The View From The Afternoon - Drivin' Home For Christmas by Jjshreeve on Mixcloud
Tuesday, 16 December 2014
The View From The Afternoon - Driving Home For Christmas
On this week's show I'll give you a listen to my favourite driving songs, perfect for any playlist as you make your travels over Christmas. Be sure not to miss some of the biggest tunes of 2014 too, as we near the end of the year...
Sounds of 2015 - Palace
As little as six months ago you could've gone past the rather inconspicuous term, 'Palace', without batting an eye-lid. After a support slot of Jamie T's comeback summer tour and a stellar debut EP, our sights are firmly glued on them from now on.
2014 was has been by no means a big year for the London quartet but instead the building of a foundation of what ought to be a fast-paced year ahead of them in 2015. As mentioned, Jamie T himself gave them the nod to accompany him on his comeback shows and has given them further support by inviting them on his European tour next year, so there's more exposure to come. They've earned the praises of the likes of Huw Stephens and their debut EP, 'Lost In The Night', was given a commendable 8/10 by us this year.
Their blend of sleazy guitars and bluesy vocals are brimming with archaic nature, which somehow fits so perfectly into today's music scene. 'Bitter', is one of the most beautifully crafted songs of the year but peel back the layers and you'll reveal 'Veines'; an old crooners crackling rendition of modern day romance. There's nothing really like them at the moment but they're in no rush to go full throttle just yet, as they've told us. Next year should be the steady making of Palace and their tranquil music both on record and live.
2014 was has been by no means a big year for the London quartet but instead the building of a foundation of what ought to be a fast-paced year ahead of them in 2015. As mentioned, Jamie T himself gave them the nod to accompany him on his comeback shows and has given them further support by inviting them on his European tour next year, so there's more exposure to come. They've earned the praises of the likes of Huw Stephens and their debut EP, 'Lost In The Night', was given a commendable 8/10 by us this year.
Their blend of sleazy guitars and bluesy vocals are brimming with archaic nature, which somehow fits so perfectly into today's music scene. 'Bitter', is one of the most beautifully crafted songs of the year but peel back the layers and you'll reveal 'Veines'; an old crooners crackling rendition of modern day romance. There's nothing really like them at the moment but they're in no rush to go full throttle just yet, as they've told us. Next year should be the steady making of Palace and their tranquil music both on record and live.
Monday, 15 December 2014
The View From The Afternoon - Unconventional Christmas Songs
It says what it is on the tin. A combination of my favourite unconventional Christmas songs brought to you by myself along with the conclusion to my albums of 2014 countdown.
Listen below.
Listen below.
FanCam - Sheffield Wednesday vs Watford
On 18th October 2014, Sheffield Wednesday took on Watford in the Sky Bet Championship. I went down to talk to some fans before and after the match about their club and how they think the season is likely to take shape. Watch below:
Sunday, 16 November 2014
Album Review - Jamie T - Carry On The Grudge
'Carry On The Grudge' is doing just what you'd expect after a five-year gruelling wait for another album from one of Britain's most upfront indie-poets. Half a decade on from his last album, and Jamie Treays, now a slightly more matured 28 year old, has barely budged; still a frustrated, angst ridden individual whose more refined view on life has produced an album worth waiting for.
Opening track, ‘Limits Lie’ is the re-awakening from the five-year long grudge, of which Jamie is about to lump onto his back again for another twelve track journey down some of London's bleakest streets, exposing more insecurities and grit than ever before. Lyrically, the album is undeniably Jamie T, but they expose a more decayed, self-loathing state; ‘I’m sweating in a carcass, I’ve given up on me’ is a more broken and deteriorated soul than the sprightly youth we’re used to. His song-writing too has delved much deeper beneath a potentially tormenting few years with comeback song, ‘Don’t You Find’. Creeping right out of a tattered, cigarette stained sofa, its brooding nature is far removed from merry days of ‘drinking under age’ and ‘lightweight pricks’.
The tender moments are a step away from the upbeat anthems of Jamie's yesteryear but the wailing backing vocals, provided by his new band, are still about. 'Turn On The Light' and 'The Prophet' peel back the layers and deliver lullaby chorus’ befitting for Jamie’s more heartfelt tales. These tales of course, would not be complete without their characters. In 2007 it was Sheila and Stella, 2009, Emily and Jilly and now Jamie’s having a pop at Mary Lee and Marcus.
It’s an album which although slightly altered in its sound, still addresses the real people and situations of Jamie's blurry world. Five years was a long time to wait, but he must be praised for returning with a record that’s as realistic as his last and firmly establishes him back in the game.
Jamie T - 'Carry On The Grudge'
Out of 10 - 8/10
By Joshua Shreeve (@JJShreeve)
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Opening track, ‘Limits Lie’ is the re-awakening from the five-year long grudge, of which Jamie is about to lump onto his back again for another twelve track journey down some of London's bleakest streets, exposing more insecurities and grit than ever before. Lyrically, the album is undeniably Jamie T, but they expose a more decayed, self-loathing state; ‘I’m sweating in a carcass, I’ve given up on me’ is a more broken and deteriorated soul than the sprightly youth we’re used to. His song-writing too has delved much deeper beneath a potentially tormenting few years with comeback song, ‘Don’t You Find’. Creeping right out of a tattered, cigarette stained sofa, its brooding nature is far removed from merry days of ‘drinking under age’ and ‘lightweight pricks’.
Having had rumours of his death circulating over recent years, it’s amusing or maybe essential that ‘Zombie’ should rekindle an aura not felt since 'Sticks 'n' Stones'. Although it reveals some of his poorer lyrics, it's able to resurrect the cheeky chappy within him, as if it'd never left him. The ashes still lingering around from his past two albums are evident too, particularly halfway through the record. Those unimpressed with Jamie’s more laid-back approach on parts of the album, will be more than sufficed with an almost familiar trio of tracks. 'Trouble' is where 'Kings and Queens' left off with quick wit, nonsense lyrics, ‘doop de doop, doop doop doop, it’s trouble’. He’s clearly not had trouble thinking of more catchy ditties which ‘Rabbit Hole’ also attains, leaving you dizzy in its bullish trails. Elsewhere the scratchy ending to ‘Peter’, a snarling track about Jamie’s filthy alter-ego, is almost parallel to the jittery climax of 2009’s ‘Castro Dies’.
It’s an album which although slightly altered in its sound, still addresses the real people and situations of Jamie's blurry world. Five years was a long time to wait, but he must be praised for returning with a record that’s as realistic as his last and firmly establishes him back in the game.
Jamie T - 'Carry On The Grudge'
Out of 10 - 8/10
By Joshua Shreeve (@JJShreeve)
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Album Review - Ben Howard - I Forgot Where We Were
It's easy enough to forget where Ben Howard's been. After an illustrious eighteen-months that followed his mesmerising debut album, 'Every Kingdom', the gentle pitter-patter lead up to his second, 'I Forgot Where We Were', has gone almost un-noticed.
The pace was set by 2012's single 'Oats In The Water'; a disturbing and trembling alteration in sound, flattening a new landscape to lead smoothly into this latest album which instantly oozes even more intriguing, thicker twangs from the guitar in 'Small Things'.
Where ‘Every Kingdom’ could be accused of portraying everything through rose-tinted spectacles, this album pushes the boundaries to the polar opposite. It’s a slow and honest process of peeling away the human layers, backed up by a refined grip of the guitar. Add in the more serious undertones from lamenting strings and shuddering drums and it's an album befitting to pour into the grandest settings around.
By Joshua Shreeve
Ben Howard - I Forgot Where We Were
Out of 10: 8/10
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The pace was set by 2012's single 'Oats In The Water'; a disturbing and trembling alteration in sound, flattening a new landscape to lead smoothly into this latest album which instantly oozes even more intriguing, thicker twangs from the guitar in 'Small Things'.
Much like the album artwork itself, 'I Forgot Where We Were' sheds the light and darkness upon Ben. With that said, 'Evergreen' is not exactly what it suggests, containing the bleakest and most sombre moments of the album rather than an ever blossoming nature that we've become accustomed to. 'Rivers in my Mouth', tries to keep up the momentum behind 'Keep Your Head Up', but gracefully inverts back into a spiral of nostalgic obscurity. 'She Treats Me Well' on the other hand, wields a catchy riff with a straight cut blues edge to it, likening to the work of fellow British triumphant, Paolo Nutini.
Slipping away from the moral preacher and chanter of 'keep your head up', he's decided to rid himself of his worries on this record. From the opening cries of 'has the world gone mad, or is it me?' to 'The End Of The Affair's harrowing tale of forgotten love and climaxing yells of 'what the hell?' are the most powerful segments of Ben Howard to date. Whilst these firework finales verge on breath-taking, the more fragile ending moments, such as the final strums of 'Conrad' are modest and also quintessential to the makeup of the album.
Where ‘Every Kingdom’ could be accused of portraying everything through rose-tinted spectacles, this album pushes the boundaries to the polar opposite. It’s a slow and honest process of peeling away the human layers, backed up by a refined grip of the guitar. Add in the more serious undertones from lamenting strings and shuddering drums and it's an album befitting to pour into the grandest settings around.
By Joshua Shreeve
Ben Howard - I Forgot Where We Were
Out of 10: 8/10
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EP Review - Palace - Lost In The Night
Palace's debut EP 'Lost In The Night' is a gleaming gem in the crown of an indie music scene currently obsessed with making replica's of guitar bands been and gone, or drenching themselves in psychedelic groove.
Whilst the London ensemble do have bundles of groove to them, it's refreshingly unexpected. The throwback to blues and soft rock is a gentle and pleasant surprise to energetic indie-ears. 'Bitter' is the lead track, and arguably up there with some of the greatest sounds of the year. The raw hear-felt vocals are hard to go a miss, as is the climactic, jumbled instrumental ending.
The rest of the EP is fairly tender, with 'I Want What You Got' and 'Ocean Deep' still exploiting those quickly identifiable vocals. Essentially, the true beauty of Palace is never quite reached until you meet 'Veins'. It's a lullaby track you'd expect to find from the depths of a dusty antique store, still crackling on a record player as it did all those years before. Final number, 'Lost In The Night' rounds of a promising debut, with it's outro of percussion and fret-bending woes.
An EP as honest as ever, there's more than a gap on the record store shelf for Palace. That's so long as they don't get sucked into mainstream obscurity and keep their archaic, alternative blues-driven melodies refreshing and cool.
Palace - 'Into The Night'
Out of 10: 8/10
By Joshua Shreeve
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Whilst the London ensemble do have bundles of groove to them, it's refreshingly unexpected. The throwback to blues and soft rock is a gentle and pleasant surprise to energetic indie-ears. 'Bitter' is the lead track, and arguably up there with some of the greatest sounds of the year. The raw hear-felt vocals are hard to go a miss, as is the climactic, jumbled instrumental ending.
The rest of the EP is fairly tender, with 'I Want What You Got' and 'Ocean Deep' still exploiting those quickly identifiable vocals. Essentially, the true beauty of Palace is never quite reached until you meet 'Veins'. It's a lullaby track you'd expect to find from the depths of a dusty antique store, still crackling on a record player as it did all those years before. Final number, 'Lost In The Night' rounds of a promising debut, with it's outro of percussion and fret-bending woes.
An EP as honest as ever, there's more than a gap on the record store shelf for Palace. That's so long as they don't get sucked into mainstream obscurity and keep their archaic, alternative blues-driven melodies refreshing and cool.
Palace - 'Into The Night'
Out of 10: 8/10
By Joshua Shreeve
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Big Sixes reveal new single 'Heaven Sent'
Big Sixes are back with their latest single, 'Heaven Sent', having been premiered as Zane Lowe's 'next hype' earlier this month.
The track is taken from their upcoming 'The Idles EP' which will feature another four tracks. 'Heaven Sent' continues the tender melodies and heartfelt vocals we've become accustomed to from the band and now having been away for a while, and supporting the likes of Deaf Havana and Charlie Simpson, they're ready to embark on their first ever headline tour.
Check out their tour dates, and you can watch the video for 'Heaven Sent' below:
Tour dates:
December
1st The Castle, Manchester
2nd Key Club, Leeds
3rd King Tuts, Glasgow
4th Scholar Bar, Leicester
5th Bodega, Nottingham
6th 2Pigs, Cleltenham
7th Sunflower Lounge, Birmingham
8th Cavern, Exeter
9th Louisanna, Bristol
10th Hope, Brighton
11th Joiners, Southampton
12th The Courtyard Theatre, London
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The track is taken from their upcoming 'The Idles EP' which will feature another four tracks. 'Heaven Sent' continues the tender melodies and heartfelt vocals we've become accustomed to from the band and now having been away for a while, and supporting the likes of Deaf Havana and Charlie Simpson, they're ready to embark on their first ever headline tour.
Check out their tour dates, and you can watch the video for 'Heaven Sent' below:
Tour dates:
December
1st The Castle, Manchester
2nd Key Club, Leeds
3rd King Tuts, Glasgow
4th Scholar Bar, Leicester
5th Bodega, Nottingham
6th 2Pigs, Cleltenham
7th Sunflower Lounge, Birmingham
8th Cavern, Exeter
9th Louisanna, Bristol
10th Hope, Brighton
11th Joiners, Southampton
12th The Courtyard Theatre, London
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Live Review - Nick Mulvey - Leadmill, Sheffield - 24.10.14
Nick Mulvey has been nothing short of a sensation over the past 12 months. 'Who remembers coming to see me in a pub up here last year, right at the beginning?', he calls out in between strums of his guitar to a Sheffield crowd notably bigger than a year ago.
It seems to have become a fashion for just about every young man to equip himself with a guitar and produce a husk of a voice behind the mic. Whilst Mulvey's vocals aren't the most rasping, he lets the tender, blossoming nature of his melodies do the talking. From start to finish, he and his band produce trembles which breeze through a still and captivated crowd at The Leadmill.
Having spent the summer playing to an ever-growing fan base at different festivals, the 900 capacity crowd shouldn't stutter him and his intense, tight-knotted unraveling of opening song, 'April', quickly has everyone under his controlling gaze. It's a gentle opening but by the time 'Meet Me There' bursts into life, the nostalgia weaves its way around the crowd. The most intriguing song of the set, 'Venus', changes up the show altogether, as do the different instruments adorned by Mulvey's band members, with what looks like a bouzouki making its way onto stage at some point.
Where he may not have the upbeat, pop factor of Ed Sheeran or George Ezra, Mulvey's few upbeat songs glisten brightest with 'Juramidam' being an infectiously bouncy celebration about alcoholic beverages and arguably the gem of his debut album 'First Mind'.
The show gradually matures as it goes on, eventually reaching top gear with crowd favourites 'Feel To The Form' and the tongue-twisting 'Cucurucu', which unsurprisingly gains the biggest sing-a-long of the night with 'hums' buzzing around the room. However, Mulvey's not going to go out without a gentle acoustic 'bang'. A pleasantly surprising encore includes a sobering rendition of Drake's 'Hold On, We're Going Home' and is accompanied by 'Nitrous', which takes a pinch of lyrical material from 90s club classic 'You're Not Alone'.
Whilst not the most raucous show, he's a real treat to see live, showcasing both his most delicate solo talent as well as that of his all-empowering band, but above all, it will ensure goosebumps are left firm and mouths agape.
By Josh Shreeve (@JJShreeve)
Follow/ [Facebook] [Twitter]
Listen/ [Soundcloud]
It seems to have become a fashion for just about every young man to equip himself with a guitar and produce a husk of a voice behind the mic. Whilst Mulvey's vocals aren't the most rasping, he lets the tender, blossoming nature of his melodies do the talking. From start to finish, he and his band produce trembles which breeze through a still and captivated crowd at The Leadmill.
Having spent the summer playing to an ever-growing fan base at different festivals, the 900 capacity crowd shouldn't stutter him and his intense, tight-knotted unraveling of opening song, 'April', quickly has everyone under his controlling gaze. It's a gentle opening but by the time 'Meet Me There' bursts into life, the nostalgia weaves its way around the crowd. The most intriguing song of the set, 'Venus', changes up the show altogether, as do the different instruments adorned by Mulvey's band members, with what looks like a bouzouki making its way onto stage at some point.
Where he may not have the upbeat, pop factor of Ed Sheeran or George Ezra, Mulvey's few upbeat songs glisten brightest with 'Juramidam' being an infectiously bouncy celebration about alcoholic beverages and arguably the gem of his debut album 'First Mind'.
The show gradually matures as it goes on, eventually reaching top gear with crowd favourites 'Feel To The Form' and the tongue-twisting 'Cucurucu', which unsurprisingly gains the biggest sing-a-long of the night with 'hums' buzzing around the room. However, Mulvey's not going to go out without a gentle acoustic 'bang'. A pleasantly surprising encore includes a sobering rendition of Drake's 'Hold On, We're Going Home' and is accompanied by 'Nitrous', which takes a pinch of lyrical material from 90s club classic 'You're Not Alone'.
Whilst not the most raucous show, he's a real treat to see live, showcasing both his most delicate solo talent as well as that of his all-empowering band, but above all, it will ensure goosebumps are left firm and mouths agape.
By Josh Shreeve (@JJShreeve)
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Listen/ [Soundcloud]
Live Review & Interview - Palace - The Rocking Chair, Sheffield - 23.10.14
Palace are a fairly unknown entity. At least that's what the basement of Sheffield's, 'The Rocking Chair' would suggest. Barely filled with 50 people and a turquoise complexion of shimmering lights, it's where the London quartet kicked off their UK tour.
The intriguing quartet who only really came into their first tints of the limelight through the support of Jamie T, make no grand opening to the stage and instead opt for an ambient opening entitled, 'Dragonfly'. Think Maccabees 'Given To The Wild' on a minute scale, and you can just about imagine frontman Leo as Orlando Weeks' doppelganger.
With that, they ease gently into tracks from recently released EP, 'Lost In The Night'. Leo gradually finds his feet in the quavering vocals of 'I Want What You Got' which gently pitter patters into 'Ocean Deep', a smooth and sexy track suitable for an indie-smattered crooner. Meanwhile, 'Bitter' is ironically the sweetest thing Palace have produced, doused in woozy-indie vibes and blues tinged anthems at it's roots.
For those who have come along for an exceptionally good priced evening of music have not been disappointed. Those who have already been lured in by the beauty and mystery of Palace though, are rewarded with a bundle of new songs. 'Black Heath' is high and wirey, much like some of the wild-Western twangs touched on in the EP. Quite differently, 'Tomahawk' unleashes an effortlessly funky jam, sandwiched either side of Foals and The Maccabees respectively. On the other hand, the range of vocal pitch throughout 'Shark' points towards early Kings Of Leon.
The dreamy, saloon bar fading reverberations come back with the band's cover of Chris Isaak's 'Wicked Game' that allows the trembles of the bass to shine through, before they finish on another well known gem in their crown, 'Veins'. It's a fitting end to the start of something special. Not only have they produced a five-track EP of wonder, but they're already armed with more material and their live show is one that can only radically grow in the coming months.
Making their mark on the walls of 'The Rocking Chair', as well as Jamie T and the rest of the music industry, Leo points and laughs at their chalk graffiti, suggesting that band members 'Matt' and 'Wills' looks like Busted heartthrob 'Matt Wills' has joined them. Aside from the topic of early 2000 pop bands, I caught up with three-quarters of the band afterwards to speak about their love for Jamie T, Foals and why they're not in any rush to make an album...
The intriguing quartet who only really came into their first tints of the limelight through the support of Jamie T, make no grand opening to the stage and instead opt for an ambient opening entitled, 'Dragonfly'. Think Maccabees 'Given To The Wild' on a minute scale, and you can just about imagine frontman Leo as Orlando Weeks' doppelganger.
With that, they ease gently into tracks from recently released EP, 'Lost In The Night'. Leo gradually finds his feet in the quavering vocals of 'I Want What You Got' which gently pitter patters into 'Ocean Deep', a smooth and sexy track suitable for an indie-smattered crooner. Meanwhile, 'Bitter' is ironically the sweetest thing Palace have produced, doused in woozy-indie vibes and blues tinged anthems at it's roots.
For those who have come along for an exceptionally good priced evening of music have not been disappointed. Those who have already been lured in by the beauty and mystery of Palace though, are rewarded with a bundle of new songs. 'Black Heath' is high and wirey, much like some of the wild-Western twangs touched on in the EP. Quite differently, 'Tomahawk' unleashes an effortlessly funky jam, sandwiched either side of Foals and The Maccabees respectively. On the other hand, the range of vocal pitch throughout 'Shark' points towards early Kings Of Leon.
The dreamy, saloon bar fading reverberations come back with the band's cover of Chris Isaak's 'Wicked Game' that allows the trembles of the bass to shine through, before they finish on another well known gem in their crown, 'Veins'. It's a fitting end to the start of something special. Not only have they produced a five-track EP of wonder, but they're already armed with more material and their live show is one that can only radically grow in the coming months.
Making their mark on the walls of 'The Rocking Chair', as well as Jamie T and the rest of the music industry, Leo points and laughs at their chalk graffiti, suggesting that band members 'Matt' and 'Wills' looks like Busted heartthrob 'Matt Wills' has joined them. Aside from the topic of early 2000 pop bands, I caught up with three-quarters of the band afterwards to speak about their love for Jamie T, Foals and why they're not in any rush to make an album...
How did that go for you guys?
Leo (vocals/guitar): It was really fun. I think freedom of being outside of London was like -
Matt (drums): - Am I allowed to speak?
L: Yes! Haha, I think it's fun playing to a new crowd and a new place and it suddenly feels like we have this whole new element of freedom.
M: I thought it was wicked, I really loved it. Totally, totally different vibe to playing in London, it was just more fun and we were relaxed.
How was it different playing in St. Pancras Old Church in London the other day for your EP launch?
L: Well we were in a church so the front six rows were seats and everyone was kind of sitting down like Sunday mass...
M: It was an absolutely amazing venue, very atmospheric and everyone was kind of quiet and respectful. The sound was very echoey and it was very different so it was probably the complete opposite to what we just did. Which is why this was really awesome.
L: Yeah it's awesome to just cut through the beauty and elegance of a church and to suddenly be like, 'fuck it, let's play in a basement!', but we want to be able to play the gritty side of it, that's what we wanna do.
The EP's just come out. It's had a great response! How was it to make it?
L: Yeah it's been great, we recorded it pretty much all ourselves, in a-
Not in a church?
L: No, in a cave!... but no, our friend started up a studio in Tottenham, and we recorded it all up there.
M: It was pretty relaxed actually.
Many people will have first heard of you through supporting Jamie T in the summer, was that pretty surreal for you?
L: It was crazy.
M: We were a bit scared because he’s the polar opposite to us in terms of sound but his new record is unbelievable and a lot closer to our sound so I guess that’s kind of why it happened. We were really scared ‘cos we were huge fans of his first album and knew it was quite rowdy and all the fans were outside and quite pumped and topless like ‘arghhh!’ and we were just there like ‘shit, we’re gonna get killed...’ but actually it went really well.
L: Before we got on stage they were heckling us a little bit, like ‘come on, what you got you pricks!’ but then we started playing and people got into it.
Perhaps not Jamie T then, but were there any major influences when making the EP?
L: There’s little splices from different places.
M: I think weirdly, it just sort of happened. No one was really thinking about it, it just comes out. We all have similar influences but they’re quite separate, ranging from old folky stuff to 70s prog stuff, to new Foals and Wu Lyf sounds.
L: But there was never like, let’s make this sound a bit like ‘this guy’.
M: We never really spoke about our influences, it’s more just a subconscious thing.
I picked up a few Foals and Maccabees vibes, have you ever got that?
L: Actually yeah we did hear that, and it’s fucking cool.
M: We love Maccabees, we love Foals! They’re one of the best live bands. I’ve only ever seen them in foreign festivals when it’s like really hot and it’s kind of made for that environment.
L: They’re so fucking good live. I’d say that was the beginning. I personally wanted to, in some small way, emulate what they do, in terms of the very detailed sparse guitar playing.
Let’s go back to the beginning then, how did Palace all start?
M: I was actually talking to Will, the bassist, about it today. We’re almost exactly two years old when Leo and I first said, ‘let’s have a jam’ and then Rupe and Will came along. We’d been talking about starting a band for years.
Rupert (guitar): I came in on the bass.
L: Oh yeah, Rupe came in on the bass! We were a three-piece for a while -
R: Which sounded pretty shit.
L: Yeah it sounded pretty bad, so we put Rue on guitar.
M: We spent a lot of time jamming in crappy studios in Camden, just sweating it out in these tiny little boxes and then slowly things just kind of clicked. Then the EP came out this summer and it’s kind of gone a bit mad. When we first started we were only rehearsing sort of once every two months. It was only recently we were like ‘shit...’
As soon as Jamie T contacted you perhaps?
L: Yeah Jamie T was like, ‘fucking hell, rehearse a little bit more!’.
You played a few new tunes tonight, what’s the plan going forward?
R: Yeah, get the tour down, and then hopefully get a second EP.
M: There’s a lot of talk about what the good thing to do is, a lot of talk about ‘the death of the album’, but aside from all of that I think the EP has really worked for us.
R: It suits our kind of music.
M: Yeah, we’re not in any hurry, we hope we’ll be around for a long time so we’re gonna do another EP at some time and just take our time.
As for the rest of the tour is there any particular venue coming up that you’re most looking forward to?
L: Not really, I don’t think...
R: I think it’s just great to be on the road to be honest.
L: And just going to places that some of us have never been, it’s just fun. The whole thing is just kind of what you dream of doing when you’re young, just going on the road with a band.
R: But Sheffield is obviously our favourite...
Keen to please each city and each crowd, you can catch Palace at the following venues on the remainder of their tour:
Oct 31 - Southampton, The Cellar
Nov 1 - London, The Laundry
Nov 4 - Bristol, Start The Bus
By Josh Shreeve (@JJShreeve)
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Live Review - Jamie T - Manchester Academy - 07.11.14
When Jamie T announced his return this year, a glimpse of the almost fabled singer-songwriter became highly sought after. Despite being distant for half a decade, he re-emerged to fans as if he'd just nipped round the block and returned with a new band, new songs but still the same loveable chap with an equally as big bit between his teeth.
Much like his latest album, 'Carry On The Grudge', the crowd were eased into the show via, 'Limits Lie' and 'Don't You Find', coaxing people into a moody singalong. By the time Jamie orders them into a frenzied dance during 'Operation', there's limbs flying everywhere and wafts of beer, sweat and nostalgia around. 'Salvador' and new track, 'Rabbit Hole' are met by the same ruckus before being juxtaposed by the most beautiful and refined song of the night; 'Emily's Heart'.
Tracks from debut album, 'Panic Prevention', see Jamie and the dedicated members of the crowd grow in more confident sing-a-longs to songs 'Ike and Tina' and 'So Lonely Was The Ballad', which split up the fresher but less memorable tracks.
As for 2009's, 'Kings & Queens', you can't help but feel that some of it's finest fruits have been neglected. Those that are included though, 'Man's Machine' and 'Spider's Web', pick up the pace as the band hurtle towards the encore. By the time '368' clicks into play, Jamie's guitar is out of sight and he bounces around the stage with mic in hand like a riled up freestyler.
Naturally, the classics get the most love. 'If You Got The Money' ends the show with coarse throats looking to swap their pints of lager for lemsip; a sign that Jamie's tongue-twisting lyrics really are an art. Most people found out the hard way, trying their best to keep up with a memorable ending of 'ma-ma-ma-ma money, ma-ma money oh'.
It doesn't stop there though as he returns from the shadows alone to perform an almost undistinguishable solo of 'Calm Down Dearest' before 'Zombie' sparks a second-wind amongst the crowd. It sits almost perfectly alongside older gems, 'Sheila' and 'Sticks n Stones', to keep an aura of nostalgia not felt for most of the crowd since their angst ridden teenage years. For the newer fans, they've come at a much tamer time in Jamie's career, but his more delicate spindling of the guitar isn't far off the foul-mouthed songs we all fell in love with all those years ago.
By Joshua Shreeve (@JJShreeve)
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Much like his latest album, 'Carry On The Grudge', the crowd were eased into the show via, 'Limits Lie' and 'Don't You Find', coaxing people into a moody singalong. By the time Jamie orders them into a frenzied dance during 'Operation', there's limbs flying everywhere and wafts of beer, sweat and nostalgia around. 'Salvador' and new track, 'Rabbit Hole' are met by the same ruckus before being juxtaposed by the most beautiful and refined song of the night; 'Emily's Heart'.
Tracks from debut album, 'Panic Prevention', see Jamie and the dedicated members of the crowd grow in more confident sing-a-longs to songs 'Ike and Tina' and 'So Lonely Was The Ballad', which split up the fresher but less memorable tracks.
As for 2009's, 'Kings & Queens', you can't help but feel that some of it's finest fruits have been neglected. Those that are included though, 'Man's Machine' and 'Spider's Web', pick up the pace as the band hurtle towards the encore. By the time '368' clicks into play, Jamie's guitar is out of sight and he bounces around the stage with mic in hand like a riled up freestyler.
Naturally, the classics get the most love. 'If You Got The Money' ends the show with coarse throats looking to swap their pints of lager for lemsip; a sign that Jamie's tongue-twisting lyrics really are an art. Most people found out the hard way, trying their best to keep up with a memorable ending of 'ma-ma-ma-ma money, ma-ma money oh'.
It doesn't stop there though as he returns from the shadows alone to perform an almost undistinguishable solo of 'Calm Down Dearest' before 'Zombie' sparks a second-wind amongst the crowd. It sits almost perfectly alongside older gems, 'Sheila' and 'Sticks n Stones', to keep an aura of nostalgia not felt for most of the crowd since their angst ridden teenage years. For the newer fans, they've come at a much tamer time in Jamie's career, but his more delicate spindling of the guitar isn't far off the foul-mouthed songs we all fell in love with all those years ago.
By Joshua Shreeve (@JJShreeve)
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Carl Barat reveals 'five new songs' have been written for The Libertines next album
Carl Barat has revealed that he and Pete Doherty have got five new songs on paper for their forthcoming album.
The album will be the band's third and comes off the back of a series of comeback shows. Barat was speaking as Doherty currently undergoes rehab in Bangkok. He's said that Pete is doing 'grand' and 'these seem like great times'.
Barat didn't give any further information on the upcoming album but said that one track is called 'Woke Up Again', so keep your eyes out for that in the coming months.
Friday, 12 September 2014
Interview - Peace - The 100 Club
Surprises. They’re either the sweetest thing in life or sink like a led balloon. Last night’s surprise was thankfully far from the latter. It was very much a case of drop your plans and get off work to join the queues, Peace are in town.
For those lucky enough to win tickets to the gig, announced just the day before, they made up a sweaty and cramped crowd whom the band rekindled their love with, after their array of big festival stage appearances over summer. Visitors to The 100 Club on Oxford Street would be blessed with not just Peace but two other acts as well; fellow B-town boys JAWS and Nottingham outfit, Childhood. Both washed the crowd in psychedelic groove and set up the main act of the night.
They’ve learnt how to do these things now, Koisser and co. The setlist doesn’t look too dissimilar to that of their Birthdays shows almost 18 months ago, but it’s now been tinkered with and mastered. Their ‘1998’ cover kicks things off with it’s most spine-tingling of build ups and the well known songs are rattled off, the crowd growing in liveliness. There’s room for the new too. ‘Money’, ‘Lost On Me’ and ‘World Pleasure’ which are set to feature on their second album, all made an appearance. By the end of the set and ‘Float Forever’, the band were met on stage by sweat drenched teens mauling the various members, Harrison at the back trying to squeeze out the final lyrics and guitarist Douglas Castle hopping aboard the crowd.
After a few drinks and a chance to transform into his ‘post-show’ clothes, I spoke to frontman Harrison Koisser about the show, their second album, and a future third album...
Hi Harrison, how’d you feel that went?
Really well, I thought it went good. It was a really good show.
It was only announced yesterday. Has it been planned for long?
No, pretty last minute, fairly last minute, not very long at all really.
Childhood and JAWS also played tonight, are you big admirers of them?
Yeah, they’re mates, we’ve been playing around with those guys for quite a long time, they’re beautiful bands.
Last year you played a string of shows at Birthdays in Dalston, how did this compare to that?
Yeah, this was quite similar to Birthdays in that it’s quite intimate. I prefer this to be honest, the Birthdays shows were alright but this was really good actually. We haven’t done a show like this in ages, it’s really fun.
You’ve done lots of festivals recently, do you prefer the bigger stages or smaller venues?
It’s two really different things ya know. I think with big festie shows we come off stage and don’t feel tired or drained. Whereas tonight you come off stage and you’re like woah! You’ve given everything to the show, so I dunno which is better.
I saw tonight you had to retreat to the back of the stage as the crowd spilled over...
Yeah, I wasn’t really sure what to do. I don’t really mind that, it’s just stuff gets broken so it’s like ‘I’m off!’
You played three of your new songs tonight. When can we expect the new record?
January. I’m pretty sure it’s January now, because we wanted to do it in August but the closer it got, we wanted to put out quite a bit of material before, and we put out 3 songs, maybe we should put out 4 or 5. Just try something new, get a lot of material out there.
Would you say this record’s evolved considerably from ‘In Love’?
Definitely. I think we’re just exploring more stuff, different things, experimenting with different genres and stuff. We’re all a bit more musical now and we all understand what we’re doing a bit more. There’s a bit more groove on this record.
Are you intending on taking a break after this record?
Nah definitely not. I think we’ll probably tour for two years and then release another album, try and record it during that.
You’ve been pretty much non-stop over the past two years wouldn’t you say?
Maybe yeah. I think that’s the way to do it though isn’t it. While you’re young, just keep on releasing records and see where it goes. I mean the sound will probably evolve quite a bit.
I’ve noticed you’ve changed your appearance since coming off stage. Do you have any post-show routine?
Yeah, it’s nice putting on a new pair of clothes, I’m energised again. I’ve gone into my after show look!
And have you got any plans to stick around in London for the next few days?
Yeah, I’m staying in London at the moment. I’m gonna do some more writing for the third album. It’s really weird writing for the third album before the second one’s out, but we’re doing that now so I’m gonna stay around for a few months until December.
So there you have it. Keep your eyes and ears open, ‘cos there’s no stopping Peace for now. See their setlist below:
1998
Bloodshake
Toxic
Money
Follow Baby
California Daze
Higher Than The Sun
Lost On Me
Scumbag
Wraith
World Pleasure
Lovesick
Float Forever
By Joshua Shreeve (@JJShreeve)
Interview - Bipolar Sunshine - Bestival
Bellows of 'so love more and worry less' echo around The Big Top as Bipolar Sunshine's first ever Bestival show comes to an end. The line itself could have been custom made for Bestival itself; a festival where love and happiness rule over all, and Adio Marchant, aka Bipolar Sunshine, may well be one of its chief wielders.
He can go home happy with his final festival of the summer under his belt, which he went about in his usual fashion. Lolloping around the stage in a baggy silk shirt and a now accustomed tall mountain of hair, his striking look and soulful vocals are hard not to notice. I was lucky enough to catch up with the man himself where we spoke about his style, new tunes and his Bestival experience, whilst in the company of Sam Smith wailing within earshot...
He can go home happy with his final festival of the summer under his belt, which he went about in his usual fashion. Lolloping around the stage in a baggy silk shirt and a now accustomed tall mountain of hair, his striking look and soulful vocals are hard not to notice. I was lucky enough to catch up with the man himself where we spoke about his style, new tunes and his Bestival experience, whilst in the company of Sam Smith wailing within earshot...
How did you feel your first appearance at Bestival went?
Really well, I enjoyed it. It's my first time playing here and I’m new so it’s nice that people turned out, it’s amazing.
You’re here for the rest of the weekend, what have you got planned?
Just go with it, I’m gonna just see where it takes me, no real plans to watch anyone except for maybe Outkast, but that’s about it.
Have you had a chance to look around yet?
I haven’t had time yet, but I think now I’m gonna try and see some bands and I can hear Sam Smith so I’ll probably go and see some of his set which is sounding good. It’s a nice little festival, it’s chilled.
Having played Glastonbury and Reading & Leeds, how do you think Bestival compares?
I like the vibe here, everyone seems really into the music and having a good time. There’s no point going to a festival with a negative attitude so you may as well just try and enjoy yourself. I’m just here to try and help them enjoy it more, I suppose that’s the main thing.
I’ve noticed your interest in your fashion is very apparent, would you say?
Yeah man, to me I don’t really think about it. It’s stuff I feel comfortable in so I wear stuff that I just generally like, I don’t think about it too much or it just gets all a bit ‘mirrory’!
I’m sure you’ll see lots of people around Bestival dressed up, are you doing anything special yourself for it?
I’m just gonna walk around and see some stuff, everyone seems chilled and I’ve seen some mad styles going off.
Are the rest of your band hanging around as well?
Nah it’s just me man. I’ve got a few friends here so I’m just gonna ride with them. Going home now would just be pointless.
What have you got coming up next then?
In November we’re going to Paris and then we’ve got a tour next year so that’s gonna be amazing, I can’t wait for that. That’s just gonna have so many new songs I wanna play because at a festival you’re doing a circuit of songs and there’s not time in between to revise a whole new set of songs. So now I wanna bring in so many new songs and really step the levels up even higher.
If you could tip another artist to do well within the next year who would you suggest?
I’d say ‘Little Silver’. I know a lot of his stuff and I feel like he’s got a vibe which is suiting people, who can really get into it. There’s another guy called ‘August&Us’ that is making some great music in Manchester, so if I were to name it off the top of my head it’d be them two.
By Joshua Shreeve (@JJShreeve)
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Simply The Best; Four Days of Fun, Frolicking and Foals at Bestival
The festival scene is currently thriving to say the least but amongst the teen-fest of Reading + Leeds and the difficult ticket purchasing of Glastonbury, Bestival sticks out like a sore thumb, or at least its 10-metre high disco ball does. Now at the still tender age of eleven years old, the festival has already matured like a fine piece of disco cheese.
Like Rob Da Bank's World Record breaking disco ball, the Isle Of Wight festival site was glistening from field to field this weekend. The 'desert island disco' theme brought out more glitter, inflatable bananas and 'wavey shirts' more than ever, the acts included. From Andre 3000's silver foil poundland-style wig to Chic's balloon feast, Bestival was once again not just a festival, but a spectacle.
Despite festival-goers arriving in full flow on Thursday, the party really kicked off with Outkast making one of their 40 festival appearances this year. With a set that swayed in and out of enthusiasm, 'Hey Ya' spurred enough zeal to fill the rest of their remaining tour dates. Elsewhere on the Friday, the alternative vibes were running strong in The Big Top with Nick Mulvey's surprisingly upbeat set and Bipolar Sunshine's uplifting appearance brought about a euphoric sing-a-long.
Saturday threw up a few surprises, not least Sophie Ellis-Bextor's hawaiian, leaving little to the imagination, costume. 'Murder On The Dancefloor' spawned a joyous, reminiscent ambience only mirrored later that afternoon by The Kooks surprise set in The Big Top, whose new album 'Listen' was released this week too. The night quite rightly belonged to Foals, who bombarded the crowd with ferocious party streamers who were left lusting for more plunges into their arms from frontman Yannis Philippakis. It's worth noting however, that the security aren't as reliable as the crowd when you do attempt a crowd surf and end up falling to your peril, as I found out.
With the final hours of Bestival looming, Sunday turned the island into a paradise of DJs. Major Lazer came up with one of the best live spectacles around, unleashing Diplo in a zorb ball over a sweaty, shirtless, all whistling dance enthusiasts. The love between them and their crowd is almost as strong as that in the blown up beams of the inflatable church (yes really). Whilst this must seem like the most intriguing place to be found in Bestival's boundaries, The Port is possibly even more so. A converted old ship, kept from last year's theme, hosted DJs such as Andy C, Wilkinson and Chase & Status whilst not just fireworks, but also acrobats flew above a sea bemused heads.
It's worth wondering how 'Bestival' had been envisaged when the quite frankly poor play on words was come up with over a decade ago. Now though, it's a fitting tribute to just how we should experience festivals today. It's not about silent discos and drop-kicking someone to the face, it's about onstage crowd involvement, acrobatic transvestites and getting married to your boozed up mate in blow up church.
By Joshua Shreeve (@JJShreeve)
Like Rob Da Bank's World Record breaking disco ball, the Isle Of Wight festival site was glistening from field to field this weekend. The 'desert island disco' theme brought out more glitter, inflatable bananas and 'wavey shirts' more than ever, the acts included. From Andre 3000's silver foil poundland-style wig to Chic's balloon feast, Bestival was once again not just a festival, but a spectacle.
 |
| Andre 3000 sprouts a silver barnet. |
 |
| The crowd for The Port. |
Despite festival-goers arriving in full flow on Thursday, the party really kicked off with Outkast making one of their 40 festival appearances this year. With a set that swayed in and out of enthusiasm, 'Hey Ya' spurred enough zeal to fill the rest of their remaining tour dates. Elsewhere on the Friday, the alternative vibes were running strong in The Big Top with Nick Mulvey's surprisingly upbeat set and Bipolar Sunshine's uplifting appearance brought about a euphoric sing-a-long.
 |
| Saturday is fancy dress day, vibrant flags included. |
 |
| Bipolar Sunshine brings his soul to the party. |
Saturday threw up a few surprises, not least Sophie Ellis-Bextor's hawaiian, leaving little to the imagination, costume. 'Murder On The Dancefloor' spawned a joyous, reminiscent ambience only mirrored later that afternoon by The Kooks surprise set in The Big Top, whose new album 'Listen' was released this week too. The night quite rightly belonged to Foals, who bombarded the crowd with ferocious party streamers who were left lusting for more plunges into their arms from frontman Yannis Philippakis. It's worth noting however, that the security aren't as reliable as the crowd when you do attempt a crowd surf and end up falling to your peril, as I found out.
 |
| Foals turn up the desert island disco heat on Saturday night. |
With the final hours of Bestival looming, Sunday turned the island into a paradise of DJs. Major Lazer came up with one of the best live spectacles around, unleashing Diplo in a zorb ball over a sweaty, shirtless, all whistling dance enthusiasts. The love between them and their crowd is almost as strong as that in the blown up beams of the inflatable church (yes really). Whilst this must seem like the most intriguing place to be found in Bestival's boundaries, The Port is possibly even more so. A converted old ship, kept from last year's theme, hosted DJs such as Andy C, Wilkinson and Chase & Status whilst not just fireworks, but also acrobats flew above a sea bemused heads.
 |
Festival-goers enjoy the stranger sights of Bestival at the inflatable church (above) and The Port (right). |
It's worth wondering how 'Bestival' had been envisaged when the quite frankly poor play on words was come up with over a decade ago. Now though, it's a fitting tribute to just how we should experience festivals today. It's not about silent discos and drop-kicking someone to the face, it's about onstage crowd involvement, acrobatic transvestites and getting married to your boozed up mate in blow up church.
By Joshua Shreeve (@JJShreeve)
Saturday, 23 August 2014
Peace Conquer Reading Festival
Peace treated the crowd to some familiar tunes as well as three new tracks on their way to conquering the main stage at Reading Festival.
The Birmingham band have come on leaps and bounds in the past year, hopping from the NME/Radio 1 stage to the Main Stage at this year's Reading and Leeds Festival. Each member took to the stage to cheers from their now devoted fans, Harrison Koisser parading on last in a shimmering fur coat and golden guitar - his latest in a long line of striking festival attire.
Below cloudy skies that were refusing to break open, Peace opened with 'Lovesick' from their debut album before delivering latest single, 'Money'. In a set that consisted of ten songs, the band treated the crowd to their next upcoming single 'Lost On Me' in which Harrison sprouts ginger locks in the song's video, which have now just about disappeared. The distorted, whirring guitars are at an all time high and so are the band, looking more than comfortable with Koisser teasing the crowd, 'you remember how to clap along right?'.
Bundles of energy come in the form of familiar tracks, 'Higher Than The Sun', 'Wraith' and 'Follow Baby' from 2013 album, 'In Love'. Koisser declares 'let's get a bit soppy' before the tender riffs of 'California Daze' ring through the swaying, peace endorsing fingertips of the crowd, 'Float Forever', similarly providing another opportunity for a sing-a-long.
However, it's the new tracks that blow away the shackles of last year's confined NME tent performance. 'World Pleasure' is on another level to anything Peace have done yet. It's everything Peace are; fun, care free and harmonising but it's also an anthem, a Primal Scream loaded triumph that blows away 'In Love', not even 18 months later. By now the sun is fittingly out and 'Bloodshake' is the perfect book-end to another chapter in Peace's already short-lived rise to the top.
With their new album just around the corner, things are seamlessly perfect for Peace and it shouldn't be too long until we talk about them conquering the later slots on some of the countries biggest stages. Peace out.
By Joshua Shreeve (@JJShreeve)
Setlist:
Lovesick
Money
Higher Than The Sun
California Daze
Wraith
Follow Baby
Lost On Me
Float Forever
World Pleasure
Bloodshake
Follow(baby) / [FACEBOOK]
The Birmingham band have come on leaps and bounds in the past year, hopping from the NME/Radio 1 stage to the Main Stage at this year's Reading and Leeds Festival. Each member took to the stage to cheers from their now devoted fans, Harrison Koisser parading on last in a shimmering fur coat and golden guitar - his latest in a long line of striking festival attire.
Below cloudy skies that were refusing to break open, Peace opened with 'Lovesick' from their debut album before delivering latest single, 'Money'. In a set that consisted of ten songs, the band treated the crowd to their next upcoming single 'Lost On Me' in which Harrison sprouts ginger locks in the song's video, which have now just about disappeared. The distorted, whirring guitars are at an all time high and so are the band, looking more than comfortable with Koisser teasing the crowd, 'you remember how to clap along right?'.
Bundles of energy come in the form of familiar tracks, 'Higher Than The Sun', 'Wraith' and 'Follow Baby' from 2013 album, 'In Love'. Koisser declares 'let's get a bit soppy' before the tender riffs of 'California Daze' ring through the swaying, peace endorsing fingertips of the crowd, 'Float Forever', similarly providing another opportunity for a sing-a-long.
However, it's the new tracks that blow away the shackles of last year's confined NME tent performance. 'World Pleasure' is on another level to anything Peace have done yet. It's everything Peace are; fun, care free and harmonising but it's also an anthem, a Primal Scream loaded triumph that blows away 'In Love', not even 18 months later. By now the sun is fittingly out and 'Bloodshake' is the perfect book-end to another chapter in Peace's already short-lived rise to the top.
With their new album just around the corner, things are seamlessly perfect for Peace and it shouldn't be too long until we talk about them conquering the later slots on some of the countries biggest stages. Peace out.
By Joshua Shreeve (@JJShreeve)
Setlist:
Lovesick
Money
Higher Than The Sun
California Daze
Wraith
Follow Baby
Lost On Me
Float Forever
World Pleasure
Bloodshake
Follow(baby) / [FACEBOOK]
Album Review - Royal Blood - Royal Blood
In recent years the music industry has been submerged in two-piece bands and their ability to produce equally, if not more impressive music than the conventional four or five piece. From The White Stripes, to The Black Keys, to the more recent duo of Drenge, Royal Blood should find it hard to follow in their footsteps. This isn't the case, as the sound that comes from the drums of Ben Thatcher and the bass guitar of Michael Kerr is enough to blow away anything else a duo has produced before. Their self-titled album is an exciting piece of modern, alternative rock that has genius bulging through it's seams.
Full force, 'Out Of The Black', bursts in with a fitting 90s Limp Bizkit inspired WWE kind of entrance. Whilst the bass is as big as the entrance to the album, 'Come On Over', follows up with a more vigorous pacey riff. You wouldn't be questioned for mistaking the 4 stringed rusty bass, for a ferocious 6 stringed electric guitar but somehow Michael Kerr has mastered this act, wavering his fingers over the bass frets in the intense chorus lead up in 'Figure It Out'. The opening trio, along with 'Little Monster', which includes Ben Thatcher's highlight as he hits one of the finest, short but sweet drum solos, have all been heard before but nevertheless trigger the same level of reckless head banging.
In an age where rock music is no longer the force it used to be, Royal Blood get all the recognition they deserve, and it's not just 'cause Kerr looks fucking cool coated in a leather jacket and wielding a bass guitar like Zeus' lightning bolt. It's their effortless ability to turn what could easily be a luck-lustre jamming session into an exhilarating, alternative rock 'n' roll record.
'You Can Be So Cruel' is a a prime example. After the whirlwind opening of an album, it plods along at a gentle pace, edging to the side of blues with haunting background vocals that could've been written by Josh Homme. 'Blood Hands' is similarly timid on the outside but still includes the core elements of Royal Blood's close to becoming customary sound. It's these stiller moments, woven in between the raucous affairs of 'Figure It Out' and 'Little Monster' that are at Royal Blood's peak and make it hard to believe that this is the Brighton duo's first swing at the merry-go-round game of the music industry, of which they're currently winning.
They even craftily get away with 'Loose Change' which is almost the voice muffler edition of 'Harder To Breathe' by Maroon 5, until half way through it snaps out of the ball-squeezingly high vocals and regimented guitar to let loose on a grainy and scratchy riff. Travelling back in time in 'Careless', a more authentic rock n roll, heavily Led Zeppelin influence sound is adopted, accompanied by yet another version of the distorted monster bass. The notch on the distortion appears to have broken by 'Ten Tonne Skeleton' which is only saved by the memorable lyrics 'cut loose like an animal, fire up like a cannon ball' which will be one of the many that fans are likely to routinely chant at their next Royal Blood gig whilst being pelted in the face with a fist full of bass.
As Alex Turner infamously said earlier this year The Brit Awards, 'That rock 'n' roll just won't go away'. Six months later and Royal Blood (having supported Turner and co. at Finsbury Park earlier this year), have released the record to firmly restore an interest in rock 'n' roll and a two-piece band fully worth worshipping.
Out of 10: 9/10
By Joshua Shreeve (@JJShreeve)
Buy / Royal Blood - Royal Blood
Follow / [FACEBOOK]
Full force, 'Out Of The Black', bursts in with a fitting 90s Limp Bizkit inspired WWE kind of entrance. Whilst the bass is as big as the entrance to the album, 'Come On Over', follows up with a more vigorous pacey riff. You wouldn't be questioned for mistaking the 4 stringed rusty bass, for a ferocious 6 stringed electric guitar but somehow Michael Kerr has mastered this act, wavering his fingers over the bass frets in the intense chorus lead up in 'Figure It Out'. The opening trio, along with 'Little Monster', which includes Ben Thatcher's highlight as he hits one of the finest, short but sweet drum solos, have all been heard before but nevertheless trigger the same level of reckless head banging.
In an age where rock music is no longer the force it used to be, Royal Blood get all the recognition they deserve, and it's not just 'cause Kerr looks fucking cool coated in a leather jacket and wielding a bass guitar like Zeus' lightning bolt. It's their effortless ability to turn what could easily be a luck-lustre jamming session into an exhilarating, alternative rock 'n' roll record.
'You Can Be So Cruel' is a a prime example. After the whirlwind opening of an album, it plods along at a gentle pace, edging to the side of blues with haunting background vocals that could've been written by Josh Homme. 'Blood Hands' is similarly timid on the outside but still includes the core elements of Royal Blood's close to becoming customary sound. It's these stiller moments, woven in between the raucous affairs of 'Figure It Out' and 'Little Monster' that are at Royal Blood's peak and make it hard to believe that this is the Brighton duo's first swing at the merry-go-round game of the music industry, of which they're currently winning.
They even craftily get away with 'Loose Change' which is almost the voice muffler edition of 'Harder To Breathe' by Maroon 5, until half way through it snaps out of the ball-squeezingly high vocals and regimented guitar to let loose on a grainy and scratchy riff. Travelling back in time in 'Careless', a more authentic rock n roll, heavily Led Zeppelin influence sound is adopted, accompanied by yet another version of the distorted monster bass. The notch on the distortion appears to have broken by 'Ten Tonne Skeleton' which is only saved by the memorable lyrics 'cut loose like an animal, fire up like a cannon ball' which will be one of the many that fans are likely to routinely chant at their next Royal Blood gig whilst being pelted in the face with a fist full of bass.
As Alex Turner infamously said earlier this year The Brit Awards, 'That rock 'n' roll just won't go away'. Six months later and Royal Blood (having supported Turner and co. at Finsbury Park earlier this year), have released the record to firmly restore an interest in rock 'n' roll and a two-piece band fully worth worshipping.
Out of 10: 9/10
By Joshua Shreeve (@JJShreeve)
Buy / Royal Blood - Royal Blood
Follow / [FACEBOOK]
Thursday, 21 August 2014
Raury; what every future singer-songwriter needs to be like
'Raury' is the 18 year old singer songwriter from Atlanta. Also known as the vastly matured, problem stricken, song bird and love child of Andre 3000 and every kid who picked up a guitar ever.
Warning. This content is not strictly indie. Or is it? It's hard to justify. What this young man has got is immense songwriting ability but placing it in a fixed perimeter of a particular genre seems unfitting. I suppose you'd say it's somewhat alternative hip-hop, or not really... Get the picture? Whilst there's similarities lyrically and rhythmically to Outkast and rumours of him collaborating with the ever-growing ego that is Kanye West, his guitar playing casts an alternative shadow on his soulful, teetering on the brink of rap lyrics.
Is Raury art? It would be unfair to say no. His videos themselves are pretty damn intense and could fit into the most ambiguous of modern art galleries. As for he himself, he's probably what you'd imagine a farmer's hip teenage son to look like. The first and last thing you'll notice about him is his large rimmed floppy hat. Not the silly thing Pharrell Williams tries to get away with wearing, something much cooler, cos it's Raury.
Back to the music. 'God's Whisper' is probably the most attention I've paid to a song in the past year. It grabs you by the throat, sits you down and makes you listen. It's a rally cry, a haunting chant which differs remarkably from 'Cigarette Song', almost the type Rizzle Kicks could've written it if they weren't shit. It's more Childish Gambino anyway, that kind of cheeky chappy take it on the chin kind of unconventional love song. His latest project, 'Indigo Child', is due for release on 25th August and will feature both of the above tracks.
So to set is straight keep your eyes on this one, and if you think you're wanting to be a solo artist, for God's sake take a leaf out of Raury's book. Develop your own respectable, unquestioned style and don't be a shit stain on society like Bieber.
Watch the video for 'God's Whisper' below:
Follow/ [Facebook] [Twitter]
By Joshua Shreeve (@JJShreeve)
Tuesday, 19 August 2014
10 Refreshing Acts To See At Reading & Leeds Festival
It's that time of the year again, Reading and Leeds time, and boy hasn't it come round quick? Whilst the inevitable names of Queens Of The Stone Age, Arctic Monkeys and Blink-182 will be the names on most people's lips, it's the other acts which contribute just as much to one of Britain's most loved festivals.
Here's 10 acts you may not have seen yet, or even heard of, who will bring something new to the Reading and Leeds party...
NME/BBC Radio 1 Stage
Royal Blood (Saturday at Reading)
They're probably the hottest band around right now. With a debut album just around the corner, expect a huge crowd and some breath-taking bass playing from this duo. See them inside Reading's most famous tent quick before they start to sell out arenas.
Don Broco (Saturday at Reading)
Last year, Don Broco brought to life the main stage at Reading, with mosh pits and flinging rubber dinghies galore. Their upbeat pop-punk music is unmissable, as are their energetic live shows.
The Kooks (Sunday at Reading)
Remember them? They're hardly a new talent, but they're sure to bring something extra special to Reading and Leeds this weekend after their surprise set at Glastonbury earlier this summer. Expect some classics and some new material too.
Jungle (Sunday at Reading)
Another duo in the limelight recently, and rightly so. Be prepared for the NME/Radio 1 stage to take off with these two on Tuesday afternoon. Debut, self-titled album 'Jungle' could gather one of the biggest crowds of the weekend, ready for some soulful dance music.
BBC Radio 1 Dance
Flume (Sunday at Reading)
If you like your dance, check this man out. He's headlining the Radio 1 Dance stage on Sunday night and rightly so. Expect a sweaty crowd and remixes which will churn your stomach with bass.
Festival Republic
Bipolar Sunshine (Friday at Reading)
Bipolar Sunshine has been a radio hit recently and hopefully he can bring his summery indie tunes to the fields of Reading and Leeds. He's second down from Palma Violets on the Friday afternoon!
Southern (Friday at Reading)
Southern are the bluesy-folk brother and sister duo of Thom and Lucy Southern. Not only are their live shows a jovial experience but they're also so humble in what they do. They've got an early slot on Friday so there's no excuses not to check them out.
Circa Waves (Saturday at Reading)
For fans of most indie bands ever, the Liverpudlian band have been bringing upbeat, indie-pop tunes to festival stages all summer. Expect a bouncy crowd, singing back lyrics with an atmosphere similar to the days of The Pigeon Detectives and The Wombats.
Saint Raymond (Sunday at Reading)
Saint Raymond can be found in a similar bracket to the recently broken through George Ezra. Whilst Ezra is deep and brooding, Saint Raymond is a light-hearted hit with the ladies and his poppy tunes have been surfing the charts.
BBC Introducing Stage
All We Are (Saturday at Reading)
All We Are are the act to go and see on the BBC Introducing Stage this year. Their music can be compared to the likes of Metronomy and their track, 'Feel Safe', is one of the most under-rated tracks of the year so far!
By Joshua Shreeve (@JJShreeve)
Here's 10 acts you may not have seen yet, or even heard of, who will bring something new to the Reading and Leeds party...
NME/BBC Radio 1 Stage
Royal Blood (Saturday at Reading)
They're probably the hottest band around right now. With a debut album just around the corner, expect a huge crowd and some breath-taking bass playing from this duo. See them inside Reading's most famous tent quick before they start to sell out arenas.
Don Broco (Saturday at Reading)
Last year, Don Broco brought to life the main stage at Reading, with mosh pits and flinging rubber dinghies galore. Their upbeat pop-punk music is unmissable, as are their energetic live shows.
The Kooks (Sunday at Reading)
Remember them? They're hardly a new talent, but they're sure to bring something extra special to Reading and Leeds this weekend after their surprise set at Glastonbury earlier this summer. Expect some classics and some new material too.
Jungle (Sunday at Reading)
Another duo in the limelight recently, and rightly so. Be prepared for the NME/Radio 1 stage to take off with these two on Tuesday afternoon. Debut, self-titled album 'Jungle' could gather one of the biggest crowds of the weekend, ready for some soulful dance music.
BBC Radio 1 Dance
Flume (Sunday at Reading)
If you like your dance, check this man out. He's headlining the Radio 1 Dance stage on Sunday night and rightly so. Expect a sweaty crowd and remixes which will churn your stomach with bass.
Festival Republic
Bipolar Sunshine (Friday at Reading)
Bipolar Sunshine has been a radio hit recently and hopefully he can bring his summery indie tunes to the fields of Reading and Leeds. He's second down from Palma Violets on the Friday afternoon!
Southern (Friday at Reading)
Southern are the bluesy-folk brother and sister duo of Thom and Lucy Southern. Not only are their live shows a jovial experience but they're also so humble in what they do. They've got an early slot on Friday so there's no excuses not to check them out.
Circa Waves (Saturday at Reading)
For fans of most indie bands ever, the Liverpudlian band have been bringing upbeat, indie-pop tunes to festival stages all summer. Expect a bouncy crowd, singing back lyrics with an atmosphere similar to the days of The Pigeon Detectives and The Wombats.
Saint Raymond (Sunday at Reading)
Saint Raymond can be found in a similar bracket to the recently broken through George Ezra. Whilst Ezra is deep and brooding, Saint Raymond is a light-hearted hit with the ladies and his poppy tunes have been surfing the charts.
BBC Introducing Stage
All We Are (Saturday at Reading)
All We Are are the act to go and see on the BBC Introducing Stage this year. Their music can be compared to the likes of Metronomy and their track, 'Feel Safe', is one of the most under-rated tracks of the year so far!
By Joshua Shreeve (@JJShreeve)
Tuesday, 12 August 2014
Single Review - Jamie T - Zombie
For those who weren't so keen on 'Don't You Find', they may find comfort in Jamie T's more old school approach in his new track.
Being called 'Zombie', perhaps you're naturally led into a Rocky Horror Show type of march to the upbeat rhythm, which isn't too far from the Jamie T glory days of 'Sticks 'n' Stones' and 'If You Got The Money'. The infectious guitar riff throughout is even more simplified and poppy than his early work though, accompanied by a needlessly repetitive chorus.
Whilst 'Don't You Find' delved more deeply into his mature song writing ability, 'Zombie' skims Jamie's surface which will suffice fans who want to be stuck in 2007 forever. For those expecting more, you may have to wait to hear the rest of the album and hope that he can produce something with more substance. Jamie's witty, razor cut lyrics have always been key to his success but here there's a certain feeling that maybe he's a bit too old to be playing the angst, teen card. The repetitive lyrics, 'walk in like a zombie' are lack lustre to say the least but brain wash you until it whirrs around your head.
'Zombie's' real success could only really be in years to come at Halloween discos (unlikely) or if there's a Shaun Of The Dead sequel (even less likely). If he can find a line that meets between this and 'Don't You Find', two polar opposites of songs, then perhaps Jamie T's future won't look quite so frightening.
Out of 10: 6.5/10
By Joshua Shreeve (@JJShreeve)
Monday, 7 July 2014
- Introducing - Horsebeach -
Horsebeach are a gentle breath of fresh air into the eardrums of fans lost under the cease of Trophy Wife.
They're a band who seem perfect to introduce right about now. It's that old cliche; it's summery music. But quite honestly, I'd feel as comfortable listening to them on a sunny coastline as I would staring out of a drizzle covered window. There's something attractively lethargic about them. The Manchester quartet will come at you with a canter in the form of instrumental track, 'June', (again another seemingly perfect summer reference) and at times even muster up the courage to switch into a gallop in 'Faded Eyes' and 'Cold Hands'.
The psychedelic guitar riffs and muffled vocals seem to be all the rage right now but the simplicity of Horsebeach's music is what will grab your subconscious attention. With an EP under their wings and a debut album set for release at the end of the month, they could soon be kicking out the wish-washy psychedelic drivel we've become accustomed to.
Horsebach's self-titled debut album is out 28th July.
For fans of/ Trophy Wife, Splashh, Coastal Cities, French Films
Listen/ [SOUNDCLOUD]
Follow/ [FACEBOOK]
By Joshua Shreeve (@JJShreeve)
They're a band who seem perfect to introduce right about now. It's that old cliche; it's summery music. But quite honestly, I'd feel as comfortable listening to them on a sunny coastline as I would staring out of a drizzle covered window. There's something attractively lethargic about them. The Manchester quartet will come at you with a canter in the form of instrumental track, 'June', (again another seemingly perfect summer reference) and at times even muster up the courage to switch into a gallop in 'Faded Eyes' and 'Cold Hands'.
The psychedelic guitar riffs and muffled vocals seem to be all the rage right now but the simplicity of Horsebeach's music is what will grab your subconscious attention. With an EP under their wings and a debut album set for release at the end of the month, they could soon be kicking out the wish-washy psychedelic drivel we've become accustomed to.
Horsebach's self-titled debut album is out 28th July.
For fans of/ Trophy Wife, Splashh, Coastal Cities, French Films
Listen/ [SOUNDCLOUD]
Follow/ [FACEBOOK]
By Joshua Shreeve (@JJShreeve)
Wednesday, 18 June 2014
Album Review - Glass Animals - ZABA
There's nothing transparent about Glass Animals' debut album. It's simply jam packed with juices and gems that can only be found in the most obscure of places. That place, is ZABA.
ZABA transports us to a trembling and intriguing world of treats around every corner. From the outside, Glass Animals could appear a little delicate, but unnerve them in the slightest, and they evolve into an altogether different species. Opening track, 'Flip', is a brooding tribal number which quite literally turns on you halfway through. It's the first of a smattering of moments like this which integrate to make up the formula of ZABA. There's traces of sounds from far flung shores, similar to the Bollywood influences found in Bombay Bicycle Club's latest record.
The trio of 'Black Mambo', 'Gooey' and 'Pools' are each beautifully crafted around tender souls; their delicate attention to detail being one which Alt-J could've worked up. 'Pools' plunges straight into tropic abysses whilst 'Black Mambo' and 'Gooey' are so spine tingling relaxing, you could find them on a chill out mix. On the opposite side of the spectrum, 'Walla Walla' is a jungle infused whirlwind of instruments, with a hint of Arcade Fire hidden in there. Probably the biggest track on the album, it's trembling, anxious essence lead up to the finest instrumental yet.
These themes stick throughout the album, and consistently too, reaching their peak at 'Cocoa Hooves', which is so beautifully simplistic in the way it simmers and bubbles to bring about the most memorable moments of the album.
Comparisons will always be drawn, particularly to the Alt-J phenomenon of 2012. What ZABA brings though, is a bolder, richer alternative to An Awesome Wave, and it's brimming with confidence. The nurturing vocals mirror those of Joe Newman at points, particularly in the harmonies of 'WYRD' but in other places a spiteful attitude is adopted in the almost soul soaked 'Hazey'. There's hints of soulful playfulness running through the seams of the album, the twinkling piano of closing track 'JDNT' being the height of this.
At first glance the most noticeable thing about 'ZABA' is the track names. They're simplistic, or simplified, many intriguing. They want to keep us guessing and this is just what their inquisitive style of music does as we peel back the layers one at a time. With so many layers unpeeled in just eleven tracks, it begs the question; will they be able to continue the momentum from such a pristine debut?
Glass Animals - ZABA
Out of 10: 8.5/10
By Joshua Shreeve (@JJShreeve)
Buy/ [STORE]
Follow/ [FACEBOOK]
Listen/ [LISTEN]
The trio of 'Black Mambo', 'Gooey' and 'Pools' are each beautifully crafted around tender souls; their delicate attention to detail being one which Alt-J could've worked up. 'Pools' plunges straight into tropic abysses whilst 'Black Mambo' and 'Gooey' are so spine tingling relaxing, you could find them on a chill out mix. On the opposite side of the spectrum, 'Walla Walla' is a jungle infused whirlwind of instruments, with a hint of Arcade Fire hidden in there. Probably the biggest track on the album, it's trembling, anxious essence lead up to the finest instrumental yet.
These themes stick throughout the album, and consistently too, reaching their peak at 'Cocoa Hooves', which is so beautifully simplistic in the way it simmers and bubbles to bring about the most memorable moments of the album.
Comparisons will always be drawn, particularly to the Alt-J phenomenon of 2012. What ZABA brings though, is a bolder, richer alternative to An Awesome Wave, and it's brimming with confidence. The nurturing vocals mirror those of Joe Newman at points, particularly in the harmonies of 'WYRD' but in other places a spiteful attitude is adopted in the almost soul soaked 'Hazey'. There's hints of soulful playfulness running through the seams of the album, the twinkling piano of closing track 'JDNT' being the height of this.
At first glance the most noticeable thing about 'ZABA' is the track names. They're simplistic, or simplified, many intriguing. They want to keep us guessing and this is just what their inquisitive style of music does as we peel back the layers one at a time. With so many layers unpeeled in just eleven tracks, it begs the question; will they be able to continue the momentum from such a pristine debut?
Glass Animals - ZABA
Out of 10: 8.5/10
By Joshua Shreeve (@JJShreeve)
Buy/ [STORE]
Follow/ [FACEBOOK]
Listen/ [LISTEN]
England Football Songs; Who Makes The Starting 11?
The moment comes round every (most) couple of years, when we sit down and enjoy, laugh at, cry at and often question the latest song to label our national football team as potential European or World Champions. After all, we need something to keep our hopes aloft and mask our team of consistently under-performing, excuse ridden plonkers.
So, Roy Hodgson, if you've got a headache trying to figure out your starting XI for this year's World Cup, fear not, here's another team of eleven who could potentially fare us in better stead in Brazil this summer. May I introduce the England Songs XI. Filled with familiar characteristics you may see in our players themselves, from the boring and painful individuals, to the vibrant potential and the ones who've got a point to prove.
Goalkeeper
Grandad Roberts And His Son Elvis - 'Meat Pie, Sausage Roll' (1998 World Cup)
An absolute howler as far as any song goes. The not so successful song for England's 1998 World Cup campaign is reminiscent of some of those woeful displays we've seen between our posts in recent years perhaps due to wandering thoughts of meat pies and sausage rolls...
Right Back
Centre Forward
Spice Girls feat. England United - '(How Does It Feel To Be) On Top Of The World' (World Cup 1998)
With our strikers constantly needing to prove themselves, hopefully this is how Wayne Rooney will feel come July time... Or maybe not. The song itself is very questionable as the formidable duo of the Spice Girls and Echo And The Bunnymen combine forces to create one of the cheesiest/creepiest videos of all time.
So, Roy Hodgson, if you've got a headache trying to figure out your starting XI for this year's World Cup, fear not, here's another team of eleven who could potentially fare us in better stead in Brazil this summer. May I introduce the England Songs XI. Filled with familiar characteristics you may see in our players themselves, from the boring and painful individuals, to the vibrant potential and the ones who've got a point to prove.
Goalkeeper
Grandad Roberts And His Son Elvis - 'Meat Pie, Sausage Roll' (1998 World Cup)
An absolute howler as far as any song goes. The not so successful song for England's 1998 World Cup campaign is reminiscent of some of those woeful displays we've seen between our posts in recent years perhaps due to wandering thoughts of meat pies and sausage rolls...
Right Back
Chico - 'It’s England Time' (2010 World Cup)
We'll continue where we left off shall we? Another loose cannon in the defence. The right back position is often said to be the least glamorous of positions, and this 'song' certainly lives up to that, but hey, check out those dance moves and miming.
Centre Back
Fat Les - 'Vindaloo' (1998 World Cup)
The first of our debatably stable centre back pairing. Is there really more of a hard-nut song than this? Perhaps if our defenders were to shout these lyrics whenever they competed for a header they may strike some sort of strange fear into the opposition.
Centre Back
Baddiel, Skinner & Lightning Seeds - 'Three Lions' (1996 European Championship/ 1998 World Cup)
Two versions of this song were made, referencing different players in each making it a legendary anthem for any fan. It screams patriotism and is a fine specimen to captain any England team. Think Moore, think Adams, think Terry. The most classic of England anthems.
Left Back
Take That - 'Greatest Day' (World Cup 2014)
This year's entry was to be England's official World Cup song but has since been allegedly dropped, not good enough eh? It features a cover put together by Gary Barlow, including some of England's past footballing heroes and recent pop stars. It's quite a bland number but if 18 year-old left-back, Luke Shaw, steps foot on Brazilian soil this year, it will surely be his 'greatest day'.
Right Midfield
Dizzee Rascal feat. James Corden - 'Shout' (World Cup 2010)
The right side of midfield needs some flair down the wing, so what better song than this? The adaptation on Tears For Fears 'Shout' sees lyrics changed to 'we need Rooney in tip top condition, Aaron Lennon down the wing like he's on a mission'. If that's not enough to make it one of the best England songs around, then I don't know what is.
Centre Midfield
The Farm - 'All Together Now' (World Cup 1990)
A centre mid to bring the whole team together, this is fitting for the role. One of the more up lifting songs there's been and one which marked England's nearly heroes of Italia '90. Expect to hear this tune being thrown about again this year...
The Farm - 'All Together Now' (World Cup 1990)
A centre mid to bring the whole team together, this is fitting for the role. One of the more up lifting songs there's been and one which marked England's nearly heroes of Italia '90. Expect to hear this tune being thrown about again this year...
Centre Midfield
Ant & Dec - 'We're On The Ball' (World Cup 2002)
Don't expect to be hearing this again however. For it's time, the witty video and cheeky Geordie vocals were probably the catchiest things around. Just like our central midfielders, they'll need to be on the ball if they're to get anything out of Brazil this summer.
Ant & Dec - 'We're On The Ball' (World Cup 2002)
Don't expect to be hearing this again however. For it's time, the witty video and cheeky Geordie vocals were probably the catchiest things around. Just like our central midfielders, they'll need to be on the ball if they're to get anything out of Brazil this summer.
Left Midfield
New Order - 'World In Motion' (World Cup 1990)
Another gem from Italia '90 and one of the best England football songs ever. How a band as big as New Order were convinced to do a World Cup song we'll never know, but boy did they do a great job, recruiting John Barnes' infamous rapping skills with them. Just like John Barnes, it'd fit nicely in left midfield.
New Order - 'World In Motion' (World Cup 1990)
Another gem from Italia '90 and one of the best England football songs ever. How a band as big as New Order were convinced to do a World Cup song we'll never know, but boy did they do a great job, recruiting John Barnes' infamous rapping skills with them. Just like John Barnes, it'd fit nicely in left midfield.
Centre Forward
Embrace - 'World At Your Feet' (World Cup 2006)
Probably the 'indiest' track you're going to get in this line up I'm afraid. It's not great, let's be honest. About as painful to listen to as it has been to watch Emile Heskey play up front for our beloved country all these years.
Embrace - 'World At Your Feet' (World Cup 2006)
Probably the 'indiest' track you're going to get in this line up I'm afraid. It's not great, let's be honest. About as painful to listen to as it has been to watch Emile Heskey play up front for our beloved country all these years.
Centre Forward
Spice Girls feat. England United - '(How Does It Feel To Be) On Top Of The World' (World Cup 1998)
With our strikers constantly needing to prove themselves, hopefully this is how Wayne Rooney will feel come July time... Or maybe not. The song itself is very questionable as the formidable duo of the Spice Girls and Echo And The Bunnymen combine forces to create one of the cheesiest/creepiest videos of all time.
Manager
Bell & Spurling - 'Sven Sven Sven' (2001)
As you know, every team needs a manager, whether they're good or not is another question. Sven Goran Eriksson was just so average, two fellas decided to make a cringeworthy song about him and England's 5-1 victory over Germany in 2001. Cover your eyes, and ears.
What's your favourite England song? Or did your favourite not make our final XI cut? Let us know by commenting below.
By Joshua Shreeve (@JJShreeve)
Bell & Spurling - 'Sven Sven Sven' (2001)
As you know, every team needs a manager, whether they're good or not is another question. Sven Goran Eriksson was just so average, two fellas decided to make a cringeworthy song about him and England's 5-1 victory over Germany in 2001. Cover your eyes, and ears.
What's your favourite England song? Or did your favourite not make our final XI cut? Let us know by commenting below.
By Joshua Shreeve (@JJShreeve)
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