AT THE BEGINNING OF LAST YEAR, A YOUNG SPANISH PRODUCER CAUGHT OUR ATTENTION HERE AT AGENT2. AFTER HEARING A DEEPLY HYPNOTIC TRACK CALLED ‘IN ANOTHER ROOM’, RELEASED ON BARCELONA-BASED HIVERN DISCS, WE INSTANTLY WANTED TO HEAR MORE. SO, WE DID AND WE WERE HOOKED. A YOUNG MAN BY THE NAME MIGUEL BARROS AKA PIONAL SOON BECAME ONE OF OUR FAVOURITE EMERGING ARTISTS.

We scraped around and managed to find a few of his old tracks online, but over the past 12 months new releases and remixes have been springing up left, right and centre. One track that stood out in particular was the epic ‘We have Been Waiting For You’, which cropped up in clubs and DJ mixes the world over.

Pional has worked closely with the likes of Jon Talabot and Gavin Russom and it looks like the world is starting to pay attention to his unique sound. And so they should. His latest release comes courtesy of German label ‘Permanent Vacation’ where he joined forces with Hunee, Slow Hands, Session Victim and several other great artists to produce the critically acclaimed ‘If This Is House I Want My Money Back 2’ compilation. It is virtually impossible to pigeonhole Pional’s style, so we won’t do him an injustice by trying.

We caught up with the man himself to find out more.

You have several releases under your belt now. How did you get started with producing your own tracks?

It all started two years ago when I met the people from Hivern Discs. Actually, I’ve been making music for 10 years now, but I never took it that seriously. It wasn’t professional, just a hobby.

Looking through your back catalogue, it’s extremely difficult to put a genre to the sound. How would you describe your music and where does it all come from?

I tend to like making clear sounds. I often make the music that influences me and the music that I listen to, but at the same time I like the fact that my music sounds different to everything else. I don’t usually think about the clubs when I make my music. I think that the perfect mixture is a blend between home and dance floor.

I could describe my music as ‘slow-house’? ‘Electronic/alternative/pop-house’? (Laughs)

I have many influences; I have no prejudices about it. Right now you can catch me listening to Katy B’s new album and yesterday I was listening to St. Vincent. So, my influences could be kind of…freaky?

Do you give any time to DJing or do you spend all of your time in the studio?

My first ever live show last month in Copehagen, so I guess you could say that I spend most of my time in the studio! I’m not a DJ. Most days, when I get home I’ll normally spend around six hours making music.

You mentioned the live show. How did it work and did it go down well with the crowd?

Yes, I had a great time. There were no problems and I was very comfortable technically with the equipment that I took. I had great feedback from people; they really liked it (or so I think).

Do you look to anyone for inspiration for your live show? Who do you enjoy to watch perform live?

No, I don’t look to anyone for inspiration when it comes to my live act. Honestly, the acts that I generally see just have a laptop, a midi controller and nothing else. I would prefer to see interesting shows.

Right now, I don’t know who I’d like to see. I guess, like many others, I’d like to see a James Holden live act.

Yourself and Jon Talabot seem to be flying the flag for Spanish electronic music at the moment. Why do you think your music is so well received abroad?

Yeah, it’s cool! I guess it is well received thanks to the internet and word of mouth. Hivern has managed to achieve something that very few Spanish labels have in the past; people are talking about them, and that’s very cool.

‘We Have Been Waiting For You’ took everyone by surprise and got a lot of people talking about Pional. What’s the story behind that track? 

Well, I made that track four months before I sent it to the Hivern boys. The track originally had a very poppy drum kit and it didn’t have a 4/4 bass, clips or anything like that. It was basically a pop tune that lasted 3 minutes. The lyrics are taken from the TV show ‘Lost’. In fact, the title is the last sentence spoken by John Locke.

Have you got any new releases in the pipeline? An album perhaps?

I just finished several remixes, so right now I want to focus on preparing new material. For 2012 I plan to work on the album; I’m looking forward to it!

We’re guessing that your diary is will be filling up pretty quickly as the word begins to spread about your music. Have you got any more shows planned?

(Laughs) The truth is, that I have several interesting shows coming up around Europe (TBA).

Will you be making an appearance in the UK?

Not that I know of, but hopefully soon.

And finally…If you could banish one song to hell for all eternity, what would it be?

Black Eyed Peas – The Time (Dirty Bit)

Interview Dan Howell

THE UK FESTIVAL SCENE MAY SEEM AN OVERLY CROWDED MARKET BUT APPLE CART, HELD IN EAST LONDON ON 7TH AUGUST, PROVED THAT THERE’S ALWAYS ROOM FOR ONE MORE. APPLE CART TOOK PLACE THE DAY AFTER THE MORE ESTABLISHED FIELD DAY, RUN BY THE SAME TEAM AND IN THE SAME PLACE BUT THE ATMOSPHERE COULDN’T HAVE BEEN MORE DIFFERENT. THE CROWDS OF YOUNG EAST LONDONERS WITH INTIMIDATINGLY FASHIONABLE HAIRCUTS WERE REPLACED BY FAMILIES WITH PUSHCHAIRS AND GROUPS OF FRIENDS WITH PICNICS. SOMEWHERE BETWEEN A VILLAGE FETE AND LATITUDE, THE DAY AIMED TO PLEASE BOTH ADULTS AND KIDS ALIKE WITH AN ALMOST OVERWHELMING AMOUNT OF ENTERTAINMENT ON OFFER.

As it happens, it turned out that adults and children aren’t so very different in their tastes. Considerably more grown-ups than infants were taking part in the traditional fair games although they were a little too energetic for me to be entirely comfortable with on a Sunday. Similarly, although children made up the primary audience of the prestigious Magic Circle run tent there were plenty of adults (myself included) hanging round self-consciously at the back in a desperate attempt not to be asked to take part.

A little less child friendly was the comedy tent; in a brilliant scene stealing moment an outraged toddler heckled Mark Steel for swearing too much. Boasting a stellar line-up that made it one of the most popular areas of the festival, the tent was consistently overcrowded throughout the day. I was already familiar with Marcus Brigstocke’s brand of brilliant satire but Doc Brown’s mix of rap culture and subjects such as David Attenborough was a hugely pleasant surprise. The chance to see Kevin Eldon in stand up mode had clearly got a lot of people excited and although the crowds moved in to try and get as many of the festival goers out of the rain as possible those of us stuck outside to get wet didn’t really mind at all. Jon Richardson, in typically self deprecating mode pointed out that you’d have to be really terrible to have people leave the tent and brave the pouring rain outside but he needn’t have worried; I suspect the tent would have been just as full during his set if it had been blazing sunshine.  As his career continues to gather momentum at a startling rate the chance to see him in such an intimate venue was not to be missed. The main comedy draw for most, however, was Tim Minchin who played the main stage having clearly gotten too big for the (perhaps too) tiny comedy tent. He played with all his usual charisma and wit, although the very mixed audience meant that his unique brand of musical comedy seemed to miss the mark with several punters.

Earlier on in the day the always flamboyant Patrick Wolf took to the same stage shrouded in a hooded cloak which he threw off to reveal one of his trademark iconic outfits; a stunning red three piece suit to match his vibrant hair and bags of stage presence. In a touchingly earnest moment he dedicated the song ‘Black is the Colour’ to his friend the late Amy Winehouse, whom he toured with back in 2007. Later on in the afternoon a summery set from the The Magic Numbers cheered the rain drenched crowds and fitted the atmosphere of the day perfectly, as did the gorgeous electronic pop of Saint Ettiene who closed the festival as darkness set in across the park and Monday morning became more of a reality. The folk stage, curated by scene stalwarts SWN, Communion and Fence was hidden away in a peaceful corner of the site, with sofas to recline in whilst enjoying the lush sounds of such artists as Peggy Sue, Cate Le Bon and Michele Stodart (of The Magic Numbers).

As if the offerings of music, magic, comedy and games weren’t enough there was also the chance to design your own book cover with Penguin, buy some canned feeling of unease over at Monster Supplies from the Ministry of Stories, take in some culture with the Art Car Boot Sale and enjoy a seemingly endless variety of food on offer from Venn Street Market that made me a little disappointed it wasn’t possible to try it all. The Cabaret tent provided actual tables and chairs in a very civilised move for a festival but it was popular enough to ensure it was difficult not to end up standing, especially for singer, pianist and all round entertainer Chilly Gonzales and DJ sets from the likes of Andrew Weatherall and Kevin Rowland.

It’s a testament to the success of the day that even the torrential downpouring of rain couldn’t dampen the enthusiasm of the festival goers; running to the trees for shelter with a group of strangers actually added a sort of odd charm. If anything, unpredictable shifts in weather couldn’t have been more appropriate for such a typically British festival as Apple Cart turned out to be, in the best possible way.

www.theapplecartfestival.com

Words Tamsin Worrad

TENS OF THOUSANDS OF FESTIVAL GOERS TURNED UP TO CLAPHAM COMMON ON SUNDAY 24TH JULY TO CELEBRATE PEACE, LOVE AND ICE-CREAM AT BEN & JERRY’S SUNDAE ON THE COMMON. 

A very family friendly festival in the style of an old summer fete, artists such as Maximo Park and Gary Numan battled to win the crowd’s attention against a mass of other attractions. On entering the park a farmer appeared herding several pantomime cows through the throngs of people and it set the tone for the day nicely.  Equally bizarre, but no less enjoyable, were the toe wrestling competitions, knock out competitions with giant foam bars, air guitar bands and mystic moo (telling fortunes from palms and empty ice cream tubs). On a serious side, the festival did much to raise the profile of such worthy causes as Fair Trade, ethical farming (including the new RSPCA ‘Think Pig’ campaign) and Oxfam, whose ‘Pants to Poverty’ group were running a bouncy bungee run (in their pants, of course). A large portion of the range of food stalls present offered organic and free-range food, with free samples being given out by ethical brand Devon Cereals as well as the chance to win prizes through their wheel of fortune.

Of course, for a festival put on by Ben & Jerry’s the main attraction was bound to be the free ice cream with over 150,000 scoops given away during the weekend in both Manchester and London. Each fair trade flavour was represented on it’s own stand, with queues proportional to demand. New flavour Coconutterley Fair proved extremely popular (and very delicious), as did perennial favourites Cookie Dough and Phish Food. Considering the crowds the speed at which ice cream was served was very impressive and nobody had to queue for long.

The petting zoo from Vauxhall City Farm proved almost as popular as the ice cream, with children and adults alike queuing up to meet Alpacas, Sheltand ponies and tiny newborn chicks. Also popular with all ages were the fairground rides with the queue for the famous Helter Skelter stretching far back into the park, although I preferred the beautiful old-fashioned carousel. All rides are free, although donations were been taken to help Vauxhall City Farm with it’s running costs.

Headliners of the day Maximo Park proved that they’re as popular as they were when they started with a large crowd gathering to watch them finish the day, but the highlight in my mind was Gary Numan (despite most younger festival goers being baffled until he got to ‘Are Friends Electric?’, famously sampled by the Sugababes in 2001). Earlier in the day saw Little Comets, Stephen Fretwell and The Duke & The King take the stage whilst festival goers fought to get the treasured spots in the shade of the burning sun (the first aid tent were forced to put up a ‘no suncream here’ sign early on in the day).

All in all, the festival was an enjoyable day and well worth the £17 ticket price if just for the ice cream and rides alone. The line-up was not the most spectacular of the summer, but it was an enjoyable and fun day out with something for a whole families to appreciate.

Words Tamsin Worrad

FOR THE FIRST TIME IN IT’S SEVEN YEAR HISTORY, BEN AND JERRY’S DOUBLE SCOOP  SUNDAE FESTIVAL WILL BE TAKING FAIRTRADE FUN TO THE NORTH AS WELL AS THE SOUTH.

Previously held exclusively in London’s Clapham Common, this year the action will be simultaneously taking place in Manchester’s Heaton park, with bands alternating their headlining days. Maximo Park, Gary Numan and Little Comets will be on stage in Manchester on Saturday July 23rd and London on Sunday 24th July with Ocean Colour Scene, Ash and Fun Lovin Criminals in Manchester on the 24th and London on the 23rd. As well as the more famous names, the ‘Be Herd!’ competition will be allowing two unsigned acts to play at the festival. As well as music, the Double Scoop Sundae will involve fairground rides, social activism, the ever popular petting farm and of course, the chance to sample all of Ben and Jerry’s Fairtrade flavours. The ice cream makers, originally founded by Ben Cohen and Jerry Greenfield in 1978, are currently in the process of converting all ingredients possible to their fairtrade equivalents, with the intention of eventually being fully Fairtrade across their whole range of flavours.

Tickets and more information are available at www.benjerry.co.uk/sundae.

Words Tamsin Worrad

FESTIVAL SEASON IS WELL AND TRULY ON ITS WAY AND USUALLY SENDS THE AGENT2 OFFICE INTO A SPIN AS WE ARRANGE OUR WARDROBE OF PERFECT FESTIVAL ATTIRE AND THE HOTTEST WELLIES WE CAN GET OUR HANDS ON.  THIS YEAR HOWEVER THE AMAZING PARKLIFE WEEKENDER ONCE AGAIN LANDS ON OUR DOORSTEP MEANING THE BIGGEST THING WE HAVE TO GET IN A TIZZ ABOUT IS BOOKING THE CAB TO TAKE US THE 5 MINUTES DOWN THE ROAD TO PLATT FIELDS TO GET OUR FILL OF SUMMER FESTIVAL FRIVOLITIES’.

This year’s amazing line-up was revealed earlier in the year and has this week added more to its already massive line-up as Saturday’s headliner Two Door Cinema Club and Everything Everything join 90+ artists across two days. Despite only being on sale for six weeks 65% of tickets have now been sold for the summer’s best value for money festival, at only £58.50 per weekend pass. Live theatre, art installations, workshops and all manner of fringe attractions also on offer on Saturday 11th and Sunday 12th June in Platt Fields Park, Manchester.

Northern Irish indie trio Two Door Cinema Club will headline The Parklife Weekender’s main stage on day one of the festival, Saturday 11th June 2011. Having bagged the Choice Music Prize in Ireland for their debut release ‘Tourist History’ and a nomination in the BBC Sounds of 2010 poll the band are on a meteoric rise to success. Next to join the main stage are the Manchester based alt rock outfit Everything Everything, with outlandish lyrics and genre defying tracks their album ‘Man Alive’ has wowed critics. Both acts join a line up of over 90 bands, DJs and performers who between them represent the biggest and best in electronic, independent and cross over sounds.

There is little time to lose for festivalgoers wishing to bag tickets for Manchester’s only event worth attending this summer as 65% of tickets have now been sold. For only £58.50 fans receive true value for money with two days full of premier talent. For the second time in its two year history The Parklife Weekender is way on its way to another sell out.

Image: Sebastian Matthes

As well as the mind-blowing array of music on offer The Parklife Weekender will also play host to attractions including live theatre, art installations and sporting competitions. The festival has confirmed an all new Treehouse arena, a Tetris Light Box installation, circus performers and will be laying on both The Parklife Olympics and The Parklife Talent Show amongst many more weird and wonderful attractions.

The Parklife Weekender takes place Saturday 11th and Sunday 12th June 2011 in Platt Fields Park, Manchester.

Parklife Weekender Tickets, priced at only £58.50 for a full weekend, are on sale now.

www.parklife.uk.com

Check out AGENT2′s great Parklife competition to win a pair of weekend tickets here.

THE BRILLIANT ECHO & THE BUNNYMEN HAVE BEEN CONFIRMED FOR THIS YEARS LATITUDE FESTIVAL.

The cult post-punk band will be playing numbers from their extensive back catalogue as well as tracks from their most recent 2009 album The Fountain. A classic band that have gone on to inspire many of todays current acts, if you’re yet to have an introduction to the Liverpudlian act then check out this video of iconic track, Killing Moon. Sure to be one of the most essential bands to see over the course of the weekend.

Other acts added to the line-up include, The Cribs, Lyle Lovett and The Raghu Dixit Project.

ONES 2 WATCH: ELECTRICITY IN OUR HOMES

I OFTEN FIND MYSELF IN THE POSITION OF WANTING TO LIKE A BAND A LOT MORE THAN I ACTUALLY DO. THIS USUALLY APPLIES WHEN I DISCOVER AN ACT THAT IS TRYING TO DO SOMETHING NEW MUSICALLY OR SOMETHING OTHERWISE WORTHWHILE, ALTHOUGH THEIR ACTUAL MUSICAL OUTPUT IS STILL A BIT CACK.

Electricity In Our Homes flip this scenario on its head. I want to hate them. They are insanely trendy in every respect. They wear tight jeans, sing off key, play their instruments with a swaggered insouciance, have a MySpace page too ‘cool’ for a bio and their lyrics make you feel as though you are being sneered at for not being enough of a hipster.

Unfortunately all of these normally abhorrent character traits are exactly what make EIOH so brilliant.

They’ve been around for a while now, although you’ve probably not heard of them because they seemingly go out of their way to not promote their music, and then once you have heard them and want a piece of them to own for yourself, they make it very difficult to get hold of.

Their most recent 12 inch was only pressed 300 times and isn’t available online other than to stream on their MySpace page.

Fortunately their first EP We Completely Agree is available both on Spotify and iTunes, and I strongly suggest you have a listen and buy it.

I suppose I should describe their music, which is in itself a bit of a task; Post-Pop, Post-Punk 80’s revival that is so raw and cutting edge, you can’t help but imagine that this might be how Joy Division would have sounded if they were just now forming as a band.

Please take the time to listen to the song below, and visit their MySpace page. Your life will be enriched, but you do run the risk of inducing serious self loathing.

Words Luke McGee

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CANDLE THIEVES @ CAMDEN ENTERPRISE, MARCH 22

I DIDN’T KNOW MUCH ABOUT CANDLE THIEVES BEFORE THE GIG BUT FROM THE FEW TRACKS I HAD HEARD I WAS EXPECTING FEEL GOOD POP WITH KEYS AND ELECTRONIC BEATS, AKIN TO THE FLASH IN THE PAN THAT WAS OWL CITY.

Essentially, the music of 15 year olds that haven’t quite discovered the joys of real music yet but know enough to realise that there is a lot more than the humdrum of the top 40.

Watching them set up it was clear, based upon the amount of props that Candle Thieves had brought along with them that they were not a band that took themselves too seriously. An observation that in my experience meant that the gig could go one way or the other. It went the other.

Starting with ‘Breathing (just for you)’ they were quickly struck down with a technical error, the ol’ standard of the dodgy guitar lead. An unforgiveable mistake. Rule number one of any gigging band is check your equipment. Have spare strings, spare batteries, spare leads and sound check because if it can break, it will break.

That said, singer, Scott McEwan handled the situation well and quickly kick started things again following on with tunes of a similar upbeat nature before taking a massive slump in the middle. Maudlin songs like ‘Bright Lights’ and ‘We’re All Gonna Die’ stuck out like a racist joke in a Christmas cracker and just did not work. ‘We’re All Gonna Die’ in particular, was one of the most cringeworthy things I have seen at a gig. An awkward carry on which saw the singer walking around the audience singing without amplification to a lonely piano. It was like Glee, only it wasn’t on television it was in my face and it made me uncomfortable, especially when he forgot the lyrics to the second verse and had to stop.

From this point on things never really delivered. A shame really because the Candle Thieves are actually a good pop band and when they apply themselves are masters of the genre. Think Scouting for Girls with better music and lyrics that don’t (always) make you want to stab yourself in the face. The problem though is that other than two or three absolute showstoppers, Candle Thieves do not have songs good enough to merit any justified hype or acclaim. Their set was odd and felt half-formed starting with a lot of promise (despite tech errors) before petering out in the middle with filler and cheap gags. With a stronger batch of tunes and not just a few reliable ones they could be great. The twee bullshit also needs to be stopped or at least saved for an audience that actually cares. I.e. One comprised of teenagers not adults drunk on cheap wine and self denial.

Overall this was a very disappointing gig from a band that are obviously capable of some good stuff yet seemingly don’t rehearse or know which direction they actually want to head in.

2/5

www.thecandlethieves.com

Words: Jordan Waller

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IT’S BEEN HARD TO IGNORE ALL OF THE PRESS COVERAGE CURRENTLY BEING GIVEN TO RICHARD AYOADE’S DIRECTORIAL DEBUT SUBMARINE, WHICH IS TO OPEN IN CINEMAS THIS FRIDAY.

A comical “coming of age” story set in Wales, the film is adapted from Joe Dunthorne’s novel of the same name and has been causing a bit of a stir with those ‘in the know’ for quite some time.

Accompanying Ayoade’s vision on scoring duties is Arctic Monkey’s front-man Alex Turner who features six songs in the film, all of which have just been released as an EP. A stripped down, other worldly acoustic effort that sets the tone for the film perfectly, as an EP this sounds a complete and coherent work from start to finish. The songs whilst individuals, all clearly point towards a much larger work, obviously, not a great surprise when you remember why these songs exist. The sense of completion however does improve the listening experience considerably.

Forgetting for a second that they have been written for a film, as a collection of songs this is an impressive record. As someone who isn’t enormously enamoured with the Arctic Monkeys and had previously found Alex Turner’s song writing a bit charmless, I’ve been pleasantly surprised by this record. But, that said, for all of the accolades and sycophancy bestowed upon this man over the past few years, I’m not sure that these 6 songs have convinced me that I was completely wrong about him and that he actually is the greatest song writer of our generation.

There were moments on the first play-through when I found myself pausing a song for one reason or another and completely forgetting that I’d been listening to anything, which isn’t the behaviour of someone immersed in a work of genius. If anything on repeated listening it’s easy to find the tracks a little boring and I did constantly find myself looking for reasons to hit the pause button. Considering this it’s easy to say that the EP is a lot less than sum of it’s parts and whether the EP will retain any of its initial charm once the film leaves our cinema screens will remain to be seen.

The film isn’t out for a few days, and I was already pretty excited about it. Having now listened to part of the soundtrack and better understood how it will work and enhance the film, I am now going to spend the rest of my week trying to find things to do until Friday.

4/5

Words Luke McGee

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THE NEWLY REFORMED SUEDE ARE SET TO HEADLINE THIS YEAR’S LATITUDE FESTIVAL ALONGSIDE THE NATIONAL AND SCOTTISH SOUL MAN, PAOLO NUTINI.

The annual music and arts festival will take place on the weekend of 14 -17 July, at Henham Park near Southwold, Suffolk. This will be the 6^th year that the festival has run, with organisers, Festival Republic recently signing up for a further 15 years at the site.

With a variety of changes set in place, this year should see the largest and most ambitious Latitude yet – one major improvement of which will be an increased arena size but without a capacity increase. Hopefully, allowing for a more comfortable festival experience for any attendees and surely music to the ears of any attendees that got caught up in large crowds during previous years.

Latitude founder and creator said Melvin Benn said: “We’ve been listening to our loyal fans and this year, for our sixth edition, we are making some changes to the site which will further enhance everyone’s enjoyment of their favourite festival weekend. Latitude truly is ‘more than just a music festival’ and this year’s programme across the full spectrum of arts and music is utterly exceptional.”

Other music acts to play over the course of the weekend will include Bright Eyes, Foals, KT Tunstall, Villagers, Paloma Faith and newcomer Anna Calvi.

As always, there will also be a variety of comedy acts on the bill including Never Mind The Buzzcock’s Phil Jupitus, Dave Gorman and Richard Herring.

For a full listings, news and tickets visit Latitude’s website here.

Words Jordan Waller

BAND: WHAT WOULD JESUS DRIVE

ALBUM: BLACK AND BLUE

RELEASE: 28TH MARCH (DIGITAL), 30TH MAY (PHYSICAL)

CONSIDERING THAT PANCAKE DAY HAS ONLY RECENTLY PASSED, I THINK IT MIGHT BE NICE TO TALK ABOUT PANCAKES FOR A SECOND.

Now, as a meal there is nothing inherently wrong with pancakes at all. In fact, you could say that their pros easily outweigh their cons. They are easy to make, they comprise of simple ingredients that you almost always have and they take no effort to eat. You could easily slop one down when on a hangover with minimal vomit potential or make them a full on meal with lots of hearty toppings. They are sweet but equally delicious savoury and taste fine on their own without toppings and extra additions.

What Would Jesus Drive are similar like that. They taste absolutely fine on their own. But could they benefit from the addition of something else a little more interesting? Yes. Yes they could.

Black and Blue is not a horrible album and is actually fairly listenable but not at all memorable. It’s the kind of thing that you might find slung into the middle of an indie playlist in a shit hole club that you’ll never remember the next day. They follow the tried and tested formula of mildly accented vocalisations mixing it up with spoken word and shouty romps ala Art Brut and Los Campesinos! Only, they don’t have the lo-fi charm of Art Brut, or the musical chops of the ever expansive Los Campesinos! (Apparently the exclamation mark is essential, which I agree is very annoying).

Truthfully – and I say this with a heavy heart because their name is fantastic – there is really very little to WWJD. Just like pancakes. They bring nothing new or particularly original to the table and we have already heard it all before. Most likely in the band that you yourself formed aged 16 and why would you listen to that on a album when you could listen to something a lot better by…I don’t know… those funny indie failures that never did anything – The Oxfam Glamour Models. At least they, whilst being tragic and terrible had a genuine fire to them. WWJD just seem forced. Like The Wombats, and the only time that was ever acceptable was in 2007. Of course I might eat my words when they release their new album later this year but something tells me I won’t have to. Something tells me it will either sound nothing like their debut or be absolutely rubbish. WWJD just sounds like an angrier version of Wombats and that’s not great.

Still, I bet they’re banging live and fun to dance to, which is probably their real aim anyway. I hope. Now where did I leave my pancakes.

2/5

www.whatwouldjesusdrive.co

Words Jordan Waller

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IN THE VOID LEFT BETWEEN AMY WINEHOUSE ACTUALLY HEADING TO REHAB AND X-FACTOR’S EMOTIONAL BUBBLE BATHS, WE’VE WATCHED THE SOUL SCENE TOPPED UP TO ALMOST SATURATION POINT.

The problem with most artists being that they are usually a cleverly packaged attempt to mince the cash cow. Other than Plan B’s recent efforts and perhaps Jamie Lidell’s Jim album, there hasn’t really been much in the way of anything sounding even remotely genuine in recent years –especially from a male singer. Even with the examples given, one does have to take a second to briefly question the motives of the formally gritty rapper Plan B, whilst also wondering if Liddell’s heart is truly in it, considering his electro roots. But, good things come to those who wait and it would seem that we finally have a male soul contender for Winehouse’s crown. Embodying a voice so authentic that if it was a single entity it’d be suited and booted and stealing your girlfriend, this man is Liam Bailey.

You may recognise his name as the recent feature credit on Chase and Status’ Blind Faith most likely caught playing in a club near you in a sea of WKD and short skirts. For a more accurate representation of his talents though you should check out his recent single, ‘You Better Leave Me,’ a swoon of strings and sharp guitar relayed beneath a world weary voice of Ortis Redding and Sam Cooke proportions. The song is a slow burner that does just enough to knock the spotlight in his direction, placing full emphasis on his smokey blues tinged diction and breathing new life into a previously tiresome genre.

With an album dropping just in time for the festivals (sometime in May), we should expect to see a lot more from this Nottingham bred soulster. As long as this new, greater exposure isn’t due to any career stemming product endorsements (ahem, Duffy,) then we think that this can only be a good thing.

www.liambaileymusic.co.uk

Words Jordan Waller

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YOU ALWAYS FEEL AN EVER SO SLIGHT SENSE OF GUILT BUYING A COMPILATION ALBUM, LIKE THE PERSON BEHIND THE COUNTER IS SECRETLY THINKING “OH JUST GET OUT OF MY SHOP YOU PLASTIC MUSIC FAN”.

I know I’m not alone in this. How many times have you spoken to a friend who you respect enough to value their opinion of any music, and heard them say that you simply must get a compilation album? Probably never.

Of course, this is a ludicrous way to feel. If you don’t know a great deal about an artist, these brief summaries and highlights of their careers to date are a great way of getting you through the door. I wouldn’t be as obsessed with Tom Waits, were it not for someone giving me a highlights package of his early career.

There is however a difference between artists like Tom Waits and U2 releasing a selection of their most popular songs. For one it’s a convenient summary of their work, for the other a deeply cynical, money spinning operation.

Ladytron: Best of 00 – 10 is a fairly self explanatory title for this compilation album. If you don’t know who Ladytron are, they are an electro band from Liverpool who have only really been active for the past decade. Therefore, a “best of” album is an ideal showcase of their work to at least form a considered opinion of their output, had you not really paid a great deal of attention to their work previously.

As someone who falls into this category, I am in a perfect position to review this album at face value.

My first comment on all 17 songs featured, is that I cannot believe this is music from the 21st century. Everything on this album sounds awfully dated. From start to finish the tracks are all saturated with pad synth sounds. This sort of thing was acceptable in the 80’s, when synth pop first became commonplace. But with 20-30 years spent honing the art of synthesis, this feels extremely lazy and is frankly, irritating.

Lazy is an adjective that can be applied when trying to describe virtually all aspects of this record. It’s hard to imagine that a great deal of thought and effort went into the chord patterns of any of the songs and I can’t remember any of the lyrics or vocal melodies from the album.

It’s possible that I’m being unfair, as this style of music has been heavily lampooned in the media, and admittedly many of the songs wouldn’t have be out of place in an episode of Nathan Barley.

The one worthwhile song, ‘Deep Blue’, I’ve embedded below. It boasts a variety of sounds and a broader range of dynamics than can be seen anywhere else on the album. But, after listening through the full album twice has this whirlwind over-saturation in anyway encouraged me to take a further interest in Ladytron and their electro-legacy?

I think the fact that I’m already deleting this album from my iTunes library, throwing the CD over the nearest rainbow and fashioning an email to Ladytron, informing them that most modern synthesisers have a broader range of sound banks than “pad strings”, should answer that question for you.

That’s not to say that some people won’t like this. I often find myself in some dreadful bar in Shoreditch or Brighton, and see people I want nothing to do with enjoying this kind of electro-drivel.

In summary, if you like Fischerspooner and would be happy to buy an album they made in an afternoon at gunpoint, then it’s entirely possible that you will like Ladytron.

The album is out on March 28th and you will be able to find out more about it by visiting the band’s website.

Words Luke McGee

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SHE IS 16 YEARS OLD, PLAYS THE UKULELE, HAS A NAME THAT MAKES HER SOUND LIKE ONE OF ANDY WARHOL’S MUSES AND HAS JUST RELEASED ONE OF THE MOST PROMISING DEBUT ALBUMS WE’VE HEARD THIS YEAR.

Misty Miller writes sweet and cheery songs about love and life that stick like melted icecream. Lyrically she embodies an air of innocence with twee references to the playground and teenage kisses but at the same time her songs are in no way aimed purely towards her peers. Each song is skilfully crafted in such a way that they easily reach out to all, if you have ever been in love from a distance, had your heart broken or simply aspired for something a bit more, then you’re on the same card.

As far as comparison’s go, at the moment the music press are lumping her in with the new folk crowd and hailing her as the next Laura Marling. Personally I wouldn’t really label it as folk, sure it contains lots of acoustic countrified instruments but as a full sound it’s a lot poppier than your average pub dwelling folky. Leaping from floaty Hawaiian style ditties to rockabilly and slow dramatic ballads in just a few tracks there is a lot more at work here. If you’re looking for a muddy comparison then think Lisa Hannigan with the pop bounce of Jason Mraz and the structure and styling’s of Billie Holiday and even Elvis in his moments of smooth.

Whatever your thoughts, she is certainly impressing the right people  and has already caught the roving eyes of Vogue, Swarovski, L’Oreal, Radio 1’s Rob Da Bank and John Kennedy’s XFM Exposure show. Not to mention Burberry’s Christopher Bailey being a huge fan and featuring her not just in his Burberry Acoustic campaign but also using her song Remember to accompany the men’s fashion show –Burberry Prosum for Spring/Summer2011.

Get ready to see a lot more of her in 2011 as well as a massive outbreak of other ukulele playing teen copy cats.

Words Jordan Waller Image Nick Dorey

THERE’S A VERY GOOD CHANCE THAT YOU’VE NEVER HEARD OF ÓLÖF ARNALDS. THIS IS BECAUSE AS A GENERIC WESTERN CONSUMER, YOU’RE SO PRE-OCCUPIED WITH FINDING THE NEXT BUCKET OF DRIVEL SERVED UP BY BRITAIN OR AMERICA, YOU’VE LITTLE TO NO INTEREST IN ANYTHING THAT MIGHT BE HAPPENING IN ICELAND. ESPECIALLY SINCE THEIR ENORMOUS CONTRIBUTION TO OUR ECONOMIC CRISIS, YOU PROBABLY DON’T THINK WE CAN TRUST THEM.

Well, luckily for your I’m here to point you in the direction of an artist so whimsical and exciting in equal measure that on her most recent album Bjork featured as nothing more than a backing singer and her only UK show currently scheduled for this year has already sold out.

So, the album is already out and her only UK gig you won’t be able to get tickets for, so why on earth am I telling you about this person?

Ólöf Arnalds is an artist achieving both critical acclaim and relative fame at an unusual stage in her career. Although she has toured with a number of other artists and has for some time been a member of the experimental band Mum, it’s only now at the age of 31 and as a solo artist that Ólöf is receiving the individual attention that she so clearly deserves.

Her 2010 album Innundir Skinni was written after giving birth to her first child, an experience Ólöf described as inspiring her to have a lot of beautiful ideas from being in a blissful state.

Next month she will release another single from last year’s album, and to promote it she has added another date to her European tour, one day after the sold out show at London’s Vortex Jazz Club.

You could do far worse than to check out the upcoming single ‘Surrender’ by watching the video beneath this post however, please be aware that it has some moderately graphic scenes and should a bit of human flesh be too much for you then you can listen to the single on SoundCloud by clicking here.

The single is a beautifully intimate folk lullaby that is stripped down to such a degree that you could easily believe the performance to be taking place in the room with you.

Bjork provides a haunting backing vocal that are understated enough not to overpower the song’s core, but adds an ethereal dusting to the extraordinarily personal performance from Ólöf.

She has already been tipped by The Guardian, NME, Mojo and Q magazine to cause a bit of a stir in 2011. Well, as much of a stir as someone seemingly so reclusive can muster.

You can book tickets for the London show by visiting this website and if you’ve decided to do that, you might as well buy a copy of Innundir Skinni, which is avaliable on iTunes.

Follow me on twitter @monkeyhotel

Words Luke McGee

HAVING JUST BEEN PLUCKED UP BY HMV AND NME AS THE NEXT BIG THING AND DESCRIBED AS A SOMBRE DEPECHE MODE BY STEVE LAMACQ, BRIGHTON- BASED BAND MIRRORS HAVE BARELY HAD TIME TO SIT BACK AND REFLECT ON A VERY BUSY MONTH.

Having already supported OMD, Fenech- Soler Hercules and Love Affair and the ever popular White Lies, this band can almost be described as living in electric dreams.

I spoke to the Mirrors about their influences.

There is obviously an 80′s sound running throughout your music. Who are your inspirations?

We are certainly influenced by many of those bands that flourished in the wave of creativity that was ushered in after punk; bands such as Joy Division/New Order, Cabaret Voltaire, The Human League, Depeche Mode, but, like many of those 80′s acts were then, we, in turn, take a lot of influence from the electronic music made by pioneering artists from even earlier, like Tangerine Dream, Kraftwerk, E.M.A.K

And though we are musicians, we find inspiration in many other places. For example, we literally build our music, and so architecture is a great influence. We try, through our live visuals, our image, and indeed everything we show of ourselves, to be creative, and to be more than just a band, so artists like Gilbert and George, who live their very lives as art, are a great inspiration. I could go on and on all day!

What was it like supporting OMD in Paris and how did it come about?

OMD contacted us and said that they liked our music, and kindly asked us if we would like to support them on their tour. The opportunity to play our music in front of thousands of electronic pop music fans was very welcome.

Do you think your overall look and visuals in your performance are as important as the music?

Everything that we present is of equal importance. The visuals are there to enhance the music, and vice versa. Likewise, our neat, smart image is great because it instantly sets up an expectation in people’s brains, which we then aim to fulfil. We wish everything to be special.

What can we expect next from Mirrors?

Our album is coming out on the 24 February and we are having an album launch at The Green Door in Brighton that day. We are already working on our next album, which, though in the early stages, is set to be rather different from this one. We are really excited to be writing, but also hope to play various festivals in the summer. We are also touring with fellow Brightonians Fujiya this February. We would like very much to see you all there.

www.myspace.com/mirrorsmirrorsmirrors

Words Jennifer Butler

IF EVER THERE WERE A SENTENCE LIKELY TO DISCOURAGE YOU FROM LISTENING TO AN ARTIST, IT MIGHT BE THIS; “HE BEGAN CAPTIVATING LISTENERS WITH MUSIC THAT HAS BEEN DESCRIBED AS A BLEND OF DAMIEN RICE AND BJORK”.

Oh dear. I mean, the Bjork bit is okay and I suppose Damien Rice isn’t exactly evil, but where on earth is the middle ground between the two?

Fortunately whenever I get a press release I scroll immediately to the bottom of the email looking for a link to the music before reading any of the text. It’s easier this way and probably avoids hours of reading about something I’ll ultimately hate or ignoring something very special indeed.

I’ve not been as immediately captivated by an artist as I have by Moddi in a very long time.

On paper Pål Moddi Knutsen’s debut album Floriography sounds the opposite of anything any normal human should want to listen too. Slow, evolving, ambient songs from a sentimental and contemplative songwriter who works alone and at night.

Songs that all sound more or less the same and under normal circumstances should begin to bore you, but instead draw you further into the intimate bubble, in which only exists your mind and Moddi’s voice.

The voice is a good place to start in praising Moddi. To describe his voice as androgynous would be quite an understatement. Working out whether he is male of female is only the start of your dissection of this rather peculiar voice. It may be something about the Norwegian accent, but Moddi’s voice sounds constantly as though it is being electronically modified.

The album does have stand out tracks, which I’ll address shortly, but it’s important to acknowledge that this is a proper album. When I say proper album, I mean that the songs are in an order where they pay compliment to each other, and by the end of record you feel as though you have listened to one cohesive work, rather than a selection of songs by one writer.

So often do artists fail to achieve this on a debut album, and produce what feels like a best of show-reel that is part of a desperate scheme to become famous. Floriography is instead an album with such a distinct voice that on first listen, it’s difficult to remember how many songs you’ve listened to or how much time has passed. In Floriogaphry, Moddi has created a sonic world in which his music is everything, his music is sovereign and you are an invited guest.

That’s not to say that the album is an easy listen. As I mentioned above, Moddi’s voice presents the ear with a problem, which remains a point of integral interest until the end of the record.

The musical arrangements provide just as much fascination; Unconventional recordings of acoustic instruments, seamlessly mixed with electronic sounds and creative uses of harmony combined with timbral ideas to create significant tensions and releases that reflect perfectly Moddi’s voice and lyrics.

If you like your pop music a little more challenging than Coldplay but as listenable as anything you’re likely to hear elsewhere, then please watch the video for the rather excellent single ‘Magpie Eggs’.

If you like the idea of Damien Rice collaborating with Bjork, then do yourself a favour and avoid this album.

Floriography isn’t out in the UK until April 18th, but you can listen to it now on Spotify, and you can find out everything you need to know by visiting the official Moddi website.

Words Luke McGee

Follow me on twitter @monkeyhotel

However, aside from their name and the fact that they have a song called ‘Vessels,’ there is actually little reflection of their nautical roots or other such folk preconceptions within their music. In fact, I imagine there is a better chance of Ellie Goulding releasing a sex video than there is of Tall Ships breaking out the banjo. Which can only ever be a good thing in my books.

Falling typically into the ‘math rock,’ genre (potentially the most ludicrously worded moniker after ‘space rap’) it would be easy to lump Tall Ships in the post-Foals posh rock club although you would be being unfairly dismissive. Currently riding the whispered hype of their second EP, they have spent the last year or so cutting their musical chops gigging with the likes of Tubelord, Minus the Bear and 65daysofstatic, extensive baptisms by fire that have seen the death of many a band before them. Thankfully though, Tall Ships have managed to escape barely singed with their heads held high aloft a steady foundation of new –and obsessively loyal- fans.

On record they could be compared to the more ambient side of North American indie like Death Cab circa ‘I will possess your heart,’ and The Maple State if they dropped the angst. It is in the live arena though that Tall Ships come into their own. With performances that include loop pedals, group vocals and multiple instrument changes, it’s obvious that they know their way around a tune better than most. In the flesh their songs are brought vividly alive and are complete lessons in musical tension and hook writing.

If you like your music big, self-indulgent and sprawling with an air of youthful self-consciousness this is for you. A much needed breath of fresh salty sea air.

You will enjoy this band if you like: Mimas, Modest Mouse, 65daysofstatic, The Maple State, Death Cab for Cutie.

Check out their music video for their song ‘Chemistry,’ below:

myspace.com/tallshipsfromfalmouth

Words Jordan Waller

THE TERM ‘IDM’ (INTELLIGENT DANCE MUSIC) IS ONE I HAVE ALWAYS FOUND RATHER CRINGE INDUCING. AT LEAST I DO UNTIL HEARING THE MUSIC IT’S BEING USED TO DESCRIBE, AT WHICH POINT A VEIL OF RAGE AND GLOOM DETACHES ME FROM THE REAL WORLD.

Isn’t it a preposterously pretentious term? Placing some dance music on an intellectual pedestal above other dance music, that is in all honesty probably equal in its vapidity? And what about a Strauss Waltz, or a Chopin Mazourka? Unintelligent, I presume.

Well, at the risk of sounding an enormous hypocrite, an album is soon to be released that I believe may deserve the descriptive tag “IDM”.

If you’ve heard of the experimental pianist Hauschka, then please, accept my congratulations. The rest of you, pay attention for the next 300 words or so.

The wonderfully creative composer is back with a new album, that will hopefully pick up precisely where his 2010 slice of wonderment ‘Foreign Landscapes’ left off.

‘Salon Des Amateurs’ will see Hauschka (aka Volker Bertelmann) returns to his celebrated prepared piano style, where he will present us with what will doubtless be a unique take on minimalist techno and house.

For those of you unfamiliar with the prepared piano (do you know nothing of the works of John Cage? Goodness me!), Bertelmann achieved fame for placing unusual objects; bottle tops, gaffa tape and even vibrators inside the body of his piano, which allows the instrument an emphasised set of percussive properties.

It is from these percussive sounds that Hauschka will presumably form the basis of his dance tracks.

‘Salon Des Amateurs’ will certainly be quite a departure both stylistically and aesthetically from any of Hauschka’s previous works, particularly the aforementioned ‘Foreign Landscapes”, which saw his distintive arrangements evolve from the piano and spread across an orchestra.

The album isn’t out until April 11, so in the meantime I suggest you make yourself familiar with some of Hauschka’s back catalogue, starting with his last album which can be listened to in full beneath this article.

For more information on Hauschka, click here.

Follow me on twitter @monkeyhotel

Words Luke McGee

Hauschka – Foreign Landscapes by Hauschkamusic

A LOT OF TIME HAS PASSED SINCE THE BREAK UP OF OASIS. AT THE TIME I THOUGHT “WELL, THAT’S A SHAME. I HOPE NOEL CARRIES ON RELEASING MUSIC”.

I just assumed that Liam would probably call it a day and spend more time on his fashion and socialite career. Noel Gallagher was the pulse that drove Oasis. Whilst Liam gave the band its swaggering, rebellious image that certainly aided the group’s success, it’s probably fair to say that any musical contribution made by the singer was detrimental to the band. Anyone who has heard an Oasis song penned by Liam should agree with this.

Nevertheless, I was delighted when I first heard that Liam was to continue releasing music with his new band Beady Eye, a band that consists of Liam and the former Oasis hired-guns Gem Archer and Andy Bell. I suppose you could look at Beady Eye as being Oasis sans Noel.

So what do Oasis without Noel sound like? Fairly average, unfortunately. ‘The Roller’ sounds like an Oasis song that would probably have been scrapped, or at best been a B side. The song opens with sustained chords and a vocal tune that are painfully similar, if not identical to the Beatles ‘All You Need Is Love’, which then continues throughout every verse. I assume this was deliberate, although I’m not sure that makes it any less cringe worthy. We get it Liam, you like John Lennon.

The lyrics are a tough lightweight, and although the chorus is quite catchy, the verses are practically un-listenable.

Although ‘The Roller’ will be Beady Eye’s debut single, it’s the third song we’ve heard from the band’s forthcoming debut album Different Gear, Still Speeding, which will be released on February 28th. Sadly, the two songs we’ve already been treated to tell a similar story, and haven’t filled me with a great deal of excitement for the album.

I think it’s fair to say that towards the end Oasis had long since peaked, and the split felt inevitable. Noel had been performing on his own for a while and at the time it seemed obvious to all the he, and the rest of the band were ready to move on. This is why the former members of Oasis forming a band like Beady Eye strikes me as being slightly short sighted.

To my ears Beady Eye don’t sound like the remnants of a groundbreaking band moving onto pastures new. Rather, they sound like a new band who were heavily influenced by Oasis.

Yes, they are perfectly passable as a standard, British guitar band and I’ve certainly heard worse music, I’m sure we all have. However, when you consider the heights that these musicians used to scale, one can’t help but feel that they would have been better advised to take a dignified final bow, rather than desperately hang onto what might be a lengthily descent into the pits of mediocrity.

If you would like to learn more about Beady Eye then you can visit their website by clicking here, and you can listen to ‘The Roller’ beneath this post.

Words Luke McGee

Follow me on twitter @monkeyhotel

I DARE SAY THAT NOT MANY OF YOU WILL REMEMBER WHO KIMBERLY WYATT IS, IF INDEED YOU EVER KNEW AT ALL.

That’s the problem with being part of a massive pop group, especially if you’re not the ‘famous’ one – it’s easy to dissapear into obscurity. We only need observe what has happened with the Girls Aloud splintered solo efforts to see that the tangibly ordinary Cheryl has commercially outshone the considerably less famous but far more talented Nadine Coyle.

In 2010 Kimberly Wyatt announced her departure from the frighteningly successful Pussy Cat Dolls, leaving her kicking her heels. Instead of fading away from our collective memories, Wyatt stands before us with her new musical project; Her Majesty and The Wolves.

The duo is completed by Jupiter Rising’s Spencer Nezey, who takes care of production and occasionally chips in with this urban warbling.

Stars In Your Eyes is, although a tad generic, smothered in personality and is certainly very current. The production is flawless, the beat is tight and the song is oozing with class and glamour. This really is high end pop, and the very much worth pointing your ears towards for 3 minutes.

From the outset the vocal melody is unpredictable and striking, whilst the backing music is relentlessly upbeat in the best possible sort of way. The song has dangerously catchy chorus, and if you can sit through it without wanting to get up from your seat and dance like a lunatic you should probably consider giving your pulse a quick check.

Sure, it’s a bit of electro-pop fun and not overly substantial, but it’s fairly apparent that this duo is more than a means to and end for Wyatt and Nezey. Music without character and personality is quickly exposed, and this single has two very distinct hallmarks stamped all over it, leaving the song feeling entirely authentic as a passion project.

If you like what you hear from the video below, then why not join us in cheering for the underdog? You can follow HMATW on FaceBook, and the single is avaliable for purchase on iTunes by clicking here.

Words Luke McGee

SHERIDAN SMITH SANG LIVE ALONGSIDE BLOOMFIELD AVENUE AND RICARDO ALONSO AT THE ROADHOUSE IN COVENT GARDEN.

The Roadhouse is a vibrant night club located in the heart of Covent Garden and is famous for its live bands, DJs and yummy cocktails. The Roadhouse is also the host to the World Flair Championship, a competition where the best bartenders show off their mixing and spinning bottles skills to win the top prize, 10,000 pounds.

Sheridan Smith, Bloomfield Avenue and Richard Alonso offered an electric performance that made everybody sing and dance all night long!

Sheridan Smith is a famous actress and singer, very well-known for her roles in the TV series Two pints of lager & a packet of crisps and Gavin and Stacey. She has also been playing the lead role in the musical version of “Legally Blonde” in London’s West End since 2009 and has started the workshop productions for a new musical adaptation of “Bridget Jones’ Diary” where she will be playing Bridget next year.

Bloomfield Avenue are a six piece band whose members are very well-known and admired in the music theatre world. They are currently performing in several London West End musicals, including the sensational “Jersey boys”.

Ricardo Alonso was discovered by a Disney producer which led to his singing and voicing on many Disney and DreamWorks animated features. He is currently performing at the musical “We Will Rock You” where he plays Galileo and has also played in “The Night of 1000 Voices” at the Royal Albert Hall.

The event was hosted and organised by Richard Austin Rees and Nicole Hatch.

The atmosphere was electrifying and all the guests were rocking and rolling on the dance floor!

Words Veronica Carpio Martin  Images Dan Harley

LAST WEEKEND SAW THE SAHARA DESERT DUSTY VICTORIA PARK IN EAST LONDON HOST THIS YEAR’S FIELD DAY. PEOPLE WERE OUT IN THEIR DENIM AND SUN HATS BRAVING BEING BURNT IN THE OPEN MEADOW. A HORIZON OF CHECKED SHIRTS MET YOU AS YOU WALKED IN AND OUT OF TENTS FOR SOME SHADE AND SOMEONE TO DRINK YOUR BEER WITHOUT GETTING A MOUTHFUL OF DUST AND STRAW. JENNY BUTLER OF AGENT2 MAGAZINE LOOKS AT A RUNDOWN OF THE BEST BANDS ON OFFER AND ALL THE DAY HAD TO OFFER.

When I got through the rather lengthy ticket queue just to get into another queue to get in the cider was really about to hit on. A plethora of fairground shenanigans were all around and I couldn’t help but be a little tempted by the coconut shys. From the corner of my eye I could see a number of crazy trendies having a go at a sack race. Of course this was no match for the skinny jean wearing boys, who were use to feeling restricted in their every day movements.

The first band that caught my eye was Amiina at the Village Mentality Tent. I could hear the familiar sound of violins, plus it was the first tent as you entered the festival. A chilled way to start the day, the use of a saw to create a haunting whistle was pleasing so early on in a hot day.

The early part of the day is generally spent spiralling in and out of tents trying to squeeze in as many acts as possible. As I went winding in to the Adventures in the Beetroot field tent to see Atlas Sounds, one of the bands I was desperate to see I could hear sound problems from the outset. Riddled with sound issues, the muffled vocals and crumpled instruments made this brilliant band sound terrible in comparison to their great album.

The main stage held host to a number of quality acts. Lightspeed Champion got the crowd dancing in the 4 o’clock heat. His raw energy and simple set up was perfect. By far the best band of the day was The Hypnotic Brass Ensemble. It was Jay-Z with trumpets, synchronised moves and rippled six packs. If you haven’t heard of them this Chicago based 9 -piece is something special. Mix in the occasional rap and you have a mixture of soulful hip hop.

As night time fell the stage was lit for Phoenix. Having seen this band back in the Camden Roundhouse six months ago I didn’t rate them and went to see them, as most people, because they were headlining. Although they have improved and some of their songs are catchy, they are nothing more than a band of the moment. They were a light bite after some of the days more complicated and more musically capable bands, but they were nothing special. But, for a brief moment as least, they got my feet dancing like a cat on a hot tin roof.

Words Jennifer Butler  Images Professor Nerdester

SINCE THEIR FORMATION OVER THREE YEARS AGO, THE TRAVELLING BAND HAVE TAKEN INFLUENCES FROM ACROSS THE BOARD TO CREATE THEIR OWN BLEND OF PSYCHADELIA, FOLK, BLUES, COUNTRY AND POP. INDEED A DIFFICULT BAND TO PIGEONHOLE, BUT WHAT’S THE FASCINATION WITH LABELLING EVERYTHING WE HEAR? THEIR MUSIC CAN BE INTERPRETED IN ANY NUMBER OF WAYS; A QUALITY WHICH MAKES THIS BAND SO INTERESTING AND PROBABLY THE REASON WHY THEY’VE CREATED SUCH A LOYAL FAN BASE NATIONWIDE. A CERTAIN HONESTY IS PRESENT IN THEIR WORK.

2010 is proving to be an exciting year for TTB. Having completed a string of U.K dates including Glastonbury for the third year on the trot, the seasoned travellers are giving fans another teaser of what to expect from their forthcoming second album, which is due for release later this year.

“The Horizon, Me and You” is the next installment from the album, following on from the success of the beautifully crafted track, “Sundial” which received a great deal of radio play and acclamation earlier in the year. The track is to be put out as a very limited edition 7” (500 to be precise) as part of the Too Pure Singles Club series. This appears to be a bold move by the band as all their work has been previously released on their own Sideways Saloon label, but a move that stays in touch with their organic roots nonetheless.

You can expect to hear a definite move into pop territory from this latest offering by the Manchester six-piece. With this track, simplicity appears to be key. Humbling lead vocals from Adam Gorman accompanied by simple riffs, keys and the occasional harmony lead up to one of the catchiest choruses of the Summer. Three minutes of unadulterated Americana bliss. Without doubt a feel good hit, I challenge anyone to disagree!

Each member of the band plays a key part in the song writing process, a factor that is evident on listening through the band’s repertoire. Although they have a distinct sound, there is a definite individuality to each track. This makes it all the more exciting to hear what the new will album have to offer.

Fingers crossed they’ll live up to expectations.

Single available Aug 16^th on 7” (pre-order online now) or join the Singles Club at www.toopure.com

thetravellingband.com

Words Dan Howell  Images Joanna Dudderidge

BORDER COMMUNITY HEAD HONCHO JAMES HOLDEN IS THE LATEST ARTIST TO GRACE THE DECKS AT !K7 WITH HIS OWN EAGERLY ANTICIPATED DJ KICKS MIX. WITH TRACKS FROM THE LIKES OF LEGOWELT, KIEREN HEBDEN (AKA FOURTET) AND MOGWAI, THIS IS AN ALTOGETHER ECLECTIC MIX JOINING THE DOTS BETWEEN EXPERIMENTAL ELECTRONICA, KRAUTROCK, AMBIENT AND TECHNO. THE MIX INCLUDES A BRAND NEW TRACK BY THE MAN HIMSELF AND IS ALREADY BEING DUBBED ONE OF THE MOST SIGNIFICANT MIX ALBUMS OF THE YEAR.

AGENT2 spoke to James to find out more:

Hi James. Thanks for taking time out of your busy schedule to talk to AGENT2. We’ve been really excited about the release of your DJ-Kicks mix. How would you describe the feel of the mix and what does it mean to you?

I find it quite hard to describe well…. but, I really feel the most happy with this out of all the mixes I’ve recorded. It turned out nice I think – the way it feels so coherent whilst also being made up of such disparate things. What it means, I guess is a suggestion for a sound – a way of looking at things where all this stuff belongs together. Pagan post-techno or something.

The DJ-Kicks series have become somewhat legendary. How did you choose which tracks to include and was there much deliberation?

A lot of deliberation, but mostly in the process of collecting a long list of ’maybes’. The actual choosing from that list and mixing was pretty easy. I think that what’s legendary about the series is the breadth it covers, so that just made me feel quite free and relaxed about just filling it with what I love.

Over the years, you’ve managed to create a sound both in your productions and mixes that is distinctly unique. Where does this sound derive from? Is it an expression of your personality?

Isn’t all music in some way that? I guess so though, I’m quite stubborn. But also I don’t think i would’ve had the strength to spend 10 years fighting to do something that doesn’t quite fit in without the support of everyone at Border Community – both the artists and the people behind the scenes. I think that’s probably the most important influence on where we’ve ended up.

The long awaited ‘Triangle Folds’ is your first production in four years. Can we expect to see more releases in the near future.

I wouldn’t say ‘near’… I’m touring so much for the CD that my synths are going to need a good dusting by the time I next get to play with them.

Your Summer schedule looks pretty crazy with the tour taking you all over the world. Does your music translate well abroad and is there a particular country that you look forward to playing in?

I’m not looking in my google calendar at the moment, out of fear, so I’ll take your word for it! I like quite a lot of different places, for different reasons. It changes, some countries have only taken to me in certain sections of my career, whereas some have always got what we were trying to do. Recently I’ve been quite enjoying my Italian trips and I’m really looking forward to going back to Japan, but really almost everywhere has some cool people who I enjoy playing to.

You’ve remixed the likes of Madonna, New Order and Depeche Mode to name but a few. Is there any artist or a particular track that you would love to get to work on and give the Holden treatment?

No, not at all – I’m so sick of remixing now! I’m taking a break from it…

Your label Border Community puts all it’s releases out on vinyl, a format that seems to face an uphill struggle in a world dominated by digital technology. Do you believe vinyl still plays an important role in the music world or are you an advocate for the digital movement?

I like everything digital brings, the democratisation (though the scene hasn’t quite evolved to deal with that yet), the environmental benefits, the wonderful things you can do DJing with a laptop, but at the same time i still buy a lot of vinyl and record it into the computer because it does sound better (or at least different – depends what you like). I’ll be sad if vinyl ever goes, the magic things a good cut does to the sound are completely unfakeable. I like when we can make a record a beautiful artifact. I think there are still plenty of people who want to own things like that.

Well thanks for your time James. Best of luck with the album – we love it! Have a great Summer.

www.jamesholden-djkicks.com

Words Dan Howell

A BIRD SINGING, THE RAIN FALLING ON LEAVES, THE WIND CARESSING BUSHES AND BRANCHES ARE SOUNDS AND MUSIC OF NATURE AND THE KNIFE WITH MT. SIMS AND PLANNINGTOROCK HAVE CHANNELED THESE MELODIES IN THE ELECTRONIC OPERA “TOMORROW, IN A YEAR”.

Through the centuries nature has inspired many poets, painters, writers and musicians, who have tried to express the beauty, strength and complexity of the world around them. But these guys have gone beyond.

The project was proposed by the Danish performance group Hotel Pro Forma who wanted to take on stage Darwin’s “On The Origin Of The Species” and his researches about nature and wildlife.

The Knife were the first to be contacted and they then decided to let Mt. Sims and Planningtorock take part in the realization of this innovative work.

The result is an electronic opera that combines artificial sounds and field recordings. Olof Dreijer (The Knife) went in fact to the Amazon and Iceland to find inspiration and to record real sounds from wild nature.

He says: “At first it was very difficult as we really didn’t know anything about opera. But after some studying, and just getting used to opera’s essence of pretentious and dramatic gestures, I found that there is a lot to learn and play with. In fact, our ignorance gave us a positive respectless approach to making opera. It took me about a year to become emotionally moved by an opera singer and now I really do. I really like the basic theatrical values of opera and the easy way it brings forward a narrative. We’ve approached this before in The Knife but never in such a clear way.”

15 tracks compose the melodic world of Tomorrow, In A Year: a wonderful, dreaming but dangerous world in which the mystery of unknown nature but also the surprise of discovering new animal and plant species are described.

An opera singer, a pop singer and an actor also enrich the performance, all this accompanied by light projections.

The show is a real travel in a new world seen through Darwin’s eyes and it changes as fast as life and nature do. During the first part single elements are introduced, then they gather and merge becoming a whole before changing again in something new and undiscovered.

Ralf Richardt Strøbech is the co-director with Kirsten Dehlholm. He explains, “Time forms our lives, gives our existence meaning and populates the globe. Generations, eons and millions of years create the new and eradicate existences. Nature selects, invites and dares everything without limitation.”

Everything changes. Today, tomorrow, in a year, forever. Things develop, mutate and so do we.

theknife.net

hotelproforma.dk

rabidrecords.com/tomorrowinayear

Words Luca Russo

WHEN WE TALK ABOUT INDIE MUSIC WE USUALLY THINK OF WEIRD TUFTS OF HAIR (WHY? AND HOW IS THIS GUY DIFFERENT? PROBABLY BEST TO DESCRIBE THE NORMAL BEATS, SOUNDS OF THE MUSIC WHICH THE NIRO DOESN’T COMPLY WITH).  BUT THERE’S ONE GUY WHO REPRESENTS INDIE MUSIC IN HIS OWN WAY. SHOWING A TENSION AND A STRENGTH, HIS TRACKS ARE WORKS OF ART DIFFICULT TO FIND IN THIS POPULAR AND POLLUTED GENRE.

Italian-born Davide Combusti grew up surrounded by music before starting up his own band, The Niro, from 2002. Currently considered one of the best young songwriters in Italy, he is beginning to establish a name for himself on British shores.

Son to a famous drummer from some important Italian rock bands during the 1970s (I Ribelli, I Centauri, La somma), he cultivated his interest for music playing the same instrument before taking his hand to the guitar and bass.

He took to the stage as a drummer, when he decided to write music and lyrics for his own band: The Niro. When they split up he kept the name and continued his solo career as songwriter. In 2008 his first EP, An Ordinary Man was released by Universal. Its five songs were also part of the 13 track album: The Niro.

He has played in New York, LA and Paris and last October, he performed a whistle stop tour around the UK with LiveZone and Track1. Having previously opened for the Zephyrs, Isobel Campbell and TKO and contributed to the Belle and Sebastian’s tribute album with his version of I fought in a War, his biggest British performance was his recent London gig last winter.

On 22 October 2009, The Gramaphone in Commercial Street filled with ‘Indie’ types, eager to listen to something new. Guys chatting on black leather sofas sat awaiting the new beats and sounds that will change the genre for the coming year, as drums and guitars are set up on stage.

The Niro – wearing jeans, black t-shirt and a bowler –  jumped on it.

He played songs from his debut with great precision and heart and his performance reflected his discrete and private manner, steering clear of shouting rock bands. Saying only a few polite ‘thanks’ during the set, he’s clearly one of those who prefer communicating through their music and avoid wasting too many words about it.

His style of singing seems to be influenced by Jeff Buckley’s high notes and falsetto reverberations, while his music offers a wide range of emotions: from happiness to melancholy, from rage to serenity. Classic arpeggios suddenly turn into aggressive progressions while tempo and rhythm changes often surprise the audience.

Bass guitar and drums are perfectly synchronized and form a complex carpet on which the artist is completely free to express himself. Years of lessons from his father have paid off and the consensus amongst the now-standing audience was clear: The Niro machine works amazingly well.

The performance quickly left behind something difficult to explain: an uneasiness or sadness that resonated through his lyrics and between each note.

Worlds away from the usual Europop dance tunes of Eiffel 65 that normally filters through from Italy’s music scene, The Niro’s songs are full of content and heart. So much so, that for the first time, the whole world is listening to The Niro to change Indie music to change for the better, and it’s safe to say, we’re eager for more.

www.myspace.com/theniro

Words Luca Russo

SOUTHAMPTON SIX-PIECE RAZOR BLADE KISSES ARE A BAND WITH A DIFFERENCE. YOU COULD EASILY MISTAKE THEM FOR ANOTHER SHOCK-ROCK BAND, ALL NOISE AND NO TROUSERS. BUT NEW ALBUM TWINKLE, TWINKLE LITTLE SCAR IS SURPRISINGLY GOOD; A MUSICAL JOURNEY TOLD THROUGH HAUNTING PERSIAN FAIRYTALES AND ETHEREAL MELODIES. WITH TWO VOCALISTS- LAYLA AND AZADEH- THE BAND IS COMPLETED BY ANDI (BASS), STEVE (DRUMS), JACQUI (GUITAR) AND PHIL (VIOLIN). WITH A LOOK AS QUIRKY AND UNUSUAL AS THEIR MUSIC, THEY TALK TO AGENT2 ABOUT THEIR NEW RECORD.

How did RBK come to form?

Layla: Andi and I formed the band in 1999. I used to play keys for his first band and he heard me singing in one of our rehearsals and decided to start a second band with me on vocals. That’s how it all started. This was before we were married so there is the rock n’ roll element too!

Azadeh: When I came here to study in 2001, RBK was consisted of Andy and Layla. Me and Layla used to take classical music lessons back home and we were always doing musical practices together since we were kids. She asked me if I wanted to join RBK as the second vocalist and since it was just an extension of our childhood dream I couldn’t turn it down.

Jacqui: I joined RBK at the beginning of 07, I think. They needed a guitarist with a metal influence, I liked their style so we decided to work together.

Which bands do you look to for inspiration?

Andi: I have a ton of inspirations for the music I write. I think the biggest ones are Linkin Park, Portishead, Massive Attack, Switchblade Symphony, Queen Adreena, Malice Mizer, the GazettE, Jack Off Jill, Placebo, Depeche Mode. I try to take the best parts of all of these, so the power and pop-structure from Linkin Park,, the soul and trip hop stylings from Portishead and Massive Attack, the haunting feeling from Switchblade Symphony, and the raw punky edge from Jack Off Jill. Even though there is massive crossover in some of these bands, what comes out the other side is initially quite incongruous, but by the time it gets the vocals and our own style stamped over it, it all comes together.

Layla: I’m mainly my own inspiration but people I am involved with at the time also are a big inspiration on lyrics I write or the way I sing. My music is from within my heart. As far as other bands go, I like listening to Muse, Placebo, Depeche Mode and lots of songs by other bands. So I guess as far as inspiration goes, if their music or lyrics touch my heart maybe subconsciously they get reflected on the song that I’m working on at the time or spark new ideas in my head.

Azadeh: Anathema and Malice Mizer.

Jacqui: Bands which love and who are dedicated to their work!

How easy is it for you to put a song together and how long does it take?

Andi: A simple concept can take minutes, but making it into something coherent can take forever. Sometimes the writing is the hard part, but sometimes it can be harder to “sell” an idea to others. “Teddy” was written in about 20 mins, but it took nearly a year to convince the band that it was worth doing, conversely, “Choke”- currently a live fave- took about a week from writing to playing fully as a band.

Layla: I mainly write the lyrics. Sometimes if I hear a song lyrics come to me instantly for it and sometimes it takes days or months and something gets triggered in my head when I hear the same song again and lyrics will be there.

Azadeh: I don’t write the music, me and Layla usually sort out between ourselves which bits to sing and it usually takes one or two sessions to master it.

Jacqui: It varies. Most of the time it’s pretty easy, we just jam things out and the songs develop from there. Other times I just work out guitar parts for ideas already written, and sometimes an idea is formed around riff ideas.

You’ve said that your lyrics are influenced by Persian fairytales- which ones do you reference on the album?

Layla: Many Persian fairytales are quite similar to brother Grimm’s ones. So where this album’s image is influenced by Little Red Riding Hood, we have similar ones in Persian where innocence gets abused in the path of growing up; In the Path of Pins and Needles, when a choice needs to be made. Only direct one I can mention is a nursery rhyme of ‘Aroosak-e-ghashang-e-man’ translating to ‘My pretty doll’. The translation of this forms part of the lyrics for Ballerina. My style is also very William Blake inspired. Simplistic nursery rhyme style lyrics but with deeper meanings. Very much like Songs of Innocence and Experience by William Blake. The other Persian influence is in Butterfly. The song is about Forough Farrokhzad, feminist poet who met with a suspicious death. The last poem she wrote was called ‘Parandeh Mordanist’ translating to ‘This Bird is going to Die’. The spoken words in this song sung by Azadeh are lines of this poem. The butterfly is her ghost. In Persian mythology Butterfly is the ghost of people who haven’t parted from this world yet, normally the ones who commit suicide or get killed. Similar to in Christianity, I suppose.

Azadeh: Ballerina is based on an old Persian nursery rhyme called My Pretty Doll. We used to sing it as kids. Ballerina is just a dark take of the same lyrics.

Your sound is difficult to classify. How would you describe it?

Layla: Many different influences, very mood driven. None of us like a set style of music and this changes depends on our moods. We are all very different people yet can bond musically hence the result is un-classifiable. Can only be a good thing. Something there for everyone. Music for the masses!

Azadeh: If Tim Burton had a band it would have sounded a bit like us I would think.

Jacqui: Umm… an enchanting mixture of Alice In Wonderland meets Marilyn Manson down a dark, Victorian alleyway in late 1900’s Whitechapel.

Do you have personal favourite songs from the album?

Layla: Mine are Ballerina, Butterfly and Deadly Yours.

Azadeh: Toy Soldier since it’s based on one of my favourite childhood fairy tales

Andi: “Teddy”, by a mile.

Jaqcui: Two actually, “Teddy” and “Butterfly”.

Your album is available to download from 26th Oct. Why did you decide to choose to go down that route instead of a commercial release with a record company?

Layla: The album was supposed to be released much earlier by the label, but delays in mixing, followed by a delay due to marketing and ultimately the economic situation hitting the label hard so that they would have had to delay the album due to a lack of funds led us to part company.

How much input did you have as a band in making the record?

Layla: The album was 100% us. Even when we were with the label they were very hands off on that front, which is one of the reasons we were happy to sign with them in the first place. Of course, if the band ever did sell out to a major label and got ruled over by their internal marketing departments, we’d simply take their money, walk the walk, then use the cash to fund a side project true to our creativity. But right here and now the band is 100% owned and ruled by us, everything you hear from us is us entirely, unmodified, not watered down. We do it cos it’s what we love, and even if RBK ended most of us would still continue with other similar projects. True music never dies.

Which do you prefer- recording or playing live? And why?

Layla: I love both, Recording is good cause you know it’s being put down somewhere where it’ll stay and it won’t be lost so you’re making a record of your art. Live is good, because I relate to most of my lyrics and singing is a way of releasing my emotions. However, sometimes where lyrics have brought up some things I like to forget back in my mind, I’d rather not be performing them. Catch a show soon you might catch a few sneaky tears running my make up down my face!

Azadeh: They are both good in their own ways. Live is good since you have the audience participation and it’s nice to see some feedback but you don’t always get a good sound and that could be frustrating. Recording is good in a way that everything is set up to get a perfect sound.

Jacqui: There isn’t one I prefer over the other. I love the recording and mixing process and hearing the songs come together. Playing live is definitely fun, it’s a different kinda performance vibe.

Are you planning to tour soon?

Layla: Hopefully, yes. Need to find a big enough suitcase for my dolls though first!

What has been the biggest highlight for RBK as a band so far?

Layla: Whitby shows. Always great audience and decent stage to play on. It makes us feel like real rock stars we are!

Azadeh: Playing in Whitby Gothic weekend three times, twice on the main stage.

Jacqui: Finally getting the RBK album done and dusted.

What would you be doing if you weren’t in RBK?

Layla: Things that I currently do, plus trying to form a band who sound like RBK. Maybe even in a dollhouse trying to lose weight so I fit.

Azadeh: I would concentrate more on my modelling.

Andi: I’d just be doing other musical projects, chances are they’d have something in common with RBK, tho I do have a big love of electronic and dance music, so possibly some mad, anime influenced, breakbeat, industrial dance project….with tentacles.

Jacqui: I’m very busy with my own music projects, writing with Martin Walkyier (frontman of Sabbat) for The Clan destined, session work and also writing my own instrumental albums. So I guess I’d be doing that.

How do you feel about comparisons to other female fronted rock acts like Jack Off Jill?

Layla: Its good. We don’t sound exactly like them but I can see why people see us similar. Troubled teenage angst, spooky dollhouse lyrics, play-on fairytales. Where is Tim Burton when we need him to form a band?!

Azadeh: it’s always a compliment to be compared to someone talented, but at the same time we are not copying anyone, therefore it’s nice to be recognized for our individuality.

Jacqui: People are always gonna make comparisons, it’s fine by me.

Image is obviously important for the band- was it a conscious decision to dress in that way or is it similar to your everyday style?

Layla: I love dolls, I love Victorians, I’m nostalgic. All of this inspire me to dress the way I dress. I do it in my everyday style too but not to the extreme cos i’m lazy sometimes. Lyrics and the music lend themselves very well to this image. A child’s nightmare. Don’t trust the dolls. Bizarre once quoted me saying ‘you can even get away with murder if you dress like a doll’. I’m innocent, honest!

Azadeh: As you say, image is a big part of RBK and that’s partially because as individuals we all are quite conscious of our image and we always try to create an impression through what we wear.

Andi: Bands are a package, especially in the MTV and internet age. Kids want posters in their rooms, they want people to idolize and get inspiration from. I find it difficult to get that inspiration from a bunch of people in jeans and t-shirts. You always hear that same old song though, the “They should concentrate on their music more than their image” idea. That’s bull. I’m a musician, my music will not get any better or worse just because I also spend time on my image. I don’t stop halfway through writing and go, “Oh that’ll do, I’ve not got time to finish it properly ‘cos I need to go get some new shoes”. That’s ridiculous. People who think that is the case for ANY band are stupid and should be killed, to death, in the face.

Jacqui: It was an unconscious decision! The way I dress on-stage is pretty similar to what I wear everyday.

Where do you get ideas for outfits? Do you ever get clothes specially made?

Azadeh: Films and paintings, I tend to get an idea from the past and mix it with something of myself and create something that is truly mine. Inspiration is good but I tend to stay away from copying as much as possible. Unfortunately I’m not good at making clothes from scratch but I’m qutie good at modifying things. You’ll be surprised by the amount of stuff that could be bought from high street shops and be transformed to something unique and original.

Layla: Read above. But new influences might come in future which might change the image slightly. I won’t reveal much yet! One of my other biggest hobbies apart from the band is clothing designer. I run a brand called Mort Couture. Azadeh has also got a big part in influencing what we wear. We normally decide on a design, etc, and I make them. In the past we used to buy them or get sponsored by clothing companies. But the album outfits are by me.

Andi: Visual Kei is a huge influence for me, Mana (Malice Mizer), Hizaki (Versailles) and Uruha (the GazettE) in equal doses. Layla makes a lot of my stuff too.

Jacqui: My image is something that I’ve been working on since I became a guitarist. I see things in clothes shops and if I like them, then I buy them. Layla and Azadeh are very good at making clothes, so they come up with all the ideas for their outfits.

Twinkle, Twinkle Little Scar is released on 26^th October, available from iTunes and all all major download sites.

RAZORBLADEKISSES.COM

Words Kay Weston

THE FASHIONISTAHASSPOKEN.BLOGSPOT.COM

Words Colin French

Paloma Faith has just released her debut album, Do You Want The Truth Or Something Beautiful, and the real truth is that it is without a doubt the most essential pop album to be released for quite some time. Think smoky-Winehouse-esque vocals coupled with huge cinematic backdrops and you would be half way there – Faith’s album is one to be digested and enjoyed over a number of listens. If you don’t believe me, I besiege you, discover it for yourself. It is a genre fest of sizeable proportion that will reward you ten-fold in these dark and worrisome times.

AGENT2 tracked Paloma down and managed to catch a word with the lady of the hour before her ship sails for the land of superstars.

Your new single New York is released next week; it’s a big sweeping giantess of a song – ballad and theatrical like in places. What is the song about?

It’s about how the city took my lovers heart. He fell in love with New York and chose it over me. He went to work there and decided to live there and end it with me!

The video for New York is extremely cinematic and well produced. How much input did you have into the creative process of it?

I am very lucky in the way that I have been incredibly involved in the creative process. We wanted to make the New York video more about my performance as an actress in a story as opposed to an overly visual one like Stone Cold Sober. Vaughan Arnell came up with the bowling lanes setting. I think he was inspired by the Big Lebowski.

What can AGENT2 readers expect from your album if they’ve yet to hear it?

I would like my album to transport the listeners to a fantasy world. I feel that everyone needs an escape from the world we live in today and I hope that my album has created something fresh and hopeful that they can escape to.

The album title, Do You Want The Truth Or Something Beautiful, is very evocative of the acting world: the idea of escapism and the ability to pretend. What does it mean to you?

It’s an introduction to me and what I do. I am proposing that I offer you something beautiful as I don’t believe the truth is ever really that important. The title is all about perception and I think it’s beautifully vulnerable.  In contemporary culture we spend alot of time trying to unveil the truth and I prefer to enjoy the fantasy and let it wash over me.

What, so far, have been the most enjoyable places to perform live?

Latitude festival…  It was the first time I had performed to a big audience who knew some of the lyrics of my songs.  I love people singing along! When you buy the album you get all the lyrics in the booklet, I hope people will read them!

Is your live show as flamboyant as the music on your album? We imagine plenty of costume changes and a sense of ‘event’ rather than just another gig.

I try to create a performance that will entertain visually as much as on an audio level. No two shows are the same although I might include homages to past shows.  I like to entertain and make an event out of a performance.  I come from a theatre background and that influences what I do.

You boast an impressive CV including working as an actress, singer, dancer and magician’s assistant. What’s the worst job that you’ve ever had?

I would have to say it was when I worked in a cafe on a Saturday, boiling chicken.

You have a part in the new Terry Gilliam film, The Imaginarium Of Doctor Parnassus, what was he like to work with?

Amazing! It’s been an ambition of mine to meet and work with him. I love his films and feel that he is one of our generations’ greatest talents. He’s very funny too.

Now you’re set to become a musical force, will you continue acting?

Definitely, although at present I’m focused on my music I hope that at the end of this year I can start doing some auditions…time dependent!!

What do find more personally rewarding, music or acting?

I love doing both and don’t think they’re exclusive.

During your hectic schedule of chart and world domination, you are unexpectedly given a whole day off. What would you do with yourself?

I LOVE THE CINEMA!  I would like to go to Gelato Mio for an Italian ice cream and then go to see a film in the cinema.

Paloma Faith Do You Want The Truth Or Something Beautiful is available now.

PALOMAFAITH.COM

Words Colin French Images Alice Hawkins

Bored with life? Slowly slipping into a jaded depression that has left your nerve endings redundant and reclusive? Drinking too much over-branded coffee just to keep yourself awake and semi-motivated throughout mind-numbing days of repetition? Find yourself discussing the soaps, celebrity marriages and making mental notes of accumulated Nectar points? Did you really buy that King’s Of Leon compact disc from a soulless and uniformed hyper-market? Make your lunch, pack it, eat it in an empty meeting room with the blinds down. They won’t see you cry in there. Check your Blackberry…Spam…Spam…new shopping deals available exclusively to YOU. New channels – please update your box – don’t miss this once in a lifetime opportunity. Feeling apathetic? Getting your five a day? Four a day is better than nothing. Calcium is an advantage. Realise and reclaim. Realise and reclaim the part of you that wants to live. Find the essence that gave you colour. At least you’ve got your health…. HEALTH – DIE SLOWLY.

Words Colin French

Full of delightful Scottish charm and a sound to enchant, Twin Atlantic ensured the gathered few at the Stoke Sugarmill will go away remembering exactly who they are.

After impressive support from Hardcore act Failsafe, who provided high energy action with impressive precision, it could almost be said that the main act had a lot to live up to. Yet within a minute of Twin Atlantic’s set it was clear that the band would meet such expectations, and then some. Rattling through hits including “Turning Into John Wayne” and the delightful “Lightspeed”, the foursome showcased their infectious tone and a professional attitude to rival most bands. Despite a poor turn out, frontman Sam McTrusty remained jovial throughout, even ribbing the crowd for their lack of enthusiasm.

“Old Grey Face” and the irresistibly intricate “Human After All” followed to a slightly more rousing reception, but undoubtedly the moment of the night was provided by “Caribbean War Syndrome”. With the addition of an electric cello, the foursome astounded with a rousing and enchanting melody and powerful climax, demonstrating almost every facet of their undeniable talent. With McTrusty’s charming Glaswegian accent dripping off every word and a guitar trio of precision and passion, it is safe to say that, should they return to the Sugarmill, they will have absolutely no trouble in drawing a crowd.

Reviewed at Stoke Sugarmill, 18/9/09

MYSPACE.COM/TWINATLANTIC

Words Dan Grose

Marina & the Diamonds AKA Marina Diamandis is undoubtedly one of the freshest and exciting talents to emerge within the last 6 months; her unique brand of indie-pop has been received with a deluge of critical flattering and a constantly growing fanbase. Here at AGENT2, her recent single I Am Not A Robot found its way onto the office stereo a while ago and has refused to leave ever since. Marina’s music is a quirk some mix of styles that border on the fringes of pop and her Kate Bush-ish vocal deliveries complement it perfectly.

Fresh from performing at this year’s Reading and Leeds festivals, Marina found the time to sit down with AGENT2 and discuss song writing and the upcoming NME Radar Tour shows, amongst other things.

Where did it all begin for you? When did music become a calling rather than a pleasure or pastime?

It was never really a pleasure or past time but more of a plan and a goal. The turning point was when I could move out of home at 18 and follow my own path, as opposed to the one my parents had hoped I would follow.

As a songwriter, do the lyrics come first or is music the foundation for what you create?

Oh lyrics first- every single time.

You seem to embrace many different influences and sounds within your music. I imagine the debut album will sound extremely eclectic and impossible to pigeon hole to one genre. Is this something that you’ve strived for or is it a natural trait within the music that has simply evolved?

You’re absolutely right actually. And no, it was never something I had strived for. People saw it more as a problem than an advantage in the beginning as they didn’t know how to market me. The main reason was down to the fact that I had no background or training or particular ‘love’ for music, therefore I just did whatever the hell I liked. I never thought before sitting down to write a song ‘this is going to be pop, with tribal elements’ or ‘I’m going to try and sound like ‘ xyz’ in this song. I always just build everything around the story within the lyrics. My song writing is very much like my personality- black and white and rather all over the place/ schizophrenic. So it now seems obvious that I could never have made any other type of album than this one.

You’ve now signed to a major label, are you worried about possible interference that other artists have complained about when working with a major?

No. I was with a major from the start and it was always my aim. I needed, and wanted the strength of a major to realise my objectives in music. Many people thought I had signed with Neon Gold Records but it was in fact Warner’s that I had signed with first; I then did my first 7″ single on Neon Gold.

Is there a preference for performing live or creating in a studio?

Performing live any day over studio. It depends on the producer, but I am very impatient and control-freakish in the studio.

You recently played the Reading and Leeds festivals, how was that for you? The general opinion is that those shows have won you a whole new legion of fans.

They were my favourite shows of the summer! I was so surprised at the reactions and felt genuinely moved, like something had changed…

Are you excited about the upcoming NME Radar Tour shows? What are your thoughts on the other acts that’ll be playing alongside you?

Well, I know Yes Giantess and think Local Natives music is beautiful. Golden Silvers are obviously a great, solid band and I’m really looking forward to giving the performance of a lifetime for fans who have never experienced a show before.

We are currently busy compiling our top 50 albums of the decade. What are some of yours?

The Distillers-Coral Fang, Royksopp-Junior and Metric-Fantasies.

Whilst enjoying a quiet walk one day, you happen to unearth the musical genie of the lamp. You are granted the wish of staging the ultimate gig with any three artists or bands of your choice – with you headlining, of course. Who would they be?

Metric, The Distillers and Joanna Newsom.

What can we expect from Marina & The Diamonds in 2010?

Love.

Catch Marina & the Diamonds on the NME Radar Tour throughout September and October.

MYSPACE/MARINAANDTHEDIAMONDS

Words Colin French

If you haven’t become part of Banana yet, then brace yourselves for penetration, because it’s about to take over Manchester.

Banana Management is the newest and hottest management label on the electronic music scene right now. Showcasing the hottest DJ’s Manchester and the North of England has to offer, Banana Management is set to explode with its diverse and innovative roster of artists. Brought together by their love of good music and passion for nightlife, Banana Management is a collective of unique minds that work like a well-oiled, sexy machine. Utilizing skills from all areas of the team including web and graphic design, entrepreneurial skills – heck – even the street team are ex-charity fundraisers.

The chemistry between the team is something they are visibly proud of. If they didn’t got on, there would be no Banana!  This is a unique band of brothers who know exactly what they want and how to get it. Banter makes the Banana go round, and there’s plenty of that. With DJ’s who have supported the likes of Justice, 2manyDjs, Zombie Nation, Riton, and even on the MixMag UK Tour next month, expect to be seeing a lot more of these folks… and not just in Manchester.

As well as the management label, its club night offspring, Banana, is currently focused on showcasing the talent in the form of all out parties and events that are swamping the Manchester Scene. Already collaborating with some of the biggest nights in England, Banana shows no signs of slowing down. With 6 parties in 8 days throughout Freshers Week, Banana is going to be dominating the electronic scene as it showcases both established and up-and-coming talent whilst also collaborating with some of the best nights in the city.

Roster from left to right - Sticky Bandits, Patchwork, Henry (Manager), Average White Guy, Joseph Goulcher

Now, with plenty of legendary parties at Saki already under their belt, Banana will be taking over several clubs and bars throughout the city in the coming weeks.  With an atmosphere like no other night around, the crowd is key to making these nights the storming success that they are. Whether its dubstep, dark techno or ridiculous electro beats that get dropped , they absolutely promise to keep you dancing all night (literally in some cases) and going home a sweaty, sexy mess.

With some absolutely huge guest DJ’s and artists lined up for the coming months, Banana is definitely about to become one of your regular 5-a-day. You can find them at bananamanagement.co.uk and all over Facebook. Keep an eye out for new events popping up over the next weeks and get yourselves down to the freshest, most innovative and down right delicious parties that we’ve seen for a very long time.

After releasing his first album ‘Awake’ independently, internet exposure and a healthy dose of self-promotion led to some A&R door-knocking that resulted in the astonishing ‘A Twist In My Story’. Released in 2008 with the support of a newly instated backing band that took selected tracks from the entirely solo ‘Awake’ to glorious new levels, Secondhand Serenade are ready to stake their claim to the world.

AGENT2 recently caught up with John Vesley on a fleeting visit to our hallowed shores and engaged him in a thoroughly enjoyable chat.

Hi John, how are you today? How important was Myspace and YouTube to your success?

Good, good thanks.

It was paramount, I would never have been able to get my music off of the ground without Myspace, would never have been signed, and could not have sustained any success without it; it was the first thing that was able to get my music to potential fans, thankfully they responded.

There are countless artists and bands swarming Myspace currently, how did it feel to be voted the #1 unsigned artist?

It was pretty weird at the time, everything was so very new to me then, so it was quite strange indeed.

Is it fair to say that in the current climate, major record labels no longer hold the power to make or break an act? It almost seems that for new and unsigned acts, the possibilities are endless.

Yes, that is true to an extent, major labels have the power to break acts; they do it all the time, just not with a very high percentage of success. There is more opportunity now for independent label to shine, my label for instance, Glassnote Music, is a perfect example of that.

Awake was very much a solo record but Twist in My Story saw the introduction of a backing-band, was that something you felt the music needed?

It was needed for me to grow; there is only so much you can get across with an acoustic guitar.

Is the live experienced enhanced by having a group behind you or does playing solo still hold something special for you?

Playing solo is still fantastic, but the full band show is just so much more fun for me and for the fans. In my full band shows I still do a handful of songs solo acoustic.

You work is particularly lyrically rich, do the words give birth to the music or are they something that you consider once the music is conceived?

Usually the words and melody come relatively at the same time, but sometimes one is first and sometimes the other.

You’ve been in the UK recently, how did you find our fair land?

I loved London! I really hope to be back there in October for a short tour of the UK.

Does a UK audience differ much from an American one? My feeling is that we tend to be more reserved in our admiration, would you agree?

I would say the opposite from my experience; two years ago I was in the same place in the states that I am now in the UK, and although the size of my shows were the same, the people that came to my UK show were much louder and knew every lyric to every song – it was fantastic!

The Emo tag seems to follow you around, I and many others are still not quite sure what Emo actually is. Can you finally clear that up for us?

I wish I knew, ha ha.

What music are you currently listening to? Are there any new and exciting artists that Agent2 and its readers should be looking out for?

I am currently listening to Muse a lot, Flight of the Concords, Jason Mraz, Landon Pigg and lots and lots of other good stuff.

Twist In My Story Out Now

MYSPACE.COM/SECONDHANDSERENADE

Words Colin French

It’s late on a balmy bank holiday night when AGENT2 receives a mysterious knock at the door, interrupting our usually serene and balanced world. A heavily hooded figure is illuminated as the door is cautiously opened, its feral-like eyes darting nervously as the light appears to offend its senses. A gloved hand reaches slowly towards us and deposits a gnarled USB stick into our trembling palm, the cool and jagged metal is freezing to touch. The figure disappears and we are left scared and confused, but unable to resist the lure of the grossly disfigured memory device. It’s only as we place it into the computer that we realise that there is writing crudely scratched down its length: Blonde Fire. This, we realise, is the new video from The Hickey Underworld. Our world will never be the same again. Neither will yours.

Hailing from Belgium, The Hickey Underworld is a band that firmly exist in a consciousness of extremes and clearly delight in the freedom such leanings allow. With a sound that owes as much to The Strokes as the acerbic crash of The Jesus Lizard and Minor Threat, The Hickey Underworld are set to unleash their debut album in October of this year. Blonde Fire is the first taste of what to expect, and if you haven’t yet heard the mutterings surrounding this track, you will most definitely be hearing plenty of the video that accompanies it.

Actually, why wait? AGENT2 are pleased to be able to deliver this beautifully twisted treat directly to you right now, our special treat. Ladies and Gentlemen………..Blonde Fire.

Words Colin French

Despite being somewhat unenthusiastic when it comes to musical award ceremonies, the Mercury Music Prize appears to have a curious hold over me. Not only am I a jaded old cynic, I’m also universally dismissive of any award that is voted for by the industry and not the public. So, why is it that each year when the nominees for the Mercury are announced I sit up and take extra special notice? Perhaps it’s because I can clearly remember its inception and the excitement of Primal Scream scooping it with the seminal Screamadelica? Maybe it’s because during its 17 year tenure a clutch of great albums have actually triumphed against boring old U2 and Coldplay? It seems that until the AGENT2 music awards become a reality (sponsors feel free to contact us), the Mercury will always be the one award ceremony that I follow with a happy beat in my heart. This year is no exception; my mind is already working overtime in an attempt to unearth this year’s victor on behalf of the AGENT2 office.

Undoubtedly, everyone will have a preference for one or two of the nominees, leading to plenty of impassioned discussion. Florence + the Machine seem an obvious choice as winner: they fit directly into every criteria the judges usually look for – critical success, artistic merit and a penchant for weird and wacky themes. Lungs, Florence’s debut long-player, became one of the most anticipated albums of the year and was finally delivered with a bang at the beginning of July, peaking at a more than respectable number 2 in the charts. The bookies have made her favourite and I, for one, wouldn’t be at all shocked if she waltzed off with this year’s prize tucked firmly under one arm.

Bat For Lashes has had a phenomenal year with Two Suns, it has transcended her indie status and propelled her into the realms of the charts. Critically, her second album has been almost universally successful and is sure to feature heavily in the end of year polls. I wouldn’t back against her scooping the award this year, although, I have a sneaky feeling that the judges may overlook her in favour of a slightly more under-exposed artist. Similarly, La Roux has infiltrated pop compilations galore, which is remarkable considering that less than a year ago, almost no-one was aware of her. Her brand of 80’s inspired and synthesizer loaded pop has routinely won her praise with audiences across the country. As with Bat For Lashes, La Roux’s already solid status may just be her undoing in the race for the prize come September.

Love ‘em or loathe ‘em, Kasabian continue in their quest for world domination but may just be too well established to lift this mighty prize. Let’s not forget, every year the big hitters generally walk away from the Mercury with empty hands and a shrug. Radiohead were ignored last year, Coldplay saw their first three albums poo-pooed; (What’s The Story) Morning Glory delivered Oasis every other award bar this and U2 found Achtung Baby on the losing end to Primal Scream in 1992. This year, I fear, will be no different and Kasabian may only have an increase in record sales to look forward to. Glasvegas, although quite unappealing to me, have a staunch army of fans who will feel a definite injustice has been performed should they not win. Similarly, Friendly Fires have been this year’s most captivating band for many-a-folk; their brand of eclectic and inventive music has seen them critically lauded since its release last September.

Personally, I’d like to see The Horrors scoop the Mercury this year. It is almost inconceivable to think that after the pseudo-garage-nonsense of their debut Strange House, this band could make anything as exhilarating as Primary Colours. Not only have they reinvented themselves as a REAL band with astonishing songs, they have made a record that transcends genres and quite simply oozes ability and confidence throughout. It is a truly deserving piece of work that I hope, no, believe, will walk away with the Mercury come September the 8^th. Bearing that in mind, I’m off to the bookies to stake the AGENT2’s staff wages on The Horrors at a general price of 6/1 – they’ll thank me in the end.

MERCURYPRIZE.COM

Words Colin French

The Horrors – Primary Colours (XL)

A deserving nomination for the Mercury Music Prize brings one of this year’s most exciting albums back to the office turntable. The transition from cartoon-garage-Goths to the music on Primary Colours is simply stunning. (Out Now)

The Pastels/Tenniscoats – Vivid Youth (Geographic)

The Pastels have always been something of a cult phenomenon; we’ve all heard of them but most have never actually heard them. Vivid Youth is taken from their forthcoming collaboration album with Tokyo’s Tenniscoats, a band drenched in sunshine indie-pop. We love this and we think you will too. (17th August)

Dan Black – Symphonies (A&M)

In a perfect world, tracks like this would be number 1 every week of the year. This isn’t a perfect world, but it is a little bit better with sublime music like this coaxing our eardrums. (Out Now)

Koko Von Napoo – June EP (Trouble)

Following on from last years debut single Polly, the Parisian electro-indie quartet return with a new EP for us to get wrapped up in. Awash with gorgeous synths and a sprinkle of haunting vocals, June is the perfect antidote to everything gloomy and miserable. (27th July)

FUKKK OFFF – Love Me Hate Me Kiss Me Kill Me (Coco Machete/Module)

Dance floor annihilating electro-disco-funk that is sure to soundtrack plenty of people’s parties over the coming months. Never one to pull his punches, FUKKK OFFF finally delivers his debut long-player with devastating effect. Press play and let it wash over you in all of its twisted beauty. (7th September)

If someone has said last year that Britney would put on a circus show, no one would’ve been surprised. Britney’s life emulated an extravaganza of mayhem when the mega superstar shaved off her hair, her life was tumbling around her in a circus furore that shocked the world. But here she is, the Princess of Pop, returning to the UK with a world tour with an entirely different circus. The question that remains to be seen then is if Britney’s life remains spiralling out of control or if she is really back as ringmaster of this circus of her own.

As the red curtain descends upon the stage at London’s 02 stadium 20,000 people hold their breath. Teens and twenty-something year olds start chanting the name that we are all so used to hearing, “Britney, Britney, Britney.” The stage erupts into a raunchy version of Zippos circus and the crowd becomes consumed in the Britney Spears show. After a phenomenal build up of dancers and acrobats came the ultimate magic trick – infamous and untouchable, both the illusionist and magician’s assistant appeared in a puff of smoke. And we each got a piece of Britney Spears.

Throwing herself into the opening combo of ‘Circus/Piece of Me’ the crowd became mesmerised by the spectacle. Flashing lights, loud beats and an eruption of choreography showed Britney doing what she does best – becoming the centre of overwhelming attention.

The opening chorus said it all, “All eyes on me in the centre of the ring / Just like a Circus.” Flames, flying trapeze artists, rising stages, a troop of dancers – this was her circus. And of course, her life.

Standing centre of the circular stage Britney wore a variety of sequinned bra / short combos hitting dance move after dance move from one song to the next, as the set ticked every production designer’s wish list – flying props, floating umbrellas, and a ring of fire.

But from one act to the next, not even Britney’s disappearing tricks could detract from the fact that she didn’t once engage properly with her adoring audience. It even took Spears over half an hour to welcome the crowd in a half-hearted manner. I came prepared with the detail of Britter’s fondness for lip-synching but it was the extent of her mouthing to electronic tunes, the clean cut sound of the songs and the fact that there was absolutely no point for wearing her microphone that surprised even some of Britney’s devoted fans.

It simply felt out of place that a superstar who had made her career upon sell-out shows failed to engage the audience, stimulate cheers or even repeat the haggard call for ‘Make some noise!’ Not a word was whispered and it took all her effort at the end to say goodbye. One song rolled into the next just as her album would with the distinction of tight choreography and impressive circus acts. But successful as Britney has been for the last 10 years, to make this significant mistake that everyone would, and has, noticed seems not careless but intentional. So Britney doesn’t sing live – that’s one thing. But to fail to interact, look at or speak to the bursting audience seemed far too careless a mistake to make. More likely, as the night went on and the striking performances became less superb and more procedural, it appeared to be just another attempt to detach Miss. Spears from her hungry fans.

After all, the last couple of years that Britney has been through would’ve rendered standing in front of this immense crowd for most people an absolute nightmare. But Britney isn’t just anyone. She has grown up, lived and loved the spotlight and knows no different. If she wasn’t standing nearly naked in front of thousands of people what would the insecure 27-year-old do to gain this superficial adoration and reassurance?  It seems that chasing the spotlight is as much an addiction as drink and drugs and hence probably why she’s here doing this, so she isn’t doing them.

What seems strange then is that whilst trying to detach herself from the 40,000 eyes locked only on her, she strips off, simulates sex and gyrates down stripper poles in flesh coloured catsuits covered in fake tattoos that left little to the imagination. Whilst Britney is trying to hide away she has almost offered us her privacy with such force that you have to wonder the price of her inconceivable success.

Spears has based her career on a few catchy tunes, large-scale productions, her tanned and toned body and the insinuation of a helluva lot of sex. Britney was and is part and parcel of her marketing campaign. She understands her career, her commodity is based on stripping off and it wouldn’t be a surprise if this was how she based her self-worth. A legitimate – and profitable – prostitution.

And thus begins the sad story of Britney Spears. Thumping her way through song after song, she was a Bollywood dancer, a police woman, a magician’s assistant and the rest. What set this tour apart from her original teeny bopper days was that the one thing Britney never was was herself. Gone were the days where she could wear a crop top, trackies and a mouthpiece and belt out ‘Sometimes’; these days it was all about the performance and she was it.

So superficial was Spears’ affection and intimacy with her audience that ‘Circus’ lacked the vivacity, the excitement of her previous tours when the Mousketeer had first made it. An explosion of acrobats, gymnasts, dancers and trapeze artists meant that the show remained alive though the soulstress was indeed dead. The passion had gone and what was left was a just a performer, a dancer who lip synched through the set and wore skimpy clothes that would make Lady GaGa wince.

So contrived was her circus show that Spears went from wriggling under male dancers in ‘Touch of My Hand’ to singing softly floating on a giant umbrella in ‘Everytime’. Either Britney wants to be everything to everyone or she really just doesn’t know who she is. Growing up in the limelight she has based her career on the conflicting messages of sex and sickly sweet naïveté right from her first song, ‘Baby one more time’ where she wore that famous school girl’s uniform when she was a jailbait 16-years-old.

She’s either so confused she’s unaware of her childlike immaturity or she’s a victim herself to the Britney illusion. And only a few months out of rehab, who can blame her?

The last two years Spears has lived her own cyclonic carnival that would make the Moscow State Circus look rather sedate.

In 2004, Britney shocked everyone by marrying her high-school friend Jason Alexander in an eleventh-hour Las Vegas Wedding. Annulling the marriage after 72 hours Spears was able to wipe the mistake from her memory but she couldn’t eradicate it from public opinion. The virginal vixen had messed up and so began the long road of disaster that followed in the wedding’s wake.

That same year, she met and married her bad boy dancer Kevin Federline in a ‘trailer-trash’ wedding and by 2005 she had given birth to their first son Sean Preston. One year later, in 2006, Britney and K-Fed – as the media named him – had their second son, Jayden James amid rumours that their marriage was already on the rocks. Just two months following Jayden’s birth, Britters filed for divorce.

This rollercoaster took a downward spiral as Britney began drinking and taking drugs to cope with the divorce and in February 2007 she shocked the world as pictures of her shaving her head were released. Rumours of drug-fuelled partying and serial relationships with men including a papparazo circulated and in September 2007, aged 25 she lost custody of her children. The judge blamed her ‘habitual, frequent and continuous use of controlled substance and alcohol’.

Things took a turn for the worst when on January 3 2008 Britney locked herself and her kids in her bathroom, threatening to kill herself. In scene that stole the tabloids, Spears was carried away on a gurney and escorted by police and helicopter to Cedars-Sinai medical centre to be put under 72-hour psychiatric arrest.

By February that year after Britney admitted herself into rehab, her father Jamie Spears was warranted conservatorship of her reported $100million estate. She lost control over everything from her spending, her phone calls, her friends and most tellingly her career.

Just a year later she had launched a new album and signed up to a 60-date world tour that 1 million people would’ve seen by its completion. Sober and pristine, Britney performs robotic movements with a team of expert dancers. And yet she’s surrounded by an entourage of doctors, psychiatrists, child welfare officers, bodyguards and family, is under 24-hour watch and cannot even text her friends.

As she descended onto the stage in a gold cage the conflict between success and imprisonment was clearly evident. This tour was another sentence for Britney – so many smiles, 62 million albums, hits after hits, sell-out tours. The success never has and seemingly, never will cease. Yet in her only interview prior to the tour, Britney: For the Record she evocatively likened her life to prison saying, “There’s no excitement, there’s no passion…Even when you go to jail, you know there’s the time when you gonna get out. But in this situation, it’s never-ending.”

The interview, notably released by her management, distinctly promotes her sadness and uses her fragile mental state as a catalyst for record sales and publicity. There’s no irony that her set design is metaphoric with the claustrophobic cage, the picture frame she’s trapped in and even the album title ‘Circus’ itself. It simply illustrates that even her breakdown has become another marketing strategy.

Her brand as a ‘troubled superstar’ is earning her and those around her millions. But it seems unlikely that if Britney has no control over her private life that she will have had any say in manipulating her mental health into mega bucks. Rather that the people who have manufactured Spears’ comeback image to reflect her tragic crash are the very people who drove her to it in the first place. People see dollar signs before they see the girl, even when it means taking advantage of her mental health possibly to the detriment of it again. And the man leading her revival: her father.

No longer was Britney the ringmaster of her own show – she was the victim. Song after song she gave the crowd what they wanted but everything seemed contrived. The singing was pre-recorded. The (few) comments scripted and production massive – so massive that Britney might as well not have been part of it. The only thing that seemed genuinely impressive was the choreography and during famous records ‘Slave for you’ and ‘Baby..’ for a couple of moments, she really came into her own hitting tight moves with her troop of dancers to whom she belonged. But here she stood, set apart from her team, with the spotlight melting her plaster paint make-up.

Britney is a hit-making machine that still produces some of the catchiest club songs around. She is a Southern girl with Simon Cowell’s X-Factor. She has a ‘comeback’ tour that distracts the world that she’s ever been away. She is something else. She was the teenager who stole the world but today the world feels they have the right to keep stealing pieces of her.

Today she wasn’t a superstar, she was a show. A show that was clearly orchestrated by some other ringmaster pulling on puppet strings as she blew kisses to the screaming crowd. Painting on her clown smile for every performance, night after night and day after day.

Words Natasha Al-Atassi

It’s the height of festival season again, and this years Latitude Festival is gearing up to be quite the weekend. From Thom Yorke to the Phenomenal Hand Clap Band ( yes you read that right), it seems this years festival is pushing the meaning of the word diversity.

Before Henham Park in Suffolk ever hosted a Festival it had on average 150 visitors a year. So when the Latitude Festival launched in 2006 this sleepy part of the world had 50,000 people thrust into its midst. This festival is a must for any festival lovers, a true testament to musical and artistic unorthodoxy. A festival in the truest sense of the word.

In total there will be 15 stages running all weekend, which facilitate music,comedy, poetry,films and there is even a children’s arena in case you want to bring the saplings out to the Henham woods. Within in this artistic circus there is of course the acts. And this year its hard to see who exactly is the headline act to see. Thom Yorke from Radiohead will be an obvious crowd puller, while he brings his new solo projects to the masses. While Nick Cave,The Doves, Pet Shop Boys and Grace Jones are but a few of the others making appearances. Along with them comes the rubber stamp of festival kingdom as the BBC have turned up again and created there own stage to be present music and go live on Radio 2, 4 and 6 over the weekend.

Latitude will be, as most festivals are on these isles, compared to the blockbuster of Glastonbury. But latitude has something more, something different to offer people. Poetry, Books, Comedy and Cabaret, all of which have there own separate stages. This gives the festival goer a true arts experience. Such concentration on diversity combined with stages which are intimate and close to the people is an experience that is almost personal. Of course it may never reach the heights of its Somerset sister but it has originality and an artistic depth  which goes beyond the brashness and showmanship of Glastonbury.

The festival doesn’t just give you art and music, it lets you produce your own festival by what you like. Where else could listen to poetry and then watch Ed Byrne doing his comedy set and move on to the Pet Shop Boys. Latitude has a variety of faces that you need to and enjoy. The earl who owns the land had a family motto which was ‘ I live in hope’ to which he added ‘ We fight like Lions and breed like rabbits’, which tells the whole story of how this is a serious festival inviting you to relish its overt jollity and escapades.

Latitude Festival – 17th to 19th July 2009

latitudefestival.co.uk

Words Kehlan Kirwan

Everyone by now must be familiar with the name Danger Mouse – not the cartoon super hero of course – but the busiest producer in music today. If ever the phrase, “finger in many pies” applies to anyone, it applies to him. Not content with creating the genius mash-up that is the Grey Album; he has produced the Gorrilaz; collaborated with MF Doom; formed Gnarls Barkley and just recently created a masterpiece with Sparklehorse and David Lynch. Phew! Talk about not enough hours in the day.

Over at AGENT2, we have been enjoying the Joker’s Daughter album for a while now – it is truly an inspired piece of work that has introduced us all to the talent that is Helena Costas. So, we were delighted to catch up with Danger Mouse for a chat about his latest project and how the two evolved such an intriguing and inventive album.

How did you discover Helena? 

A friend of mine saw her singing somewhere and told me about it. This was back in 2003, I think. She came out to LA and we worked on a couple of things. It wasn’t quite the direction either of us wanted to go in to be honest. After she got home, she started sending me demos that were a little bit more her. When I heard those, I encouraged it a little bit more because I really liked the new direction. When I was working on the Gorillaz album, I spent some time in London and I met up with her on the weekends; usually on Sundays. She brought some of her new ideas and we recorded them in my apartment. After doing that over and over again, we had an album’s worth of material, thirteen or fourteen songs. That was 2005.

Later, she sent even more stuff that went further; it was even better. Little by little, we rerecorded some of the old stuff and then worked on some new songs. We never really did release that first one. There are a couple of songs, like “Jesse the Goat,” that survived. But she was really coming into her own style now, so we kept recording. Over the last couple of years we put together this album.

What was it about her music that made you want to collaborate with her?

She has such a fantastical mind, she goes all over the place – she’s got this crazy imagination! I love that element of someone; it reminds me of being a kid. I knew that when she was singing this stuff, she wasn’t doing it for a big audience; it was just what was going on in her head. She had no intention of writing a song so a whole bunch of people would be affected by it, she was writing songs based on having fun, and on having an amazing imagination. But, there was a dark side to the whole thing as well that I really related with. As with other people I’ve worked with, I didn’t need to understand everything she was talking about, but, it was important that I thought it was genuine. And with her, it absolutely was.

How would you describe your role in the project?

A collaborator, I guess. All the ideas initiated with her. I heard things in the music that were undeveloped – whole passages or instrumental parts that I would hear in my head. I went into the studio and worked on those things, just to flesh it out a bit more. Some of the songs, I didn’t add much at all because I didn’t think she needed it, but I knew that she left certain parts open for me to interpret. In some cases, there was a lot going on, and I took some stuff away. I felt, on most of the stuff she sent, there was a place for me. I think that’s why she sent it.

How it is different collaborating with someone over a long distance, when you’re not in the same city?

It takes a lot of trust. When I’m working on stuff, I know that she wants me to do what I feel, just like I want her to do what she feels. So, when I’m doing the music I’m not asking her if she likes any of the stuff I’m doing, I just go for what I feel and send it back. An overwhelming majority of the time, when I sent her back stuff, she was very, very into it. It would have been a lot more difficult if she’d wanted to make this change and that change. It would have been hard for me, when I got the next song, to feel like I could do whatever I wanted with it, but it wasn’t a back-and-forth process. She sent it to me, I sent it back. Some of the songs I didn’t like as much, and I therefore didn’t work on. I worked on the songs that I really loved.

Is there anything about Helena that you’re still curious about?

She’s a very mysterious person. I don’t even begin to try to understand some things about her. She’s one of the few people that intimidate me with their imaginations. 

dangerdoom.com

Words Colin French

The all-girl rock band from Paris have been making waves in the music industry since 2007, but after becoming the first act to sign to NYLON Records, they’re set to take the world by storm.

The Plastiscines formed back in 2004 after meeting at a Libertines concert in Paris. Fast-forward two years and the girls were offered a record deal with Virgin and their first single “Loser” appeared in 2007, becoming a hit while they were still in high school.  Since then they have built up an impressive cult following of fans who can’t seem to get enough of their music, branded as everything from “candy-punk-pop” to garage rock. Katty (guitar), Marine (guitar), Anais (drums) and Louise (bass) are certainly an appealing alternative to your usual scruffed-up indie bands, and not only because they happen to be pretty and also rather stylish, with a trademark retro look also reflected in their music. In other words, they tick all the boxes to qualify as the new cool kids on the block.

The fact that they are being backed by one of the coolest publications on earth (apart from us, obviously), the US style bible NYLON, won’t be doing them any harm in the popularity stakes either. Renowned for promoting the hippest indie acts and introducing the stars of tomorrow to the masses, it was surely only a question of time until NYLON set up its own record label and developed its own roster. And that is exactly what they did. Yet The Plasticines are much more than a marketed product aimed at the scene kids. They’re actually pretty good. A lot good, even. The Plastiscines new album “About Love” will be the first record to be released by the label in June. Produced by Butch Walker (Katy Perry, Pink, Avril Lavigne)and mixed by Claudius Mittendorfer (Foo Fighters, Franz Ferdinand, Muse), it promises to be every bit as infectious as their label debut “Barcelona”, which is currently doing the rounds on the radio and the internet.

The Plastiscines – who were named after a lyric from The Beatles’ song “Lucy in the Sky with Diamonds”- are currently on tour throughout the US alongside NYLON’s other signings Patrick Wolf, Living Things and Jaguar Love as part of the NYLON Summer Music Tour. The Plastiscines are no strangers to the live circuit, having performed at the 2008 Coachella festival and across Europe. They cite the likes of Blondie, The Ramones, Yeah Yeah Yeahs and the B-52s as influences on their MySpace page, and it is undeniable that you can hear all these elements in their music. All-female rock outfits are few and far between, especially in their native France, and comparisons have inevitably been drawn to other girl bands, even The Pipettes (who actually sound nothing like The Plastiscines). But the girls are determined to be judged on their own merits and prefer to let the music speak for itself. Which it does. Loudly.

myspace.com/plastiscine

Words Kay Weston

And we know this is a bit cheesy but we love the video anyway.

Sonic Youth – Sacred Trickster (Matador)

The NY legends release new album The Eternal next month, and this, the first taster from it does not disappoint. It’s noisy, full-throttled and a little bit special. How many other bands would sound this fresh after 19 albums? Not bloody many. 

Ghostface Killah – Buck 50 (Razor Sharp)

Rewind to 2000 and Ghostface released the superb Supreme Clientele. Boasting an array of guest MC’s, we may not understand every words that he says but we love it regardless.

Kill It Kid – Send Me An Angel Down (One Little Indian)

Sounding like The Bad Seeds being fronted by Anthony Hegarty, Kill It Kid are full of promise for the forthcoming months. Released 18^th May

Danger Mouse teams up with multi-instrumentalist Helena Costas to create an album so sublime and tasty that the summer won’t seem quite right without it. Released 15^th June

Obviously, we have missed out on bringing you the last four months worth of music, granted, we still have the vast majority of the year in which to enthral you but perhaps it’s a good idea to have a little flashback on what has graced us so far. The truth is, I can’t remember a year when come April there was already so many damn good albums having been released. So, to bring us up to speed, here is my round-up of what has sugar-coated the year of 2009 so far:

Animal Collective – Merriweather Post Pavilion (Domino)

Hype can be a cruel pay master; many have succumbed to its charms only to receive indifference and disappointment. Merriweather Post Pavilion had much to live up to after 2007’s Strawberry Jam, but deliver it most certainly did. Delightful, elevating and positively shimmering with invention, it is truly a special piece of work.

9/10

myspace.com/animalcollectivetheband

Morrissey – Years Of Refusal (polydor)

Having reinvented himself with 2004’s You Are The Quarry and 2006’s Ringleader Of The Tormentors, Mozza began the year in style with Years Of Refusal. Assessable to everyone and an instant hit with fans, 2009 could well be the year that this constantly underrated artist finally receives the respect that he deserves.

8/10

Asobi Seksu – Hush (One Little Indian)

Having previously been labelled “shoe gazer” revivalists, Asobi Seksu returned this year with their most ambitious work to date. Hush was everything that you never expected it to be: gorgeous soundscapes vied for favouritism alongside guitar-infused walls of sound and delicate spheres of electronic beauty.

8/10

myspace.com/asobiseksu

N.A.S.A. – The Spirit Of Apollo (Spectrophonic)

Glorious Hip Hop that featured collaborations with David Byrne, Tom Waits and Karen O, among others. Forget the gats, bitches and Benjamin’s, The Spirit Of Apollo is steeped in happy times; not a beef in sight. To understand what an achievement this album is, you must listen, listen and listen some more. Trust Me.

9/10

Deer Tracks – Aurora (Despotz)

Appearing from nowhere, this record took many, including myself, by complete surprise. Think Bjork circa Homogenic, think Cocteau Twins swapping secrets with Mazzy Star and you’re half way there.

9/10

Bonnie ‘Prince’ Billy – Beware (Domino)

Ah, good ol’ Billy, a new year and a new album. Only this time he appeared to be clutching a new found optimism. Don’t get me wrong, melancholy is still woven throughout Beware, he just doesn’t wallow in it quite so much – simply stunning.

8/10

myspace.com/princebonniebilly

Sky Larkin – The Golden Spike (Wichita)

Three young hipsters from Leeds went to America and returned with this: an album full of sparkling indie gems that has raised the bar for all such-like bands.

8/10

Fever Ray – Fever Ray (Rabid)

A few of us raised our eyebrows at the news that Karin Dreijer Andersson was set to record outside the comfort of The Knife. Little did we know how mesmerizing Fever Ray’s debut was going to be – sonically, it attacked your nervous system from every angle. Creepy and a little bit special, Fever Ray was the sound of every horror film that simultaneously frightened and thrilled you as a child.

8/10

Words: Colin French