Interview with Blaenavon

Blaenavon have become renowned as the band who doesn't release music. Almost eighteen months since their last release, the KOSO EP, they say things are about to change.

With a handful of festivals on the horizon, a debut album nearing completion and school left to one side, the trio are finally making use of their musical abilities. Tonight at The Leadmill in Sheffield they support Dry The River on an intimate UK tour but unlike some support acts, they leave the crowd wanting more of them rather than the headline band.

Live they are one of the tightest units around and fit snuggingly amongst the likes ofDry The River themselves and The Maccabees. 'Denim Patches' brews slowly, with Ben Gregory's vocals wavering like latter's frontman, Orlando Weeks. Other crowd favourite, 'Into The Night' shifts through picky riffs and drummer Harris McMillan turns tribal on the drums.

The crowd are treated to a taste of new tracks to come with thicker bass lines and strings that ring more like synths in what sounds like older influences from The Cure. 'Swans' is the highlight though, and despite it being first played before the band had even accomplished puberty, it's lullaby opening is a throwback to The Maccabees 'Toothpaste Kisses'. It's a wailing love song and far too mature for their youthful souls but a sure sign that their album to come could be a dark horse to say the least.

I had the chance to talk to the band just moments before they went on stage and they revealed more information about the album, their thoughts on the Brits and misleading song names.

Listen below:


By Josh Shreeve (@JJShreeve)

Live Review - Slaves - NME Awards Tour 2015 - The Leadmill, Sheffield

You’ve got to give it to Slaves. Not only have they managed to make it to the first night of the tour, when other band on the bill, The Amazing Snakeheads have just dropped out, but they’ve come prepared. They claim they don’t have pre-show plans but armed with a fridge full of ham sandwiches and clenching packets of monster munch, they’re ready for war. 

A giant mantaray lurks behind Slaves as they open the NME Awards Tour 2015.

It’s down to them to get the NME Awards Tour 2015 kicked off with ‘White Knuckle Ride’, the catalyst for the first spews of beer. In between erratic marching, vocalist and stand alone drummer, Isaac Holman, asks the audience what their favourite type of biscuit is but there’s little time to answer as he scrunches his face up once more and batters the skins whilst Laurie Vincent shouts, ‘anyone for a garibaldi?’

Not taking themselves too seriously could be the key to success. Holman is shy yet mischievous off stage, but once in front of a crowd it’s his chance to confront everything that’s ever pissed him off, including ‘Debbie’ in ‘Where’s Your Car Debbie?’, which he says is of a story of searching for her car with a Sasquatch in hot pursuit. When joined in by Vincent’s vocals, there’s shards of The Clash flying about, but the duo claim they’re not trying to sound like anyone, although not even the most acute hearing can draw comparisons to anything from Sex Pistols punk to American garage rock. 

The street poetry tales continue from a shirtless Holman, who turns the ‘Yorkshire’ chants into ‘Feed The Mantaray’ when a roadie joins them onstage dressed as a giant mantaray. It’s all of a sudden turned very Shooting Stars as if Vic Reeves is shredding guitar as Bob Mortimer spits ludicrous venom. The light hearted story telling turns ferocious and politically charged in ‘The Hunter’, as opening lines, ‘the people are freezing and the water is warm, and the ice caps are melting what will happen when they’re gone?’ gather momentum and there’s a riot building in front of Vincent who peers through the mist. Moments later Holman finds himself amongst this mass as he leaps in during the breakdown of ‘Hey’, using them as a human towel to dry every beed of sweat he’s exuded over a short but savage set.

(@JJShreeve)

Single Review - Swim Deep - To My Brother

It'll take a listen or two just to get your head around the fact this is the same Swim Deep whose debut album was fronted by the lyrics, 'don't just dream in your sleep it's just lazy'; a lethargic approach to a debut which at the time was filled with such promise.

Previous tracks weren't dreadful, no. After all, 2013 saw a lot of attention on Swim Deep, probably only due to radiation of praise towards fellow B-Town mates, Peace. The problem though was that songs with the lyrics, 'Fuck your romance I wanna pretend, that Jenny Lee Lindberg is my girlfriend' are unlikely to stand the test of time and a superficial growing hysteria around the band. After twelve tracks it's been hard to see where Swim Deep could go from debut album, 'Where The Heaven Are We' and progress to a more serious level, until now.

You always knew 2015 was the natural, two-year cycle, return for Swim Deep and here it is. Disguised under a gown of synth-pop, new addition James Balmont has revived the band, with new track, 'To My Brother', crying out to be an early contender for summer indie anthem. Frontman, Austin Williams', vocals are obscured by the greater focus on 80s melodic synth and thicker guitar riffs. It's what The Klaxons latest record should've sounded like and any bullshit lyrics are quickly rid of, with 'All I do is preach for my brother', being the main loop which blissfully echoes through a much richer track which only gets better throughout.

To have moved away from their previous sound is something that'll reinvigorate crowds and some love-lost fans. Quite what the rest of the new album will sound like though is open for debate.

Swim Deep - 'To My Brother'
Out of 10: 8/10

Album Review - All We Are - All We Are

All We Are aren’t your usual suspects and neither is their self-titled debut record. The trio, originating from Ireland, Norway and Brazil, not only represent diverse nationalities, but also influences in an album that draws comparisons to a number of likely names but often falls short of completing their own package.

Running rather effortlessly from start to finish, occasional relapses into unconsciousness are not uncommon but alerts of bombarding funk hiding behind their shy exterior do get their turn to peek out from behind trembling strings. At times it feels as though the band are on the verge of tripping into a coma rather than conquering 2015 but previously released tracks, ‘Feel Safe’ and ‘Stone’ though, they could be on to something. The latter graces with deep soulful tones provided by Guro Gikling, which verge on Florence Welch vocals that spring free from the restrained shackles of tracks such as ‘Something About You’ which sound more like Snakadakatal on the brink of their break up. Similarly, ‘Go’, never really takes off until it ditches the usually impressive male and female vocal overlaps for the tickles of Casio keyboards.

‘Honey’ comes out of nowhere. It’s an indie dance floor gem strutting in platform shoes across a 70s dance floor shimmering in Bee Gees spandex. ‘I Wear You’ takes more of a backseat approach, luring to the plucky bass of Metronomy and the forward yet smooth lyrics; ‘I wear you right up on my shoulder, I wear you like this is all we had’. This awkwardly clingy nature finally blossoms as soul ridden rock riffs ooze from a shy guitar fret board. The hesitant vocals only continue in, ‘Keep Me Alive’, with lyrics, ‘I need you baby, to keep me alive’, left ringing in the ears like an uneasy outcome of a couple’s marriage therapy. If the slower tracks sounded more like a heartless break-up, this is the mending of the pieces to form an unstoppable sound.

Perhaps the most intriguing turn of all though is, ‘Utmost Good’, where funk weaves into deep psychedelic plunges and vocals are kicked way out of reality. Tame Impala lethargic wooziness comes to mind, but above all, it shows that on their debut album, when All We Are really reach out, they’re worth holding onto.

All We Are - All We Are

Out of 10: 7/10

(@JJShreeve)

Live Review - Peace - Queen's Social Club, Sheffield

You’d be mistaken for thinking Peace aren’t a big deal judging by the venues they’ve picked to play in over the next few months. The B-Town band have left academies to one side to showcase material from their second album, 'Happy People', in front of more intimate audiences. 

Queen’s Social Club is their residency for the next two nights and follows suit with it’s beer stained carpets and tinsel covered walls. Filled with a few hundred teenagers, and couples sat on laps around the fringes, it feels like a weird school disco, where the wacky kids stick out like a sore thumb. 

Once upon a time Peace would have fitted into that category, but having stuck it out in their mum’s garage and donning dubious haircuts, they’ve now grown into something everyone craves. Bodies swirl in a swollen mass towards the feet of singer Harry Koisser’s trailing fur coat as the band rattle off ‘Higher Than The Sun’ and ‘Follow Baby’ from first album, ‘In Love’. The opportunity to play new material is latched to as ‘O You’ and ‘Perfect Skin’ are heard for the first time, the latter opting for the chance to console niggling anxieties; ‘I wish I had perfect skin, I wish I was tall and thin’, not the first unusual lyric choices we’ve become accustomed to.

Other new tracks, ‘Money’ and ‘Lost On Me’ are already instant B-Town classics and send the crowd into a frenzy, but it’s ‘1998’ at full thrust which really sorts the tie-dye from the die-hards. The twisted version of Binary Finary’s dance hit isn’t the only 1998 floor filler to leak from their guitars though as ATB’s, ‘9PM [Til I Come]’ ,rings around the room amongst woozier tones of ‘Float Forever’ and ‘Sugarstone’. The band opt for a different pre-millennium sound though in romanticised ‘Someday’, where Koisser’s vocals slip in and out of Liam Gallagher whines, whilst he stands unashamedly in some sort of rat onesie - a questionable choice of dress even for him. Thankfully one of the stronger new additions to Peace’s set comes in the form of ‘World Pleasure’, an unassuming savior to Brit-pop which is meant for stadiums but stands glorified amongst sticky condensated walls. Bass player, Samuel Koisser even takes a step into the crowd to show off his funk-fueled riffs, as Harry hails the crowd, ‘one of the best we’ve ever had’.

If there’s any proof needed that Peace are one of the most important bands in British music right now, it’ll be seen this year. Shows of all sizes and a second album which teeters on the consistency of their debut could bring about the revival of Brit-pop to guitar-thirsty crowds.

(@JJShreeve)

EP Review - Coquin Migale - F E E L

Coquin Migale are a fairly unknown entity and seem keen to keep it that way with a mysterious yet gripping second EP, that fuses together ends of the musical scale, piece by piece.

The Newcastle quartet seem to thrive off their ability to inter-weave in and out of varying melodies. One minute they're not far off the tight, picky riffs of Foals in 'Gold' and 'Socotra', then the next they verge a nose dive towards the depths of heavy metal. The reverb of the electric guitar is the one constant, which strikes a strong chord throughout the EP, taking minimal breaks in 'Interlude' for a bombardment of hefty drums.

'Gold' throws back similarities to previously released track, 'Icarus', in the way it could integrate three different songs into one. However, 'Paris' is as strange as Coquin Migale go, toying with various speeds and rhythms throughout which could be mistaken for being chaotic. Starting with ghostly vocals and ending with a gentle jam, its brief but erratic guitar shred in the middle sounds like an early Bloc Party and The Editors gathering as they bond over speed.

For all the different influences etched into the EP, final track 'Socotra', brings another into the frame with the rowdy indie-rock chorus fitting in nicely with the more raucous sounds from B-Town bands, Jaws and Peace. The climax of the EP ends in a way that the band have become accustomed to; with a heavy whirlwind of riffs. If there's one thing to be said about Coquin Migale, it would be that it's hard to put your finger on exactly what they're all about. Whatever it is though ought to be burrowing through the obscurities and turning heads their way.

Coquin Migale - F E E L
Out of 10: 7/10

By Josh Shreeve

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Through One Ear and Out the Other; A musical shift from 2014 to 2015

Music is a constant, merely blurred by the boundaries of our calendar. 2015 will provide nothing different on the music scene as old rockers return and new names bubble to the surface, there should be something to savour for music fans this year. Here's some personal tips and moments to look forward to in 2015.

1. Return of the Maccs

On New Years eve Orlando Weeks and co gave us news of a new album and plenty more live shows hitting us in 2015. What the details are exactly we don't know yet but if it's anything like their last album, 'Given To The Wild', then their next instalment could be the record of the year.

2. The Rock 'n' Roll Revival Hits Wembley

In June Foo Fighters will take to Wembley Stadium to play some of their biggest shows to date but what's even more tasty is their support. It comes in the shape of hard-hitting duo Royal Blood who could soon rival Dave Grohl for a headline slot. 2014 was the definitive year for the pair but 2015 ought to firmly establish them as saviours of thick riffs and drums, a lot of drums.

3. Peace is the word

B-Town quartet Peace will bring some more shimmery vibes to your ear waves early on into the year with their second album, 'Happy People', dropping in February. Having spoken to the man behind the mic it seems that it won't end there though as a sea of tour dates and plans for a third album are very much in motion.

4. A Band Called Palace

With the return of the Maccabees already being noted, a band who will be hot on their heels this year is London outfit, 'Palace'. Their alternative tinting of archaic blues brought them a support slot on Jamie T's tour and 2015 will undoubtedly see them rise from their debut EP platform.

5. King Raury

If Outkast's comeback was too 2002 for you then welcome to Raury. The teenager from Atlanta is making rifts across seas and has impressed the likes of BBC to feature him on their Sounds of 2015 list. Over the past year he's released some interesting projects touching upon Andre 3000 and Childish Gambino influences which will carry him confidently through 2015.

6. Male music

Raury's not the only young man who you'll be hearing in 2015. Bipolar Sunshine will be delivering upbeat pop rhythms whereas the more gentle whirrs of Brits critics choice, James Bay, will be prominent and for the more rugged edge, Only Real will be bringing the skatty upbeat guitar playing back. Expect these three to be very much in and around some of the best things you hear this year.

7. Festivals

Hardly a surprise this but yes the dawn of 2015 means we move even closer to festival season. Despite the slightly under-par line up, Glastonbury was a stonker last year so if Eavis manages to book the bigger acts this year, it could be one of the best yet. Elsewhere Reading and Leeds have brought in Metallica, making their Glastonbury performance last year look not so special after all. Smaller festivals to look out for include Bestival - the biggest party of the year, and metropolitan festivals, Live At Leeds and Tramlines.

8. The Brits Bullshit

It appears the only good thing going for the Brits this year is that James Corden has been put out of his misery, his script tossed to one side as Ant and Dec take over the presenting duties. Don't expect any tongue in cheek public speech by Alex Turner this year though. Instead sit back and enjoy a festoon of faces who you'll have been tired of seeing since last February - Sam Smith, Ed Sheeran and Taylor Swift will all give 'big performances' on the show - all for the viewing figures eh.

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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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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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)

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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.

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)

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

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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)

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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)

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)

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