Thursday, 29 July 2010
The Films: Oh, Scorpio
I hasten to judge too quickly, but first-listen impressions scream that this is no Don’t Dance Rattlesnake. The retro-pop boys’ sophomore contribution lacks almost all of the intense sexual tension, frenzy and passion that crackled to such an electrifying degree on debut album tracks such as ‘Call It Off’ and ‘Strange Hands’. ‘Holiday’ on their latest record comes closest to reigniting the faintly glowing embers of excitement yet still falls short of the mark whilst ‘Pour It Out’ is a boring, monotonous track with only about three chord changes. The Films have yet to master slower songs as lead singer Michael Trent’s voice begins to severely grate after all of thirty seconds. That said, I raved about the crazed tales of jealousy and betrayal that they unleashed upon my seventeen year old self back in 2007 and, therefore, suspect that my harsh criticism stems primarily from disappointment. I confess to having hoped that The Films would succeed in refuelling some of the thrill I had felt upon listening to them as a teenager. I refuse to blame myself for this; I'm twenteen not twenty after all.
Wednesday, 28 July 2010
Ellie Goulding Live Chat
I asked Ellie what she would choose (if she had to had to had to) as her desert island disc. Her response was both speedy and firm. 'I would definitely take the Bon Iver record.' I suddenly like her so much more...?!
Wednesday, 21 July 2010
'And may you stay, forever young.....'
Imagine a typical 21st century festival scene. Now, minus the gangs of overly confident 15 year old boys and pretentious Kate Moss wannabes, minus the exploding gas canisters and tent fires, minus the money-raking branding and sponsorship and throw in a crowd of people who are genuinely there for the music. What you're left with is an image closely resembling Kent’s Hop Farm Festival, hanging above your head in a wonderfully fluffy white cloud.
Later referred to as ‘Her Majesty’ by current rumoured beau Marcus Mumford (do we really need another reason to envy her?), 20 year old Laura Marling enchanted the crowd with her haunting voice and deceptively fragile stage presence. A naturally beautiful figurehead for the modern folk movement, she may well have reminded older fans of a young Joan Baez. Marling’s emotionally complex yet poignantly simple songwriting disarmed her crowd with its honesty, with tracks such as 'Ghosts' and 'Blackberry Stone' leaving them in no doubt as to why she is currently music critics’ most treasured little darling.
Whilst queuing for a healthy dose of locally produced booze, the packed big-top tent caught my ears' attention as new kid on the block Alan Pownall was playing some of his Jack Johnson style guitar pop. The cheery 'Life Worth Living' and chilled out, summery 'Chasing Time' are hotly-tipped songs of success from first album ‘True Love Stories’ released earlier this week. Meanwhile Seasick Steve, the loveable bloke that everyone wants as their grandpa, was clearly revelling in performing to a main stage audience, playing original instruments innovatively created by himself.
Hailing Hop Farm as boasting the best line-up of the summer, Marcus Mumford and his band of bass and banjo yielding ‘sons’ drove the crowd to a palpably high level of folk-induced ecstasy with their rousing rhythms and harmonies. A noticeable difference from other more popular festivals was that the Hop Farm crowd were not ‘too cool’ to jig around like idiots with fellow fans of all ages, a difference which was both refreshing, and fun. The lovely London lads satisfied their audience’s ravenous musical appetite with all the hits from debut album ‘Sigh No More’, as well as unleashing some exciting new material. 'Lover of the Light' and 'Nothing Is Written', previously tried and tested at their Newcastle gig back in March, were well received as the crowd vocally stamped their seal of approval all over them with unanimously crazed applause.
Long time crowd-pleasing king of The Kinks, Ray Davies, played an energetic set of classics including the once controversial 'Lola', and the nostalgic 'Days', which Marcus Mumford was unknowingly caught on camera singing along to, a wistful look in his eyes. Davies stubbornly refused to leave the stage several times, proving a force to be reckoned with, an army of thousands well and truly on his side. A noticeable exclusion from his repertoire was 'Waterloo Sunset', which, as the sun was indeed setting, would have proved atmospherically apt. Nevertheless, the onetime frontman served as a prime example for the philosophy that it’s not the years in your life that count, but the life in your years.
Introduced as the ‘poet laureate’ of the music world, Bob Dylan was received to the stage as the legend he undeniably is. Idolised by young and old alike, he is often criticised for his lack of audience address, yet with a lyrical ability as genius as his, is small talk really necessary? Dylan has never been afraid to step back and let his music steal the limelight. A stand-out moment, as Dylan closed his two hour set with the poignant 'Forever Young', came when I looked to my right to see a middle-aged couple romantically swaying together, barefoot, deeply involved in the music, and clearly very much in love. Halfway through the song, the woman started crying. It struck me that Dylan had most probably formed the soundtrack to her youth and that this bittersweet song in particular was reminiscent of her past. She was looking up at the stage at a man whom, like herself, had inevitably grown older. In what will have been his only UK performance this year, it was a privilege to have breathed the same Kentish air as such an icon of folk music.
Luckily the party continued once the arena music had finished, with the festival’s Camp Acoustic stage showcasing a handful of aspiring young artists, several of whom demonstrated real potential as future main stage acts. Boyishly awkward Andy Robinson started his set somewhat hesitantly yet by the end had roped in a sizeable crowd with his bluesy Tom Waits influenced sound, whilst the charismatic Marcus Bonfanti stole the show with society-slating tracks such as the gritty 'Give Me Your Cash'.
By Sunday lunch-time I had left my Paddock Wood paradise behind, taking home sublime memories of a weekend of perfectly encapsulated hippy-style bliss, complete with a rather dishevelled flowery garland. Peace and love, I'll be seeing you next year.
Bob Dylan playing Hop Farm Festival, 03/07/10.
Later referred to as ‘Her Majesty’ by current rumoured beau Marcus Mumford (do we really need another reason to envy her?), 20 year old Laura Marling enchanted the crowd with her haunting voice and deceptively fragile stage presence. A naturally beautiful figurehead for the modern folk movement, she may well have reminded older fans of a young Joan Baez. Marling’s emotionally complex yet poignantly simple songwriting disarmed her crowd with its honesty, with tracks such as 'Ghosts' and 'Blackberry Stone' leaving them in no doubt as to why she is currently music critics’ most treasured little darling.
Whilst queuing for a healthy dose of locally produced booze, the packed big-top tent caught my ears' attention as new kid on the block Alan Pownall was playing some of his Jack Johnson style guitar pop. The cheery 'Life Worth Living' and chilled out, summery 'Chasing Time' are hotly-tipped songs of success from first album ‘True Love Stories’ released earlier this week. Meanwhile Seasick Steve, the loveable bloke that everyone wants as their grandpa, was clearly revelling in performing to a main stage audience, playing original instruments innovatively created by himself.
Hailing Hop Farm as boasting the best line-up of the summer, Marcus Mumford and his band of bass and banjo yielding ‘sons’ drove the crowd to a palpably high level of folk-induced ecstasy with their rousing rhythms and harmonies. A noticeable difference from other more popular festivals was that the Hop Farm crowd were not ‘too cool’ to jig around like idiots with fellow fans of all ages, a difference which was both refreshing, and fun. The lovely London lads satisfied their audience’s ravenous musical appetite with all the hits from debut album ‘Sigh No More’, as well as unleashing some exciting new material. 'Lover of the Light' and 'Nothing Is Written', previously tried and tested at their Newcastle gig back in March, were well received as the crowd vocally stamped their seal of approval all over them with unanimously crazed applause.
Long time crowd-pleasing king of The Kinks, Ray Davies, played an energetic set of classics including the once controversial 'Lola', and the nostalgic 'Days', which Marcus Mumford was unknowingly caught on camera singing along to, a wistful look in his eyes. Davies stubbornly refused to leave the stage several times, proving a force to be reckoned with, an army of thousands well and truly on his side. A noticeable exclusion from his repertoire was 'Waterloo Sunset', which, as the sun was indeed setting, would have proved atmospherically apt. Nevertheless, the onetime frontman served as a prime example for the philosophy that it’s not the years in your life that count, but the life in your years.
Introduced as the ‘poet laureate’ of the music world, Bob Dylan was received to the stage as the legend he undeniably is. Idolised by young and old alike, he is often criticised for his lack of audience address, yet with a lyrical ability as genius as his, is small talk really necessary? Dylan has never been afraid to step back and let his music steal the limelight. A stand-out moment, as Dylan closed his two hour set with the poignant 'Forever Young', came when I looked to my right to see a middle-aged couple romantically swaying together, barefoot, deeply involved in the music, and clearly very much in love. Halfway through the song, the woman started crying. It struck me that Dylan had most probably formed the soundtrack to her youth and that this bittersweet song in particular was reminiscent of her past. She was looking up at the stage at a man whom, like herself, had inevitably grown older. In what will have been his only UK performance this year, it was a privilege to have breathed the same Kentish air as such an icon of folk music.
Luckily the party continued once the arena music had finished, with the festival’s Camp Acoustic stage showcasing a handful of aspiring young artists, several of whom demonstrated real potential as future main stage acts. Boyishly awkward Andy Robinson started his set somewhat hesitantly yet by the end had roped in a sizeable crowd with his bluesy Tom Waits influenced sound, whilst the charismatic Marcus Bonfanti stole the show with society-slating tracks such as the gritty 'Give Me Your Cash'.
By Sunday lunch-time I had left my Paddock Wood paradise behind, taking home sublime memories of a weekend of perfectly encapsulated hippy-style bliss, complete with a rather dishevelled flowery garland. Peace and love, I'll be seeing you next year.
Bob Dylan playing Hop Farm Festival, 03/07/10.
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