday 12th
Gnarls Barkley at Bush Hall, London
The Dodos at Crawdaddy, Dubin
O Children, S.C.U.M. at Puregroove Records, London
Friday 13th
Little Boots at Club Pony w/Midfield General, Sheffield
Sportsday Megaphone at Club NME @ Sin City, Swansea
Wild Beasts at Cross Keys, London
Saturday 14th
Deerhunter, High Places at Dublin Vicar Street
Leonard Cohen at Irish Museum Of Modern Art, Dublin
Meltdown - Massive Attack, Fuck Buttons at Royal Festival Hall, London
Sportsday Megaphone at Club NME at Welly Club, Hull
Sunday 15th
The Twilight Sad at Edinburgh Bongo Club
The Sugars at Fleece, Bristol
The member of Black Ghosts’ solo project Lord Skywave is steeped in biographical influences and sways into the worlds of pop, dub reggae and avant-garde electronica. Then again, when you look at Simon Lord’s musical career you can see why his solo project is such a multi-genre mish mash.
Perhaps the most heartwarming part of this album is his extensive use of his families musical past. He samples the music his grandmother used to make so many moons ago. After a summer of visiting his grandfather’s house and going through his collection of old reel-to-reel tape recordings and 78's, he had an entire archive of her fantastically composed sweep off-your-feet instrumentals to work with.
As well as this, all the electronic bass sounds on the album were produced using the Lord Skywave synthesizer which was built by Simon’s dad in the 70's, and only 10 were made. Which I find hard to believe with such a tantalizing name, surely there must have been more demand!
After an apocalyptic yet bizarrely regional introduction where "sky goes black and clouds collide, the thunder claps and lightening strikes", the debut single from Barringtone erupts into a series of pop contortions, each one more exciting than the last, like the kid who never said a word at school suddenly tap dancing out of control in assembly. A little Devo here, maybe a little Sparks - analogue synths brush against upbeat riffage. It's a tad silly, but is that really a bad thing?
Frontman Barry Dobbin's previous band, Clor, made simularly sharp music yet ended up next to Test Icicles in a box marked "disbanded way too early". Snake In The Grass, produced by Jas Shaw - other half of Simian Mobile Disco, feels like a welcome continuation, a vessel for this particular child-with-a-felt-tip-pen imagination.