Howler: America Give Up

Opening firecracker 'Beach Sluts'(ahem, yes), signals promise for this fresh-faced quartet with its upbeat guitar-laden garage rock. Unfortunately what follows, at least in parts, is likely to disappoint.

Predictably awarded third place by NME for the title of Best New Band of 2011, 19-year old Jordan Gatesmith and his indie-pop wolfpack recently supported The Vaccines on tour. Like the latter, the majority of songs on Howler’s debut last for less than three minutes, reflecting their preference for the short and snappy.

'Wailing (Making Out)' epitomises scenester “cool” and is sure to guarantee them a spot at next summer’s Underage Festival, while 'Back Of Your Neck' sees the band aspire to the hazy, effortless vibe radiated by The Strokes on 2001’s Is This It. Regrettably, Howler lack the swagger of the influential New Yorkers and as a result have produced a rather diluted version of the authentic rock’n’roll vision.

America Give Up's tired formula, while essentially harmless fun, is not destined to lead to longevity for Howler, having been dragged up infinite times already by the likes of The Drums, The Films and innumerable other ‘The’ bands. Why this ambitious four-piece would choose to name both their first EP and a track on this record, 'This One’s Different', is bemusing and quite frankly, a little bit awkward.

America Give Up is released January 16th via Rough Trade Records.

Originally published by Palatinate: http://www.palatinate.org.uk/?p=18615

Secret 7" Vinyl Competition in aid of the Teenage Cancer Trust

I've designed a vinyl cover for Ben Howard's 'Black Flies' as my contribution to the awesome Secret 7" project in aid of the Teenage Cancer Trust. A range of artists including Florence and the Machine, Noah and the Whale, The Cure and Bombay Bicycle Club are supporting this cause. The artists will choose a winner, but a variety of other artwork will also be displayed in an exhibition in London and sold for the charity.

If you like my cover design, or are just feeling kindly and wanting to take pity on my relative lack of artistic ability, please click 'Support'. You'll then be sent a message once the competition deadline arrives so that you can vote.

It'll definitely be worth checking out everyone else's entries once the competition closes as I imagine they'll be some brilliant contributions from actual artists...

The link to support my artwork submission is:  http://www.talenthouse.com/creativeinvites/preview/ae89f5c6965f365e86298fa74302949c/376

Counting Down To Christmas

So it’s Christmas time again. The tree’s up, presents are being wrapped, and the boughs are decked with holly. But what about that all-important festive soundtrack?

10. "White Winter Hymnal" by Fleet Foxes

Birdy gives this track a delicate angelic touch on her cover, but Fleet Foxes’ original has just that bit more log fire warmth about it. Thick instrumental texture and layered harmonies make White Winter Hymnal the perfect auditory overcoat for a chilly Boxing Day walk.

9. "Dance of the Sugar Plum Fairy" by Tchaikovsky

Ah, The Nutcracker with its gingerbread soldiers, candy canes and dancing mice. Popular with ballet companies especially during the Christmas period, Tchaikovsky’s accompanying score is internationally famous. There are even a few dubstep remixes of The Dance of the Sugar Plum Fairy lurking somewhat ominously around YouTube.

8. "Run Rudolph Run" by Chuck Berry

It’s time to whip out the jitterbug and get “reeling like a merry-go-round” for (the appropriately-named) Berry’s 50s festive number. Not enough people dance like they did back then, so grab an unsuspecting partner at the next party and live your grandparents’ youth for them again.

7. "Calgary" by Bon Iver

Whether he wants to or not, it’s going to be hard for Justin Vernon to shake off the “heartbroken solitary songwriter in a Wisconsin cabin” label as a result of 2008’s haunting For Emma, Forever Ago. Calgary, however, from this year’s self-titled Bon Iver, has a subtly optimistic undertone suggestive of a brighter outlook. It’s the perfect accompaniment for that annual nostalgic reflection on the past year before welcoming in 2012.

6. "Do They Know It’s Christmas?" by Band Aid

The second highest selling single in UK history (after Elton John’s Candle in the Wind), Bob Geldof and Midge Ure’s charity supergroup first shot to the number one slot in 1984. It’s worth listening to the Live Aid 1985 version if only to hear just how loudly the crowd sing Bono’s famously satirical line, “Well tonight thank God it’s them instead of you”.

5. "Walking in the Air" by Aled Jones

The theme tune from the 1982 animated film, The Snowman. A young boy befriends his snowman when it magically comes to life, before the pair fly through the air to meet Santa, his reindeer and the other snowmen. Beware the rather traumatic ending though as, without wanting to spoil the plot, the snowman melts. Screened on TV every year, this story is a staple in every child’s Christmas diet. At least it certainly should be.

4. "Stop the Cavalry" by Jona Lewie

Lewie’s brass band Christmas hit was apparently never intended as a festive tune, but as an anti-war protest song. Perhaps he should have re-considered the trumpet-call opening, bouncing melody and lyrics such as “Wish I was at home for Christmas” that make this one of the most requested tracks at festive parties. It’s particularly fun to bob up and down to with a circle of friends when inebriated with mulled wine, naturally.

3. "2000 Miles" by The Pretenders

Although less well-known as a Christmas song, this record conjures delightful images of snow falling ethereally amidst pine trees. Imagine yourself riding in a sleigh through the woods, bells ringing as pale sunlight glitters through the frost-jewelled branches and you’re on the right track. A wintry love song about missing that special someone at Christmas (he’s 2000 miles away in case you were wondering).

2. "All I Want For Christmas" by Mariah Carey

Upbeat and cheery, Miss Carey can rest safe in the knowledge that her 1994 Christmas contribution will always hold a secure place in the festive pop canon. It’s the ultimate karaoke ditty of choice and is sung at the end of Love Actually by the American schoolgirl that 11-year-old Sam is in love with. What more could you want?

1. "Fairytale of New York" by The Pogues & Kirsty MacColl

Alcoholism, drug addiction and bickering do not form the usual trinity associated with Christmas. Yet the bittersweet emotion behind Shane and Kirsty’s slanging match is strangely and inescapably heart-warming. Their Christmas Eve reminiscences about past holidays spent together and the one-time hopes of their youth spark poignant memories for everyone. For an alternative take on this darkly wonderful 1987 classic, hunt out covers by Matthew & the Atlas and Maverick Sabre.

Originally published by The Harker: http://www.theharker.com/2011/12/22/music-the-top-10-christmas-tunes/#more-2278

Marcus Foster: No Genius Without Some Touch Of Madness

Despite being back on the beers in his dressing room, 24-year old Marcus Foster is clearly still recovering, in more ways than one, from the escapades of the night before. “I went out in Newcastle last night. There was one item of clothing for every twenty girls. That’s a pretty good ratio! Only joking, it was terrifying. I learnt a lot about myself.”

Foster’s gig at The Cluny 2 had originally been scheduled for October but had to be re-arranged after he was invited to support American sister duo The Pierces on tour. Allison and Catherine hail from New York and are both accomplished ballerinas; he was always going to say yes. Having finally started his own headline tour only days before his interview with Palatinate, Marcus’ excitement was both infectious and palpable. “It’s been great so far; we’ve done some shows in Scotland but it’s all only just started really. Edinburgh was good fun, as was Glasgow.”

There’s no pause button in Foster’s world, especially as his talents do not lie solely in the musical sphere. He recently completed an MA Sculpture degree at The Royal College of Art and has already had his work exhibited in the prestigious Saatchi Gallery. “I’ve got an art studio in London so next year I want to write more songs but also make some artworks. I’m nearly halfway through writing tracks for the next album. I want to bring it out next year and keep everything going. We’re going to take Nameless Path  to America for a tour as well as it's still yet to be properly released over there."

A Londoner at heart, Foster nevertheless holds his Americans fans across the pond in high esteem. “I think they ‘get’ the kind of music that I play. It depends on what state you’re in I guess. U.S state I mean! I think they’re willing to let go a lot more and just have a good time, whereas us Brits are a bit more reserved.”

Marcus enjoyed playing Beatles songs on his grandmother’s piano which he learnt to play aged seven, but music was something that he primarily discovered for himself. “I became really hungry and would listen to a lot of old records. I love Tom Waits, he’s one of my heroes, and I’d have loved to have met Ray Charles or Sister Rosetta Tharpe. At the moment I’m listening to this really weird psychedelic Peruvian music that a friend introduced me to. It’s nuts but I love it. I’d also recommend Nathaniel Rateliff, Foy Vance, and a band called Kill It Kid.”

Questioned on his preference between intimate gigs and larger summer festivals, Foster reveals, “I actually love the change of dynamic between the two. Tonight I’m doing a stripped-down set; I’ve got a few different guitars and I’m just going to play my songs. We’ve got Emily and the Woods supporting and she’s actually my old guitar teacher’s daughter!”For Foster, the process of writing new music cannot be manufactured or forced. “Songs are quite hard to “catch”. I write a lot in the North of France at a little farm place that I go to with my family. Certain places trigger certain ideas I guess. Sometimes I do sit down to try and write some stuff but usually I’ll just jot down ideas in little books and see where they take me.”

Marcus started performing publicly from a young age at local blues nights organised by his mother’s friend. Playing songs that he’d penned himself, in his view, “That’s the best way to learn. At the time a lot of the songs are going to be terrible but there’ll be a few moments of great stuff. You’ve got to push that, keep it going and put yourself out there.”

With London as his musical playground, Foster immersed himself in the open-mic night scene to get his songs heard. He offered Palatinate some advice to pass on to aspiring musicians in the Durham bubble: “London’s such a crazy place and as a result, it’s easy to get lost. I was just playing to my flat for a long time before I started trying to build up a little following of people who liked my stuff. I guess the advantage of living in a small town is that if you set something up and do something new, you can create a more noticeable buzz of excitement and build from there. Find a small pub or bar and put on a music night. The best thing to do is to play live in front of people, even if it’s just acoustically outside somebody’s house.”

Half an hour later and it’s show-time. Rarely does an artist possess the ability to mesmerise that Marcus Foster exhibits on stage. With all crowd murmurings silenced at the first quiverings of "Tumble Down", his spontaneous yelps and howls on the ballsy "Shadows of the City" and bluesy "Rushes and Reeds" confirm once again that there is no genius without some touch of madness.

Originally published by Palatinate: http://www.palatinate.org.uk/?p=18554

Dry the River: Weights & Measures EP

Fronted by medical student Peter Liddle, East London five-piece Dry the River were never destined to be a simplistic musical project. In replace of minimalist chord patterns and generic indie-pop hooks, we are presented with complex layered harmonies that crescendo to anthemic choruses.

The desperately impassioned "Weights & Measures" from which the EP takes its name, carries with it a hymnal solemnity. Simultaneously depressing and curiously cathartic, there is an undeniable touch of Bon Iver in the subtle darkness of lyrics such as, ‘I was prepared to love you and never expect anything of you’.

Dry the River’s dramatically intense style can at times verge on the overly grandiose, an element guaranteed to divide critics. "Bible Belt" however, provides a soporific contrast to the theatrical, recorded in an acoustic session and hence lacking that often-superficial studio polish. A lullaby of ‘wintry calm’, this track is a poignant elegy to the lost fire of youth.

Covering Josh T. Pearson’s beautiful "Thou Art Loosed", the quintet arguably detract from the intimacy of the original. They do so artistically however, as the echoing harmonious round of ‘don’t cry for me babe, you’ll learn to live without me’ creates a quasi-transcendental effect, reminiscent of a candelight vigil or séance. The closing motif of ‘I’m off to save the world’ could well be dubiously bombastic in many cases; with Dry the River you find yourself hypnotically believing every word.

There are dazzling moments on this EP that present Dry the River as a band desiring to escape genre restrictions and expectations. However, whilst a sense of aching urgency is often most powerful when suppressed, they at times risk emotionally saturating their listeners. "Bible Belt" for instance, begins beautifully yet lacks the magical lustre heard on "Family Tree", perhaps because it fails to reach the climax anticipated throughout.

The highlights, for the most part, dominate this record’s relatively few weaknesses, proving that the time has surely come for Dry the River to quit flirting with EPs and make that first album move. They’ve no need to fear rejection; we’re already seduced.


Dry the River's official music video for "Weights & Measures"

Originally published by The Harker: www.theharker.com/2011/11/22/music-dry-the-rivers-weights-and-measures/

Ben Howard graces Newcastle’s Riverside with his spirited Devonshire folk-pop

Surf-kid by day, singer-songwriter by night, Ben Howard confirmed at his recent Newcastle gig that he has captured the musical hearts of Britain. Due to illness, he was not his usual talkative self on stage, yet this far from threatened the audience engagement he strived for and successfully achieved. Confident enough to rely on his evident talent for infectious hooks and instrumental improvisation, he appeared an unpretentious figure, instantly endearing and likeable. Irresistibly rhythmic finger-picking and wavering female harmonies washed over the welcoming crowd as they hungrily surged closer.

Hailing from Totnes, South Devon, Howard’s parents had a strong influence over his musical development, the soundtrack to his childhood consisting of the legendary likes of Bob Dylan and Joni Mitchell. Currently signed to Communion and Island Records (the latter due to its history with Nick Drake and John Martyn), his debut album Every Kingdom was released in October to widespread acclaim.

Howard’s humble reverence for natural beauty resonates from tracks brimming with imagery of water, wildflowers and, of course, wolves. His melodic vocals are, however, often caramelised with an illusive cheeriness. Addressing much deeper, darker themes than a first listen may suggest, "The Fear" and "Black Flies" both address the painful experience of losing someone you love.

Yet Howard’s lyrics do not merely weep melancholic doom and despair. Just as the unassuming 23-year old risked losing the full attention of those feeling a little dampened, his ability to sense a crowd’s reaction triggered a shift towards the upbeat and positive. Latest single "Keep Your Head Up", an optimistic anthem of self-empowerment, saw the eager Newcastle fans snap back freshly focused on the performance.

Closing an atmospherically charged set with the evocative "The Wolves", Howard bid goodnight to a rammed Riverside venue already excitedly anticipating his return next February.

Ben Howard plays "Keep Your Head Up" by the sea, naturally.

Originally published by Palatinate: http://www.palatinate.org.uk/?p=16860

Unearthing Durham's 'Elusive' Live Music Scene

Whether you started at Durham last week or three years ago, you’ll probably be well aware by now that everybody’s favourite bubble is, by the very nature of a bubble, pretty damn small. A fortnight of fun but hazy club nights later you may well find yourself longing to experience something a little bit different, particularly if your iPod isn’t filled with, well, Rihanna, David Guetta and Example. This is where Durham’s relatively elusive live music scene comes into play. There’s a live music scene in Durham?! Why yes there is, to be unearthed right here, right now, before your very eyes.

Last year’s student-run Vane Tempest Sessions continue to bring the best up and coming folk/indie acts from around the UK to Durham. This year their intimate setting will host the welcome return of Dry the River and a variety of artists who you should definitely catch while you can.  After last year's Athlete show some more big gigs are in the pipeline too!

A promising new Thursday gig night is to be launched at Fishtank. According to its founder Tudor Skinner, ‘One More Tune!’ will feature “an eclectic range of acts, running from the ethereal folk of Bridie Jackson, through the up-and-coming Sunderland indie-sters So What Robot, to the deranged experimental noise of Waheela”.

Fishtank, appropriately named for its location above Stanton’s fish’n’chips shop on Neville Street, has a unique atmosphere that marks it out from the more typically ‘Durham’ drinking establishments. With ambient lighting, regular acoustic sets and its very own indie disco ‘Grammar’, there’s a character to the place that is well worth checking out.

A Deer For Your Lamb sessions, run by Shaun Atherton and his independent live music promotion team, showcase an array of intimate, unplugged shows from artists who would normally sell out much larger venues. Shaun commented to Palatinate, “We’ve got some really amazing people coming through, some of whom you’d rarely ever see playing a show in the North East. There’s such a wealth of interesting music happening right now and it does go a little underappreciated. I get a kick from watching people come out of shows with that ‘yes, that was amazing’ look on their faces. I think live music is probably the closest thing we have in our culture to a shared spiritual experience. I always feel on a high for days after seeing a good show”.

Returning this Friday after a successful appearance last year, Edinburgh’s highly regarded Withered Hand will play an intimate gig at Alington House on the Bailey. Other forthcoming acts include David Dondero at Head of Steam who is signed to Bright Eyes’ label, and The Shivers, an experimental rock band from New York previously compared to Lou Reed.

With the most extensive line-up of shows A Deer For Your Lamb have ever had lined up in such a short period of time (see their Facebook page for more information), it would be foolish not to see a gig for yourself. If you’re a live music fan, disappointment really does not look likely.

However, it’s not all about the folk here in Durham, just as North Road’s Live Lounge is not merely a nightclub popular on Saturdays. As its name suggests, the venue often plays host to bands from all over the country with their past repertoire including Funeral for a Friend, Gallows and Twin Atlantic. The popular Itchy Feet nights held at Live Lounge showcase a unique blend of 50s rock’n’roll, funk, swing and soul and have started to present live music, with Will and the People playing an upbeat set last year.

Moving on to those who take a more active approach to music and are keen to make themselves heard in Durham (you know, the ones who can actually play the guitar that sits in your bedroom looking pretty). With regular gigs, open mic nights and a music-orientated quiz every Wednesday, The Angel Inn in Crossgate has built up quite a reputation as an alternative rock pub. The proof is in the jukebox. Osbourne’s, next door to Klute, also hosts an open mic night every Sunday that will cure even the worst Saturday night hangover. Well, maybe not the very worst, but they try.

Let us not forget that many, if not all colleges organise live music nights to coax their talent out of hiding and into the Durham spotlight. Van Mildert’s free annual festival, Jam by the Lake, always proves a fun day of music post-exams, whilst many colleges have an Arts Week of sorts during which students’ music-making is celebrated.

The Alternative Music Society aims to bring Durham’s developing live music scene to the attention of students by organising their own gigs, as well as providing listings to events in both Durham and the rest of the North East. Socials include the popular Mixtape Swap Socials which aim to broaden attendees’ musical horizons whilst they enjoy drinks with like-minded people. They try to co-ordinate people going to the same gig further afield so that cheaper transport can be arranged, as well as offering discounts to events based around Durham for only a £3/year membership fee.

Speaking to Alex Appleton, president of the society, it became clear that the main reason many Durham students fail to attend local music events is simply because they are unaware that they exist. Alex commented on how “regular live events in Fishtank, Head of Steam, Live Lounge and Alington House as well as DJ nights have started to become really well attended in the last year”. When asked his own honest opinion on our current live music climate, he described Durham as having “a DIY and alternative music scene that belies the small size of the city- you just have to look for it and you’ll find it”.

The entertainment hub of Newcastle with venues including the O2 Academy, Riverside and The Cluny is but fifteen minutes away on the train, but this is no reason for Durham to remain eternally locked in its shadow. Live music relies on a supportive audience, so instead of moaning about the apparent lack of a music scene, why not get involved and help the existing one grow into something bigger and better? It’s what we make of it after all.

Link to Palatinate: http://www.palatinate.org.uk/?p=15747

Boxes: Silent Alarm EP

South-East London lad Boxes (a.k.a Carey Willets, former bassist for Athlete) has exploded a larger-than-life sound onto new EP, Silent Alarm.

The four track collection, a precursor to his forthcoming debut album, showcases multi-instrumental skills with punchy guitar, catchy synths and fun electro beats. The playful sheen to the title track inspires a feeling of innocent, sun-kissed satisfaction that heavily counteracts its mildly traumatising video.

Like a revved-up re-incarnation of The Dykeenies or an Owl City with less cringe and more guts, Boxes’ delicate melodies have an easy, disarming charm that will surprise even the most stubborn of sceptics. The acoustic "Don’t Look Down" proves that he need not rely merely upon artificial sounds, whilst the lazy Sunday vibe to "Throw Your Stones" exudes close to effortless cool.

Silent Alarm is released on 26th September via Bow Music.

Originally published by Palatinate: http://www.palatinate.org.uk/?p=15069

Straight off the Catwalk

Here, as promised, are some photographs from the catwalks at London Fashion Week. The first four images are from the collection by Spijkers en Spijkers. Inspired by the Persian queen with distinct 1930s elements, the graphic stars, tassles and fringing are colourfully exciting and eye-catching.

The following three images are from the collection by Kiki Kamanu, showcased at The Strand Palace Hotel. The Nigerian American designer presented a vibrant, opulent display of her cultural roots, complete with striking make-up.

Link to the rest of my London Fashion Week set: www.flickr/com/jessdenham

In Search of Pretty Things at London Fashion Week

Yesterday I visited Somerset House, the central location for London Fashion Week, where I was given access to the designer exhibitions with a photography pass. Below are some images from the collection exhibited by Ada Zanditon in collaboration with jewellery designer Luca Romanyi.

This necklace was created from recycled plastic and contains shredded ten pound notes that look like decaying leaves. Disappointingly, no money was wildly torn up for the sake of art as the notes had been discontinued. However, its creation happened to coincide with the credit crunch, giving it extra, if unintended cool points. The metallic glint of the money gives the piece an autumnal shine and fits perfectly with the AW11 trend for bronzes, silvers and golds.

The above necklace and its counterpart bracelet below were inspired by seahorses. The wood used is from Romanyi's father's furniture making company. Simple, bold and eye-catching with a fun tribal twist.

Catwalk photos coming soon....!

Marcus Foster: Nameless Path

Amidst a recent tidal wave of male singer-songwriters, Marcus Foster is remarkably far from ordinary. Described by Communion Records as "metaphorically dropped from a rambling Kerouac chapter", throughout his debut album he effectively balances raw passion with understated poise.

Displaying a soulful integrity that far surpasses his 24 years, Foster expresses a guileless yet unmistakeably masculine sensitivity on tracks such as "I Don’t Need to Know" and latest single "I Was Broken", whilst the dispersal of upbeat tracks amongst slower laments ensures that the album’s energy never once drops. 

Stand-out track "Shadows of the City" is a slick bluesy slice of urban sexiness, given edge by moments of almost primal intensity. Contained and composed with flashes of uninhibited vivacity, Foster presents a masterclass on the use of tension-building silence as trembling guitar forms a haunting support for his gravely vocals. Here is a record worthy of accolade, yet to be released but somehow already timeless. 

Nameless Path is released on 26^th September via Communion/Polydor Records.

Originally published by Palatinate: http://www.palatinate.org.uk/?p=15053

Scott Matthews: “I’ll be somewhere like Sainsbury’s and get an idea for a song, usually whilst looking at the fruit.”

Born and bred in the Black Country, accomplished singer-songwriter Scott Matthews has remained refreshingly modest in the face of international success. Speaking to Palatinate the very morning that his third album, What the Night Delivers, is released, his humble hopes and aspirations reflect an endearingly down-to-earth attitude. “I like to think that my songs will have their own place, that people will have their own journeys with the material like I have. All you can really ask is that they will have an effect on somebody. If there’s no-one to listen to your songs then it’s all a little bit pointless.”

Repeatedly compared to the likes of Jeff Buckley and Nick Drake, Matthews was keen for his music to sonically progress from previous records, Passing Stranger in 2006 and Elsewhere in 2009. Drawing on films, books and general life experiences for inspiration, his style encompasses an eclectic array of genres with evident bluesy folk overtones. Determined for his music to resist pigeon-holing, future plans involve the possible release of some experimental EPs. “I’d quite like to try some instrumental work at some point, or a full on blues record. Different directions are important, I don’t want to stagnate. I’d like to think that over the three records so far, you can see a broad spectrum of ideas.” Luckily, Matthews has proven himself as an artist capable enough to reflect his wide-ranging music taste in his own creative work.

Matthews was first encouraged to engage with music when his drummer father bought him a guitar for his seventh birthday. Music became “a natural process of self-exploration” and eventually he was offered the chance to record a track with San Remo Records. What started out as a hobby soon became a lifestyle that he desired to sustain. Winning an Ivor Novello for "Elusive" back in 2007 (Best Song Musically and Lyrically) was “a massive deal, but a little bit daunting”. With such a dazzling accolade came the pressure to better himself; fortunately Matthews had the drive and ambition to do just that.


Scott Matthews plays his Ivor Novello award-winning "Elusive".

Over the last few years, the emergence of a plethora of singer-songwriter, man with guitar types has made finding space on a teeming platform tricky. Matthews however, seems undeterred by competition, believing that “people know what they like” in an era with “a tendency to explore a lot more”. Upon being asked to whom in the modern music scene he would award an Ivor Novello, Matthews commended Bill Callahan, “a much underrated artist and a fantastic writer as well.” Unfortunately as Callahan is American, he would not qualify for nomination.

Playing live is integral to Matthews as he revels in the opportunity to interact and connect with an audience. “People still need to get a true sense of where an artist is coming from on a live front. It throws a different vibe over the songs; it’s easy to gloss over some things in the studio.” He has toured extensively over the last few years, with a host of UK shows planned for September and October. To date, Matthews has supported artists such as Robert Plant and Alison Krauss, Foo Fighters and Rufus Wainwright but, just like winning his Ivor Novello, he confided in Palatinate that these shows proved inspiring, if a little overawing. “I did about five or six shows with Snow Patrol, just little old me and my guys making music that we considered hard to get across in the big arenas.”


"Obsession Never Sleeps" & "Ballerina Lake" from latest album, What the Night Delivers.

With his unmistakable talent, Matthews’ song-writing recipe is the holy grail for budding musicians. Preferring to add the lyrical ingredients last, he reveals, “I’ll make a CD of melodies for the car and drive around listening to that. I’ve always been one to get a really strong feeling from the music which I put together.” However, in his characteristically chilled-out manner, it is whilst supermarket shopping that inspiration often strikes. “I’ll be somewhere like Sainsbury’s and get an idea for a song, usually whilst looking at the fruit.” Yes, a whole new light has now been shed on why his lyrics are so notoriously intriguing and mysterious; they originate from the visual delights of apples and bananas.

When asked to give some advice for students looking to make a career in music, Matthews asserts that it is primarily self-belief that propelled him to where he is today. “Be true to yourself, it’s so easy to get influenced by people. You’ll be inspired by something initially, but then I think it’s all about finding yourself.” 

Perhaps it’s time to do the supermarket shopping for Mum this weekend after all.

Link to Palatinate: http://www.palatinate.org.uk/?p=14974

Green Man Festival 2011: The Weekend in Photos

I'll be uploading the many photos I took over the weekend onto my Flickr account (http://www.flickr.com/photos/jessdenham), but below are five of my favourites. I was lucky enough to secure a photographer's pass which allowed for some up close and personal shots.

Anticipation, suspense and potential.

Laura Marling on the Main Stage, clearly reveling in the crowd's reaction to her set.

Morgan Henderson plays the double bass for Fleet Foxes, bathed in a moody blue light.

Fleet Foxes play 'Mykonos' as part of their Saturday night headline slot.

Marcus Foster gives an unforgettable performance on the Green Man Pub Stage.

Villagers: 'The Pact (I'll Be Your Fever)'

This song played repeatedly on the main stage at Green Man in between acts and hence will always remind me of a wonderful weekend of first class music, chai tea and ginger ice-cream.

Experience

'If I asked you about art, you'd probably give me the skinny on every art book ever written. Michelangelo, you know a lot about him. Life's work, political aspirations, him and the pope, sexual orientations, the whole works, right? But I'll bet you can't tell me what it smells like in the Sistine Chapel. You've never actually stood there and looked up at that beautiful ceiling.

If I asked you about women, you'd probably give me a syllabus of your personal favourites. You may even have been laid a few times. But you can't tell me what it feels like to wake up next to a woman and feel truly happy.

You're a tough kid. If I asked you about war, you'd probably throw Shakespeare at me, right? 'Once more unto the breach dear friends'. But you've never been near one. You've never held your best friend's head in your lap, watch him gasp his last breath looking to you for help.

I'd ask you about love and you'd probably quote me a sonnet. But you've never looked at a woman and been totally vulnerable, known someone that could level you with her eyes. Feeling like God put an angel on earth just for you, who could rescue you from the depths of hell. And you wouldn't know what it's like to be her angel, to have that love for her, be there forever, through anything, through cancer. And you wouldn't know about sleeping sitting up in the hospital room for two months, holding her hand, because the doctors could see in your eyes that the terms 'visiting hours' don't apply to you. You don't know about real loss, 'cause it only occurs when you've loved something more than you love yourself. And I doubt you've ever dared to love anybody that much.

When I look at you I don't see an intelligent, confident man. I see a cocky, scared shitless kid. But you're a genius Will. No one denies that. No one could possibly understand the depths of you. But you presumed to know everything about me because you saw a painting of mine, and you ripped my fucking life apart. You're an orphan right? You think I know the first thing about how hard your life has been, how you feel, who you are, because I read Oliver Twist? Does that encapsulate you? Personally, I don't give a shit about all that, because you know what, I can't learn anything from you I can't read in some fucking book.

Unless you want to talk about you, who you are. Then I'm fascinated. I'm in.'

Quote from Robin Williams in 'Good Will Hunting', one of my all-time favourite movies. Image taken from www.tekartist.org.

Move, Eat, Learn

Three guys, in 44 days, travelled 38,000 miles to create a trio of inspirational mini-movies for STA. Their six week adventure took them on a whirlwind tour of the the world, encapsulated below in three magnificent clips based upon the concepts of movement, learning and food.

MOVE


EAT


LEARN


As if I didn't already have the travel bug.

Angus & Julia Stone: 'For You'

Exuding girlish charm with honeyed vocals and a flower in her hair, Julia Stone's irresistible vulnerability proves utterly disarming.

From 'The Catcher in the Rye' by J.D Salinger

'What I think is, you're supposed to leave somebody alone if he's at least being interesting and he's getting all excited about something. I like it when somebody gets excited about something. It's nice.'

Laura Marling: 'Sophia'

Spare five minutes for this new track from forthcoming third album A Creature I Don't Know. 'Sophia' shines as yet another example of Marling's unfailing ability to mask wise-beyond-her-years insight with unaffected simplicity.

Arcade Fire and Mumford & Sons show Hyde Park a hoedown

They say that home is where the heart is, a sentiment proudly inherent in Mumford & Sons, London’s folk darlings, as playing Hyde Park heralded their glorious return to the motherland. Recently returned from their world tour, opening crowd-pleaser ‘Roll Away Your Stone’ quickly removed any lingering suspicions amongst virgin ears that this performance was to be a mere ‘lighters in the air’ affair. Quite the opposite in fact, as reckless revelry and abandon followed Marcus Mumford’s jubilant proposition to "have a hoedown". And my, what a hoedown it was. The hoardes of fans blanketing the park soon found themselves mercilessly swept into an electrifying jig as the boys powered out their magnetising catalogue of hits with the relentless energy of a stampede. A peppering of new tracks kept their set fresh as the devoted crowds lapped up the charged atmosphere like excitable children at Christmas, eager for a taste of what the quartet had hidden up their sleeves. Tried and tested at a multitude of festivals over the last year, the addition of a trio of brass players gave ‘Lover of the Light’ an enhanced edge whilst showcasing the band's intention to step up a gear from their heavily string-orientated sound. Three other songs meanwhile, apologetically introduced by Marcus as currently ‘Untitled’ (bar the transfixing ‘Below My Feet’), were warmly embraced. Closing with mass sing-along ‘The Cave’, Mumford & Sons triumphantly bid Hyde Park farewell having proved yet again that their stamp upon the music scene is here to stay.

Having successfully mounted the tension with their short film of ‘The Suburbs’, Hyde Park headliners Arcade Fire finally blasted onto their theatrically decorated stage to the accelerative and appropriately named force of ‘Ready to Start’. The Canadians splashed colour over a somewhat dreary London day with their dramatic backdrops, dazzling enthusiasm and indisputable musical genius. Multi-talented Régine Chassagne, sporting a stunning sparkly dress and flicking seamlessly between an impossible array of instruments, was the envy of every female (and male for that matter), whilst compellingly charismatic front man Win Butler cleverly opted for a shock tactic by playing ‘Wake Up’, usually reserved for the close of the show, early into proceedings. "We wanted to play this one while we could still see you" explained Butler, as a widespread grin of satisfaction spread like wildfire across the park whether he could actually see the smiles or not. ‘Speaking in Tongues’ debuted at the gig, to palpable intrigue and rapturous applause, whilst the emotive ‘Intervention’ and rousing ‘Rebellion (Lies)’ elevated the crowd to the dizzying heights of an ecstatic live music experience.

Having paved the way to world domination out of relative obscurity and achieved awards left, right and centre over the last year alone (including Album of the Year at the Grammys), Arcade Fire have risen like phoenixes from the still glowing embers of every album, from Funeral back in 2004 to most recent third effort The Suburbs. The quirky septet gained momentum with every roaring chorus, ensuring that their masterclass in crowd engagement never once stalled. A perfectly orchestrated encore of ‘Keep the Car Running’, nostalgic charmer ‘Neighbourhood #1 (Tunnels)' and the empowering ‘Sprawl II (Mountains Beyond Mountains)' may have drawn the gig to a close, but the memory of it was to resonate longer after Win, Régine and co. had left the stage.

Unfortunately the sound, as is far too often the case at open air shows, let both impressive performances down somewhat, resulting in evident frustration both amongst the crowd and on-stage. Win could not resist a brief but defiant rant at the nearby residents for whose respect the decibel level had to be kept low. Why they weren't there too is beyond me, whatever happened to ‘if you can’t beat’em, join’em’? Those present however, were blessed with the privilege of witnessing two bands arguably at or approaching the peak of their careers. As soothingly sung by Mumford & Sons earlier in the evening, 'you would have loved it here tonight’.


Arcade Fire and Mumford & Sons played London's Hyde Park, 30/06/11.

(NB. Beirut and The Vaccines also played as support but I regrettably missed their sets. Well, I regrettably missed Beirut's set anyhow.)

Jam By The Lake: Live Music in the Durham Bubble

Arriving on Saturday 11th June for Van Mildert’s free annual music festival, Jam by the Lake, it was instantly clear that many fair weather supporters had been deterred from attending the highly anticipated event due to persistent rain. Despite the drizzle however, the enthusiastic crowd gathered in front of the main stage, pints of cider firmly in hand, refused to let spirits be dampened. Others opted to defiantly lay out rugs upon the lawn under a host of gazebos and colourful umbrellas. Their efforts were soon rewarded by the host of musical treats that followed.

With upcoming gigs at the O2 Academies in Newcastle and Islington, Durham’s own Venice Under Water offered refreshing proof that contrary to popular belief, the Durham bubble really can launch exciting new talent as they well and truly got the party started, throwing some indie/trance flair into the mix with pulsating drums and nu-rave style synths. Similarly, earlier acts The Love Pumps, described by NME as ‘clearly designed to get youngsters in the mood to smoke hemp and fornicate’, soulfully contemplative Ash Cooke and self-confessed ‘groovy blues’ gang Moist were thankfully unearthed from Durham’s seemingly non-existent music scene.

Ska and reggae fusion band Too Spicy commended Durham for ‘knowing how to skank’, whilst The Generals’ booming bass lines reverberated around Mildert’s lawn taking no prisoners. Newcastle/Sunderland five piece Chased by Wolves showcased a bluesy Americana style with lead vocalist Emma Williams adding a seductively feminine edge to the folky, Dylan-esque ‘Be My Love’. The quintet expressed gratitude towards those ‘sticking round’ despite the rain, their engaging, atmospheric performance a perfectly acceptable thank you.

In a sharp stylistic shift, experimental rap act Baron Von Alias arguably stole the show, despite having been drafted in at the last minute to replace a band that had been forced to pull out. Storming the stage like pros having performed at Newcastle’s Evolution back in May, Baron and partner in crime Mr Breeze, complete with top hat, suit, tie, moustache, pocket watch and sunglasses, ordered their mesmerised audience to ‘spas out like you’ve never spassed out before’ as the chorus to ‘Get Wild Gan Mental’ packed an innovative yet hefty punch.



Headline act Polarsets, of Radio One’s Big Weekend fame, returned for an encore due to popular demand after a memorable set last year. Their unashamedly DIY attitude to technical problems- ‘we just have to draft in some gaffa tape to fix the drum kit’- was endearing, their unfailingly enthusiastic efforts to create a summery vibe against the grey and rainy backdrop hugely successful. Counting Ellie Goulding and Delphic amongst acts they have previously performed alongside, their African style percussion soon had the crowd embracing their inner child, blowing bubbles onto the stage to feel-good tracks such as ‘Sunshine Eyes’ and ‘Morning Master’.

With an enticingly diverse line-up ranging from acoustic and folk to rap, punk and ska, Jam by the Lake delivered exactly what it promised despite the rain: an enjoyable, chilled out festival, free and open to all, with something on offer for everybody.

Link to Palatinate: http://www.palatinate.org.uk/?p=14148

Evolution: The Festival in the Car Park Returns

May Bank Holiday weekend heralded the return of Evolution festival as its army of 60,000 descended upon the Newcastle/Gateshead quayside. With tickets priced at only £35 for two days of musical revelry, the event was flooded by a tidal wave of teenagers and students ready to celebrate post-exams freedom without breaking the bank. The acts were spread, like last year, over three stages. Keen to discover some emerging talent off the beaten track, the first stop was the smaller, folk-orientated Ballast Hills stage, where Ellen and the Escapades, introduced as ‘acoustic pop’, were providing the perfect soundtrack to summer. Hailing from Leeds, the quintet’s wistful harmonies ooze nostalgia and naivety without being old-fashioned, their cover of The Beatles’ ‘Here Comes the Sun’ and closing song ‘Coming Back Home’ simultaneously catchy yet mellow. Next up were raucous Swiss trio Mama Rosin with their intriguingly irresistible fusion of African, Caribbean and Mexican influences. An exciting hybrid of instruments and musical styles reacted to create a bluesy yet powerfully upbeat set, bursting with contagious energy.



Over on the distinctly chart friendly Spillers Wharf stage, Example whirled the masses into a hyperactive frenzy with current number one ‘Changed the Way You Kiss Me’, whilst across the bridge at Baltic Square, Annie Mac unleashed her Sub Focus DJ set controversially half an hour late. Tinie Tempah, complete with trademark wayfarers and high-top trainers, roused the crowd with club hits ‘Frisky’, ‘Miami 2 Ibiza’ and the Ivor Novello award winning ‘Pass Out’. Charismatic, creatively diverse and anthemic, his set succeeded in converting even the most sceptical amongst his audience. Having palpably warmed the stage for headlining act Plan B, Tinie closed his dramatic performance to the chant of ‘Tinie- Tempah- Tinie- Tempah’, confirming his status as the contemporary star of the modern urban music scene. Defying generational boundaries Plan B’s set ranged from a somewhat dubious dubstep remix of Ben.E. King’s classic ‘Stand By Me’, to a more successfully soulful rendition of Otis Redding’s ‘My Girl’. Popular classic ‘She Said’ saw Ben Drew at his vocal best, yet his relentless attempts to inspire fans into creating a wall of death fell rather flat, much to his evident and rather amusing frustration. As darkness fell over the quayside, the main stage was illuminated with dramatic red and blue lights as Plan B drew the weekend to a close with the infectious rhythms of ‘Writing on the Wall’ and ‘Prayin’’.

Evolution is undoubtedly a fun, value for money event, but to say that the likes of Glastonbury and Bestival need not watch their backs would be somewhat of an understatement. At the end of the day, a glorified car park littered with empty vodka bottles and teenage vomit can only exude so much festival spirit. Added to the treks between stages, the overcrowding and the poor sound system, the traditional festival atmosphere was somewhat lacking. Having said that, the music was well worth the very reasonable ticket price, particularly on the grassy, chilled-out Ballast Hills stage, so don’t be put off giving this northern festival with an urban twist a shot next year.

Green Man Sessions: Matthew and the Atlas

Roll on August...

A Sunday afternoon chat with Lee Newell of Brother

So how are things at the moment? Anything exciting going down this coming week?
Well we’re playing Glasgow tonight as part of our headline tour, Dublin on Monday, and then we fly to the States again to do a West Coast tour and perform on David Letterman in New York. So yeah, we’re really really busy! I won’t be going home until I get one day off in like 6 weeks time I think, so that will be nice, I’ll do some washing.

You’ve described yourselves as a ‘gritpop band’. Does this imply that your style is a revival of the rawer, tougher end of the 90s brit-pop spectrum, or are you offering the music scene anything new?
I’d say if anything we came up with that as a sort of comeback to people who were calling us kind of brit-pop revivalists. Cos we’re not you know, we bonded over these bands and that’s where our first love was but this brit-pop or whatever you call it is what we’ve created and it’s a modern take on that. It’s original but it’s certainly got its influences from 90s music.

Who would you say is your favourite band around at the moment? And who can't you stand?
There’s a lot I can’t stand! There’s a band I’m listening to at the moment, I dunno if you’ve heard of them, they’re a sort of folky band called Edward Sharpe and the Magnetic Zeros. It’s a bit of a mouthful but they’re fucking amazing. I really like Everything Everything, their album’s amazing. That’s all I can think of at the moment, those two, that’s all you’re getting!

Correct me if I’m wrong, but a cheeky bit of research tells me that Brother evolved from two previous bands: Kill the Arcade and Wolf Am I. Is this proof that there is more depth to the history of Brother than your seemingly over-night success gives you credit for?
We came from virtually nothing to doing everything in a really short space of time, but we’ve got the songs to back it up and we believe that. We’ve created a really good album, that’s all we can do. Those bands were just a product of us growing up, but yeah we do listen to a lot of music whereas I think people think we’re a little closed-minded. We’re smart, we know what we’re doing and we’re just having fun at the end of the day. We’re not hurting anyone!

As a band you are openly ambitious and confidently so, an attitude which many would praise as refreshing and inspiring. How do you respond to critics and other artists who deem you pretentious and overly-cocky? Does it bother you at all or simply make you even more determined to achieve your goals?
Well that’s very well put! I don’t respond to it, they are what they are. We really are not fussed about what anyone says about us, positive or negative. We’re just here for ourselves, our friends and our family, making something from living in the most terrible place on earth which is called Slough! So yeah we don’t care, we’re all for it. We’re just playing the game and having fun!

With all the media hype it must be difficult to keep your feet on the ground. How important do you consider the old cliché of ‘remembering your roots’ to be?
Well yeah of course it’s important, but we’re not really getting carried away with it. We’ve had such a struggle for the last six or seven years as individuals that anything positive is a revelation and so yeah, I mean it’s important to talk to your friends but really we didn’t have many! This band are our only friends, we’re in this little bubble together so we just live in our own weird world!

Evolution is unlike typical mud and wellies festivals due to its urban quayside setting. Some would say it’s rather like playing in a big carpark. How do you plan to bring some of the more traditional festival spirit to your performance?
Our songs lend themselves to playing big festivals I think. When we wrote them we put up pictures on the wall of festivals and loads of people just so we got in that mindset. We’re a traditional band in that sense, there’s no gimmicks, we’re not trying to innovate music. We’re just simply celebrating everything that’s good about classic music. Really, we’re just gonna go and do what we do: play loud. It’s a big show, you’re gonna have to see it to believe it I guess!

Before you hit the stage do you undertake any pre-performance rituals? Any diva-style dressing room requests?
Yeah we do. . .but I think we’d prefer to keep it secret! Sorry! We do have a couple of beers though, that always helps. We have a LOT of booze in our rider, to the point where we keep accumulating more and more so we’ve just got a big pile in the bus of all this fucking booze. But that’s good, that’s all you want! Sometimes we ask for a signed picture of Holly Willoughby just for a laugh but we’ve never got it. One day maybe we’ll get it!

Do you prefer playing smaller, more intimate gigs or larger festivals? Your big choruses are surely well-suited to the latter?
It depends what mood I’m in that day really! I love both. We’ve never played a huge venue but we’ve done Brixton Academy which is about five thousand, and a lot of the other academies. But nothing over sort of five to ten thousand so this is going to be new to us. We’re really excited about doing it. I think Evolution is actually the first festival we do this summer so it’s gonna be amazing.

Your current tour is taking you all over the world. Do you enjoy the travelling element to life in Brother?
I love it when I get there, I love looking at all these new places, places I’d never ever have got the chance to see. But I hate the actual travelling itself, the long drives and all the flights and everything. I’ve started getting really scared of flying. I used to be completely fine with it but since the band’s started doing more things and flying more places I’ve sort of gained this irrational fear of flying so that’s no good!

How did the American crowds compare to those back here last time you played over the other side of the pond?
Well they’re a lot older because I think all the shows we did were 21s and over, but it was really good, they were really receptive and found us funny and enjoyed it. They were really nice and talkative, really appreciative that we were there. I mean it’s not too different there, I’d say it’s fairly similar. They’re just a bit more... American!

At your dream festival, what bands would headline?
Well the headliners would have to be The Smiths, The Stone Roses and then The Clash maybe. Who else. . . Blur! They’re a massive influence on us, and me in particular. Then let’s just say Rolf Harris, wheel him out. He can play his weird wobble-board dubstep.

Is it true that you will be supporting Morrissey this summer? As you have previously cited him as one of your biggest musical influences, you must be pretty psyched?
Well yeah, I’ve had posters of him on my wall since I was a kid and I woke up every morning looking at him. I know everything about him; I probably know more about him than he does! So to be asked to support him and to play Hop Farm Festival with him as well was ridiculous, it blew my head off. I’ve just about collected my head!

Your forthcoming debut album, Famous First Words, is due this summer. Some of your own famous first words were that you will headline Glastonbury. Are you hoping that the title of your debut will one day strongly resonate amongst those who have doubted and criticised you?
Well yeah the name of it was exactly what you said, a commentary on how we’ve been quoted as saying these ridiculous things even before people have heard our music. In some of the interviews I’ve done they’re all like, why are you calling it that then? What were your first words? I’m like, well I dunno, 'Mama'?! What do you want me to say?! You hit it on the head. Maybe one day we’ll call it Funeral or something cos we’ll be dead.

Where do you see your band in five years time? Do you think you have the all-important longevity factor and if so, why?
I think we do and I can say that truthfully. I really do think we are the sort of band who can last a long time. I dunno how long it will take us to do the albums, whether we’ll do another one next year or whether it will take us like 5 years. We’ll do it when we’re ready and when we want to do it but we want to do this for a long time. I think we’re going to have to do it. There are no new bands around at the moment that are scaring me or rivalling us, as big-headed as that sounds! It’s just how ambitious we are I guess.

Describe Brother in three words?
Really quite extraordinary.

Link to Palatinate: http://www.palatinate.org.uk/?p=13182