'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.'
Tuesday, 9 August 2011
Friday, 29 July 2011
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.
Friday, 15 July 2011
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.)
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.)
Monday, 20 June 2011
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
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.
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.
Tuesday, 24 May 2011
Tuesday, 3 May 2011
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
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
Tuesday, 25 January 2011
Bands Set For 2011 Success
JESSIE J
Urban-styled and sassy, 22 year old Essex girl Jessie J recently shot into the mainstream with ‘Do It Like A Dude’, a commercial hip-hop track with a British reggae twist. Dubbed the ‘best singer in the world right now’ by Justin Timberlake she is also a proficient songwriter, having penned hits for Christina Aguilera, Alicia Keys and Miley Cyrus. Winner of the 2011 BRITS Critics’ Choice award, Jessie claims to have written ‘Do It Like A Dude’ for Rihanna to record, before deciding that she’d damn well do it herself. With a powerful voice and attitude to match, Jessie is essentially everything that Cher Lloyd wishes she could be.
Recommended track: ‘Nobody’s Perfect’
MATTHEW AND THE ATLAS
Despite being hotly tipped to follow in the folksy footsteps of Mumford & Sons (they are signed to ‘son’ Ben Lovett’s Communion label), Matthew and the Atlas recent 'Kingdom of Your Own' EP is far from a mere copycat effort. Matt Hegarty’s honest, earthy vocals combine with female harmonies, hand-clapping and banjos to create a captivatingly original sound. As hearty and warming as a bowl of homemade soup.
Recommended track: ‘I Will Remain’
JAMES BLAKE
With his debut self-titled album due at the beginning of February, Londoner James Blake’s fusion of moody dubstep and soulful electronica creates an intriguing vibe not dissimilar to the icy cool of The xx. A classical pianist since his early teenage years, Blake recently graduated from Goldsmiths College in London where he studied Popular Music. His edgy and experimental cover of Feist’s ‘Limit To Your Love’ demonstrates a refreshing confidence in the power of ‘less is more’. What Blake cleverly chooses to leave out renders his music all the more hauntingly futuristic and bewitching.
Recommended Track: ‘CMYK’
JONSI
Best known for fronting the band of Icelandic angels more commonly recognised as Sigur Rós, Jónsi released his first solo album ‘Go’ last April. Ethereal synths and resonating guitars combine with delicate Icelandic and English vocals to create an auditory potion of elegiac musical loveliness that is simply impossible to imitate. The music world’s meditative tonic of choice.
Recommended Track: ‘Boy Lilikoi’
MONA
Ambitious four-piece Mona hail from Nashville, Tennessee (home to Kings of Leon) and are intent upon raising hell with their aggressively energetic brand of youthful rock’n’roll. Having already incited a tangible buzz amongst critics, the boys are unrelenting in their quest for stardom. Recently named Record of the Week by Fearne Cotton on Radio One, latest release ‘Trouble On The Way’ is a driving hurricane of grandiose passion and sexy, grinding rhythms.
Recommended Track: ‘Trouble On The Way’
THE VACCINES
Arguably generic indie in many ways, you can still have a good old drunken dance to these four London boys and their guitars. Debut album ‘What Did You Expect From The Vaccines?’, out in March, promises to be a short but sweet woozy retro-pop delight with eleven songs that last under thirty-five minutes in total. ‘Post Break-Up Sex’ is one track that is guaranteed to make you, in their own words, ‘forget your ex’. They’ll undoubtedly be a firm favourite with festival organisers next summer.
Recommended Track: ‘Wreckin’ Bar’ (Ra Ra Ra)
CLARE MAGUIRE
Fresh from opening for Plan B and Hurts, the gothic and empowered Clare Maguire has been the record industry’s best kept secret for the past two years. Her seemingly effortless talent and vampy style suggest that she wouldn’t be out of place in Phantom of the Opera, with a theatrical voice that will enchant and enthral. Shades of Annie Lennox and Stevie Nicks permeate her gorgeously controlled yet mystically emotive vocals on ‘Ain’t Nobody’. Album ‘Light After Dark’ will be available to download from February.
Recommended Track: ‘Ain’t Nobody’
Urban-styled and sassy, 22 year old Essex girl Jessie J recently shot into the mainstream with ‘Do It Like A Dude’, a commercial hip-hop track with a British reggae twist. Dubbed the ‘best singer in the world right now’ by Justin Timberlake she is also a proficient songwriter, having penned hits for Christina Aguilera, Alicia Keys and Miley Cyrus. Winner of the 2011 BRITS Critics’ Choice award, Jessie claims to have written ‘Do It Like A Dude’ for Rihanna to record, before deciding that she’d damn well do it herself. With a powerful voice and attitude to match, Jessie is essentially everything that Cher Lloyd wishes she could be.
Recommended track: ‘Nobody’s Perfect’
MATTHEW AND THE ATLAS
Despite being hotly tipped to follow in the folksy footsteps of Mumford & Sons (they are signed to ‘son’ Ben Lovett’s Communion label), Matthew and the Atlas recent 'Kingdom of Your Own' EP is far from a mere copycat effort. Matt Hegarty’s honest, earthy vocals combine with female harmonies, hand-clapping and banjos to create a captivatingly original sound. As hearty and warming as a bowl of homemade soup.
Recommended track: ‘I Will Remain’
JAMES BLAKE
With his debut self-titled album due at the beginning of February, Londoner James Blake’s fusion of moody dubstep and soulful electronica creates an intriguing vibe not dissimilar to the icy cool of The xx. A classical pianist since his early teenage years, Blake recently graduated from Goldsmiths College in London where he studied Popular Music. His edgy and experimental cover of Feist’s ‘Limit To Your Love’ demonstrates a refreshing confidence in the power of ‘less is more’. What Blake cleverly chooses to leave out renders his music all the more hauntingly futuristic and bewitching.
Recommended Track: ‘CMYK’
JONSI
Best known for fronting the band of Icelandic angels more commonly recognised as Sigur Rós, Jónsi released his first solo album ‘Go’ last April. Ethereal synths and resonating guitars combine with delicate Icelandic and English vocals to create an auditory potion of elegiac musical loveliness that is simply impossible to imitate. The music world’s meditative tonic of choice.
Recommended Track: ‘Boy Lilikoi’
MONA
Ambitious four-piece Mona hail from Nashville, Tennessee (home to Kings of Leon) and are intent upon raising hell with their aggressively energetic brand of youthful rock’n’roll. Having already incited a tangible buzz amongst critics, the boys are unrelenting in their quest for stardom. Recently named Record of the Week by Fearne Cotton on Radio One, latest release ‘Trouble On The Way’ is a driving hurricane of grandiose passion and sexy, grinding rhythms.
Recommended Track: ‘Trouble On The Way’
THE VACCINES
Arguably generic indie in many ways, you can still have a good old drunken dance to these four London boys and their guitars. Debut album ‘What Did You Expect From The Vaccines?’, out in March, promises to be a short but sweet woozy retro-pop delight with eleven songs that last under thirty-five minutes in total. ‘Post Break-Up Sex’ is one track that is guaranteed to make you, in their own words, ‘forget your ex’. They’ll undoubtedly be a firm favourite with festival organisers next summer.
Recommended Track: ‘Wreckin’ Bar’ (Ra Ra Ra)
CLARE MAGUIRE
Fresh from opening for Plan B and Hurts, the gothic and empowered Clare Maguire has been the record industry’s best kept secret for the past two years. Her seemingly effortless talent and vampy style suggest that she wouldn’t be out of place in Phantom of the Opera, with a theatrical voice that will enchant and enthral. Shades of Annie Lennox and Stevie Nicks permeate her gorgeously controlled yet mystically emotive vocals on ‘Ain’t Nobody’. Album ‘Light After Dark’ will be available to download from February.
Recommended Track: ‘Ain’t Nobody’
Friday, 24 December 2010
The Bucket List: What Would Be On Yours?
If you could know in advance, would you want to know the exact day of your death? You may say yes as it would inspire you to live for the moment, or you may say no, because you would simply rather not think about it. In the case of Edward and Carter, choice is a luxury they do not have.
Directed by Rob Reiner and released in 2007, The Bucket List will stay with you long after the end credits have rolled. Oscar-winning Hollywood icons Jack Nicholson and Morgan Freeman portray two terminally ill lung cancer patients, Edward and Carter respectively, who find themselves forming an unlikely friendship in their shared hospital room. The pair could not be more different, yet as both are forced to accept the devastating news that they have less than a year to live, a strong camaraderie develops between them. Billionaire Edward encourages Carter to embark with him upon the adventure of a lifetime in order to complete their mutual ‘bucket list’, a list of things they want to do before they ‘kick the bucket’. In a whirlwind of spontaneity, Edward and Carter skydive, muse about love and life whilst watching the sunset over the Pyramids, race their dream cars, dine like royalty at a top class French restaurant, fly over the North Pole, witness the beauty of the Taj Mahal, motorcycle across the Great Wall of China and spot lions on safari in Africa. Through sharing their suffering, Edward and Carter grow to understand the common affinities that exist between all humans.
Dazzling performances are to be expected from the highly acclaimed Nicholson and Freeman, and they do not disappoint, complementing one another with a refreshing chemistry whilst managing to maintain their own unique styles. Nicholson’s trademark devious grin is out in force, as is Freeman’s screen-transcending aura of worldly wisdom. Nicholson has now well and truly established himself as the archetypal loveable rogue, and as for Morgan Freeman, who else could Tom Shadyac have chosen to play God in Bruce Almighty? The very reason I picked up The Bucket List in the first place was because I saw their names on the cover.
Edward and Carter's admirable struggle to both accept and defy the inevitability of their mortality is naturally moving to watch, yet the intended comic, light-hearted moments in the film fail to convince as cancer, quite simply, isn’t funny. Personally however, I found the tentative brushstrokes of humour all the more poignant given the canvas of unimaginable personal tragedy upon which they are painted. The DVD case may guarantee ‘lashings of comedy’ but, unsurprisingly given the subject matter, that proves an empty promise. That said, whilst you may not laugh until you cry, you will undoubtedly be left inspired by the courage of two men determined to make the best of the cards life has dealt them.
I suppose the question that the film leaves you with is what would be on your bucket list? For in the words of The Shawshank Redemption's Andy Dufresne, you can 'get busy living, or get busy dying'.
Trailer for The Bucket List, released in 2007.
Directed by Rob Reiner and released in 2007, The Bucket List will stay with you long after the end credits have rolled. Oscar-winning Hollywood icons Jack Nicholson and Morgan Freeman portray two terminally ill lung cancer patients, Edward and Carter respectively, who find themselves forming an unlikely friendship in their shared hospital room. The pair could not be more different, yet as both are forced to accept the devastating news that they have less than a year to live, a strong camaraderie develops between them. Billionaire Edward encourages Carter to embark with him upon the adventure of a lifetime in order to complete their mutual ‘bucket list’, a list of things they want to do before they ‘kick the bucket’. In a whirlwind of spontaneity, Edward and Carter skydive, muse about love and life whilst watching the sunset over the Pyramids, race their dream cars, dine like royalty at a top class French restaurant, fly over the North Pole, witness the beauty of the Taj Mahal, motorcycle across the Great Wall of China and spot lions on safari in Africa. Through sharing their suffering, Edward and Carter grow to understand the common affinities that exist between all humans.
Dazzling performances are to be expected from the highly acclaimed Nicholson and Freeman, and they do not disappoint, complementing one another with a refreshing chemistry whilst managing to maintain their own unique styles. Nicholson’s trademark devious grin is out in force, as is Freeman’s screen-transcending aura of worldly wisdom. Nicholson has now well and truly established himself as the archetypal loveable rogue, and as for Morgan Freeman, who else could Tom Shadyac have chosen to play God in Bruce Almighty? The very reason I picked up The Bucket List in the first place was because I saw their names on the cover.
Edward and Carter's admirable struggle to both accept and defy the inevitability of their mortality is naturally moving to watch, yet the intended comic, light-hearted moments in the film fail to convince as cancer, quite simply, isn’t funny. Personally however, I found the tentative brushstrokes of humour all the more poignant given the canvas of unimaginable personal tragedy upon which they are painted. The DVD case may guarantee ‘lashings of comedy’ but, unsurprisingly given the subject matter, that proves an empty promise. That said, whilst you may not laugh until you cry, you will undoubtedly be left inspired by the courage of two men determined to make the best of the cards life has dealt them.
I suppose the question that the film leaves you with is what would be on your bucket list? For in the words of The Shawshank Redemption's Andy Dufresne, you can 'get busy living, or get busy dying'.
Trailer for The Bucket List, released in 2007.
Tuesday, 21 December 2010
What Makes A Great Live Act?
So you discover an awesome new band on Spotify, check out their musical goods and perhaps, if it really is true love (and in the age of the illegal download it will have to be), you even buy their album. Before you know it the time has come to take this budding romance to the next level. You somehow beat the touts and find yourself the proud owner of tickets to see said band live. Sadly it is at this stage that so many live musicians ruin what could have been the start of something beautiful.
Musical talent is, of course, arguably the most crucial aspect of a gig, but who really wants a live music experience akin to plugging in your iPod whilst cooking dinner? Surely it is the raw imperfections of live performances that make them real, memorable, and exciting? The band that focuses solely upon playing a flawless show that sounds identical to their record risks a lack of passion and stage dynamic, yet when an artist truly engages with their audience it can result in an unforgettable, transcendental experience.
I vividly remember, with a stupid grin on my face, being in the midst of a highly-charged festival crowd aged seventeen as Foo Fighters blasted out ‘Times Like These’. Looking back, I think it was then that I realised just how incredibly powerful live music could be. There I was surrounded by thousands of like-minded people all screaming the words ‘it’s times like these you learn to live again’, in a muddy field without a care in the world. For a music lover, little can compare to watching a band bring the songs that have meant so much to you to life. To quote Billy Bragg, ‘you can experience the download but you can’t download the experience’.
Below are a few of my all-time favourite live music performances:
1. Queen play ‘Radio Ga Ga’ at Live Aid 1985
With 75,000 fans well and truly in the palm of his hand, flamboyantly fabulous Freddie Mercury takes the crown at Wembley Stadium.
2. Radiohead play ‘Paranoid Android’ at Glastonbury 2003
Thom Yorke appears to have been taken over by supernatural forces as Radiohead unleash their trippy epic upon the muddied masses.
3. Pulp play ‘Common People’ at Glastonbury 1995
‘If you want something to happen enough then it actually will happen, ok? I believe that.’ Jarvis Cocker inspires the crowd before launching into Pulp’s iconic anthem for the people.
Musical talent is, of course, arguably the most crucial aspect of a gig, but who really wants a live music experience akin to plugging in your iPod whilst cooking dinner? Surely it is the raw imperfections of live performances that make them real, memorable, and exciting? The band that focuses solely upon playing a flawless show that sounds identical to their record risks a lack of passion and stage dynamic, yet when an artist truly engages with their audience it can result in an unforgettable, transcendental experience.
I vividly remember, with a stupid grin on my face, being in the midst of a highly-charged festival crowd aged seventeen as Foo Fighters blasted out ‘Times Like These’. Looking back, I think it was then that I realised just how incredibly powerful live music could be. There I was surrounded by thousands of like-minded people all screaming the words ‘it’s times like these you learn to live again’, in a muddy field without a care in the world. For a music lover, little can compare to watching a band bring the songs that have meant so much to you to life. To quote Billy Bragg, ‘you can experience the download but you can’t download the experience’.
Below are a few of my all-time favourite live music performances:
1. Queen play ‘Radio Ga Ga’ at Live Aid 1985
With 75,000 fans well and truly in the palm of his hand, flamboyantly fabulous Freddie Mercury takes the crown at Wembley Stadium.
2. Radiohead play ‘Paranoid Android’ at Glastonbury 2003
Thom Yorke appears to have been taken over by supernatural forces as Radiohead unleash their trippy epic upon the muddied masses.
3. Pulp play ‘Common People’ at Glastonbury 1995
‘If you want something to happen enough then it actually will happen, ok? I believe that.’ Jarvis Cocker inspires the crowd before launching into Pulp’s iconic anthem for the people.
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