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’. 

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’. 

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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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'.

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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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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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)

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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...

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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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.