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