The best musicians are the ones that are fearless. The ones that play a little louder than most, the ones who play until a part of them bleeds, the ones that MAKE you believe in what they are saying. The ones that feel like an old pair of boots that you placed aside when you were forced into buying new ones. The best ones make you feel uncomfortable too, like a new pair of boots.
Autumns are a mighty fine Derry band. If you’ve listened to them prior to the Blonde EP you’ll have been familiar with Christian’s distorted sound. A sound that me love his music instantly. It felt like you were creeping into a secluded world. You daren’t tell anyone anything. Keeping up with this sacred feel, the Blonde EP is clearer and bloody hell he’s got a strong voice. Think along the lines of Orange Juice meets Dead Boys meets something completely else that none of us have heard before.
These four tracks smack you so wonderfully between the eyes, they shake you and wake you up. Every song shows the potential that Christian has, and I am so so proud of what he has done with Autumns. I’ve said this every time I write about him, but he does remind me of Alex Zhang Hungtai (Dirty Beaches/Last Lizard.) One person making a load of noise that just HAS to be heard because it is phenomenal.
I Can See Them Looking At Me feels like it should be featured in some sadistic black and white film. It’s brilliantly creepy and sinister, everything you should want from music. Bands like Autumns are exactly why I want to write about music. I don’t care for doing anything else. They heighten something inside, and things like that do not happen often. Today in London it is damp, dreary and dull; the perfect soundtrack for this is the Autumns EP. Escape somewhere else or stay where you are. Play it so loud the neighbours ask you for a copy. Through your body around to the jangly guitars and furious drums. It’ll start making sense.
Blonde leaves you wanting more from Autumns. Not in a sense of wanting more and more songs, but in a way of just wanting to hear what’s going to happen next. Knowing how the sound has changed and more clarity with Christian’s vocals (which is a very good thing) you can’t help but know that this band are definitely something special. I did one of Christian’s first interviews last year/the year before, and it was so obvious that he’s not making music that should be ignored. He’s making music that feels like a punch to the gut and a jolt to the body. An electric shock making its way through you and when it gets to the crucial point, that is when you know.
Bands usually go through changes. Sometimes for the best, sometimes it doesn’t make any difference. Then there are some that go through hell and have to have a new lineup. There is something about experiencing emotional pain and suffering that can make a person tougher. There is something about it that can be a kick up the arse. Suffering or not, we all need that at times.
By Starlight are a London based trio who make the kind of music that would probably silence Courtney Love. When you listen to bassist/vocalist Sara you hear all the powerful singers that came before her in her voice. There’s a hint of PJ, Shirley Manson, Patti and Courtney in her voice and it is bloody excellent.
Sara started the band a few years ago after she left Australia. Australia isn’t known for its music scene I suppose (Silverchair will always be one of my favourite bands and Natalie Imbruglia once had a nice hairstyle didn’t she.) As someone who was once shy and hadn’t really sung before, it is fair to say that she has found her voice. A voice so strong and so passionate; enough to make you want to start a band too. These are the kind of bands and singers we need.
By Starlight have a raw, gnarly 90s sound. So Desperate could easily pass as a song off Garbage’s debut record. It is brutal and heavy, it is everything I want from a song and a band. They have a real moody sound flowing beautifully in and out of their songs. Listen to So Desperate just once, and it will stay with you. No And Forever sounds like it would sit wonderfully on Hole’s Celebrity Skin record. I know it may sound like lame comparisons, but honestly they just sound like one of the great Rock bands, you know? You can’t ignore that
There’s determination in this band, and of course it is something to admire. Last year, drummer (and best friend of Sara) Pete was sadly killed in a car accident. I wish I had written about them prior because his drumming was brilliant. Some drummers just have you hooked instantly, and he was definitely one of them. I’m just glad Sara didn’t call it quits because By Starlight aren’t a band anyone should ignore.
After only meeting Dan (guitar) and Thierry (drums) a few months ago, it is pretty obvious that this band aren’t one that should be stopped. What started with the desire to move to London has now become something truly wonderful, even in the light of something beyond awful. By Starlight have a real Rock sound to them. Their sound is heavy in all the right places and is mixed with moody and seductive vocals.
I’ve happily been playing their 3 tracks on their soundcloud page for the past hour or so. So Desperate is a proper little earworm that will stay with you. You can listen to their tracks right here:
Their next show is on 27th February at The Dublin Castle (in Camden.) I’ve not seen them live, but I’m pretty sure it will be gloriously loud and rowdy.
If mean (they’re sweethearts really, but you know what I’m getting at) and moody melodies are what you desire, then turn yourself onto By Starlight. An absolute pleasure to listen to and I’m pretty damn proud to call myself a fan. Besides, any band that name themselves after a Smashing Pumpkins song is alright with me! This won’t be the last I write about By Starlight.
Seeing a band you adore live is a great feeling. Sometimes, well for the most part, it seems to be a sort of release and a purely cathartic experience. That’s what music should be about and when you see it performed in front of you it becomes heightened and more important.
2:54 have just finished a 3 day tour in the UK. I did 2 out of 3 dates and I won’t lie, I wish I did all 3. If you’ve seen them live you will know how addictive it can be. You leave wishing to be in that moment solidly for the rest of time. You want to tell the words back to Sugar. You want to lose yourself during No Better Prize. You air drum along to Creeping. These moments become you. Don’t part from them.
Manchester was the first show. There is something really special about seeing bands in Manchester. The venue was idyllic and the crowd were a beautiful lot. Manchester crowds aren’t afraid to move. The last time I saw 2:54 was a month or so before when they did a secret show at the Shacklewell Arms to about 50 people. This show however, was dark and loud. Euphoric filled moments. Alex’s intense drumming. Rich’s brutal bass playing. Hannah’s inspiring guitar playing. Colette’s delicate but powerful voice. You will not find a better constructed band. With no need to talk in between songs, this band have gorgeous stage presence. In short, they make you want to start a band.
Last night they played historic Camden venue, Dingwalls. This show had a real Punk vibe about it. You can find this if you look hard enough. Colette said there was a strong Punk feel to the show last night, and she wasn’t wrong. Bodies were moving in time and some off beat. The music was rightfully being felt in all the right places.
I’ve loved them since I heard Creeping a few years ago. If I could find the word to describe how it made me feel and how it hit me, I would. It all comes to life when you see them live.
A strong sense of pride. The band I adore are nothing short of excellent and are making the kind of music that really moves you.
I interviewed Colette and Hannah in Manchester( I will type it up soon) and it felt like I was talking to two friends. Their bond is so pure and lovely to witness. You know how some people can communicate without saying a word? That’s them. I don’t think any other band has a bond as strong as that. Quite simply, the sisters are the most gracious and kind individuals I’ve met in a long time. Their music may be heavy and intense but personality wise they are just wonderful people. If you go see them, talk to them afterwards. Tell them I sent you!
And now it is all over. America is getting them next. Is it too late to have a Kickstarter page to find me to go out there? I’m too much of a wuss to get on a plane for 8 hours anyway!
Their on stage presence just makes you want to start a band. I think I spent most of the time staring at Alex and being in awe of how great a drummer he is. He makes you want to do exactly what he does. He truly is phenomenal and I hope if anyone ever made a list of the best drummers around he would be the top choice. But please know that during each song, all band members truly do shine but during some songs you take notice of a certain band member. No Better Prize sees you staring at awe at Hannah’s guitar skills. This song is a real intimate part of the show- it’s just Hannah and Colette on stage playing this. They perform it with such power, you don’t realise that there are other people in the room. Sure Hannah nails it during the end of Scarlet, but there is something extremely fragile and poignant about this song and how they do it live.Speaking of Scarlet, that’s the one where you really focus on Rich and how great a bass player he is. He moves furiously and plays with such purpose, making you wish you could play like that. Scarlet is the song that everyone goes nuts to, and I reckon it’s the bass that sets us all off. How could it not?! Blindfold is a personal song, whoever you are you will feel this song. You’ll see yourself in it and for this reason and how Colette sings it makes it her moment. Of course she’s got a brilliant voice, but there is really something about Blindfold that really makes you connect with the song. That’s the job of the singer, and she does it perfectly. Colette’s voice reminds me of singers I love such as Shirley Manson and Patti Smith. She can sound so delicate in one song but can flip to being dominant. Regardless, you pay attention and you listen. Alex Robins. Where do you begin on his drumming. After much thought I think I’ll go with Creeping. Inititally I was going with Crest because it’s so brutal and is one of the louder tracks on the record. But, I’ll stick with Creeping. He smacks the cymbal like a wave crashing crumbling and faded rocks. His drumming on Creeping sends the song swirling all around you and no part of you feels like you are where you are. Put all of these factors together from each of them, and you truly do have, hand on heart, the perfect/ideal band.
When I listen to 2:54, I just want to sit and write about what their music does and it all it stirrs inside of you. When I see them live I wish to cast real life aside and do something other than what I have to do every day. There is truly something special about them and I feel for anyone who has yet to see it, or who has yet to listen to them or has disregarded them. They’re easy to write about because they are just everything I love about music and why I probably won’t be satisfied until I’ve made some kind of career out of writing about music. 9-5 doesn’t sit well with me, it makes me feel uncomfortable. I don’t adapt to routine.
Music should do something to you that a person can’t. It should take you to a place that no mode of transport can drag you too. It’s a wave of emotions and moments of realisation. If you’re feeling lost, go to a gig. Go to a record store. Go into the unknown and be transported towards something else. Something you have probably been looking for. I recommend you start with 2:54. Listen to them on the move, in your room. Go to their shows and allow yourself to feel something so gloriously sacred.
*Note: This was written at 9 this morning on the train to work in about 20 minutes, 2:54 make it so easy to write about music and all it means to a person.
Writing about Jessie Ware is impossible at times because her live shows are at times, beyond words. I’ll treat this as less of a review and more of an appreciation of a career of this country’s finest singer.
Before I get into my take on the live show, just watch one of the first clips of Jessie to emerge:
A dream of her’s was to always play Brixton Academy, and for two nights she did it. Her voice is one that is constantly brilliant. There’s no way she could put on a bad show, ever. It would be impossible. There aren’t many that are consistently good. But I like to think the bands that I love and go see always are. That’s why I go see them, of course.
Just before Jessie stepped onto the stage, the PA blasted out More Than A Woman by Aaliyah. Being the sentimental fool that I am, I couldn’t help but feel she should be playing here too. Anywhere. It’s a loss you never really get over, you know. It’s never felt right, and it never will.
Jessie steps onto the stage as the intro to Running starts. He voice and presence causes an immediate frenzy. One person, just one person oozes infectious stage presence that some bands can’t muster. Her on stage talk is all over the place and full of swear words. This is why I love her. You can tell just by that massive smile on her face that playing Brixton means more to her than anyone else, it means more to her than any other venue would. It was a truly special show that was a long time coming.
After she performs 110%, the crowd went ballistic. I’ve never been at a show where this reaction happens, ever. Every song is performed in a way that makes you wish you had even an ounce of her talent. She’s undeniably the best singer around. She captures that 80s classy R&B sound that Sade gave us and mixed with something different, much like Aaliyah did. Her lyrics are vulnerable and honest. The way she brings them to life on stage is on a different level, almost like you can’t believe a voice like this exists.
For me, the most important moment of the set is her bringing back the gorgeous Taking In Water to her set. This song is definitely one of the highlights from her 2012 debut, Devotion. The song was written for her baby brother Alex, and when she performs this song you really do feel as if you are intruding on a personal moment between them. The song is so delicate and beautifully written, to see it again live is for me the best part of the show.
The set is the perfect mix of both records and with a couple of bonus tracks such as Valentine (she brings out her former drummer and current support Dornik to sing with her) and The Way We Are. You know what else would be an ideal Jessie show? If she did b-sides and tracks off the deluxe editions.
When you see a band/singer you love live, a part of you should always come away either wanting to be in that moment forever or wishing you could do it. Sometimes both. Maybe always both.
These two shows at Brixton just show how rare a talent like Jessie’s is, and how needed a voice like hers is. Everything about her music is approachable and so easy to relate to. From when she hits THAT note during Running and THAT certain part during Say You Love Me, plus much more, it is all evident as to why she has finally sold out Brixton. TWICE. She gives it her all, and so do her band. Her bassist (who I believe is a fellow Italian!) is a delight to watch, he really gets into it. As I was leaving the venue, I heard two people behind me slag the guy off by saying “The way he moves just makes him look like he’s full of himself, and he really has no need to be.” 1- He’s not. He moves like that because he evidently is having the time of his life up there and is blood good. And 2- Are you selling out two nights at Brixton? No love, you’re not. So you know, be quiet. Another group decided that Jessie shouldn’t have played The Way We Are. But there are idiots everywhere, even at shows.
Jessie’s got the voice of an angel and the mouth of a sailor. I don’t get how anyone could ignore such a talent and turn onto something else. She’s got soul in her words, music and voice. It doesn’t happen too often, remember that.
When two bands you are a fan of or when two musicians you like make music together, it’s always a good thing (I’m sure there are shit ones, but it’s important to be nice.) You can hear both sides. You can hear each band’s influences and you can pin point signature sounds in some of them.
There’s a chap from Derry called Christian. He has a band called Autumns. I’ve written about him loads because he’s bloody good. He’s better than good. He’s an Irish version of Dirty Beaches. One guy making a load of noise in the best way possible. He’s made a 3 track cassette with Phil from equally brilliant Girls Names. If you’re a fan of both bands, you’ll love this. Or if you ever wondered what would happen if Kraftwerk stayed awake for 24 hours straight and dropped acid, this is what they would sound like.
Gross Net are an ideal “super band.” This is from a selfish point of view, obviously, because I like them. The three track tape isn’t enough, but for now it’s all we have. That’s why the repeat/back button was invented. For bands like this who simply make you want to play their music on a loop.
The EP was recorded in a dark and damp space in just a day. The EP touches on subjects such as idiots in the arts who think they are better than everyone else (shut up you elitist twit) to surviving the recession. Listen super carefully and you’ll pick up on it. Wrong Place Wrong Time is a euphoric gem with less tension than the others, but the EP is just simply wonderful anyway.
At the moment they’re making noise and causing riots (possibly a lie) all over Northern Ireland and Dublin. If anyone can bring these guys to the UK, then please do.
Their self-titled EP will be released via Art For Blind as a limited edition tape and you can listen to it here:
This EP crept out late last year and should not be ignored. The tracks just capture how they are live (check out the YouTube clips of their separate bands and of Gross Net.) Loud, brutally dark and unlike anything else. If you think Ireland doesn’t have a solid music scene, then you thought wrong.
When I was at Uni, I went to pretty much every Gossip gig I could manage on a student budget. Turns out, it was a lot. Thankfully it wasn’t a phase and is something I still do. Last year I think Bad Grammar could have possibly been the band I saw the most, closely followed by Crocodiles. This year, who knows who it could be. Probably more of the same to be honest, that’s perfectly alright with me.
If your daily life is a pain in your behind and other areas, if you are bored with the repetitive strain of daily life then Bad Grammar are your saviors. This Manchester based duo are the most ferocious and probably loudest band I’ve seen in a long time. The Jesus And Mary Chain were loud when I saw them, but it was mainly feedback wasn’t it. Bad Grammar play like two feral kids being let loose in a school music room and they don’t really care for who hears them. Their new single, Clown pretty much showcases this in all its brutal glory.
If you’ve seen Lucy and Ben live, you’ll probably be left feeling as if you should start a band or something as brave. I’ll be honest, when I’ve seen them live I’ve pretty much stared in awe at them rather than pay attention to the songs. Every time I see them, I feel it is the best time I’ve seen them. There is something about watching them that is truly brilliant. I love the way Ben flails about on the stage, jumping around like a kid that’s drank a load of Cherryade and snorted some Party Rings. Lucy beats the shit out the drum, and is easily one of the best drummers you’ll see (and hear.) They’re one of the hardest working bands around and don’t ever seem to not be playing a show, so you’ve really got no excuse!
Produced by Ryan Pinson (who worked recently with the equally awesome God Damn) Clown is a loud number that will make you want to throw your body about until you feel it is about to snap. Clown b/w Who’s Yer Mate? will be out in the Spring on Flatpack Records. They’ve managed to capture the energy from their live shows into a song, that will leave you wanting to follow them up and down the country to attend their shows (don’t stalk them, creep.)
Have some dates for your diary:
Saturday 24th January – The Boileroom, Guildford Sunday 25th January – The Louisiana, Bristol Friday 13th February – Lomax, Liverpool Saturday 21st February – Hoxton Square Bar & Kitchen, London (Free Entry) Friday 27th February – Sticky Mike’s Frog Bar, Brighton Monday 2nd March – The Flapper, Birmingham Friday 27th March – The Castle Hotel, Manchester (Single Launch)
H.Grimce don’t sound like anything that’s around now. They sound like early Silverchair with the heaviness of the Melvins and the rage of a band like Savages. They also have a delicate surfer-pop kind of feel floating through their songs, especially in the title track of the EP.
Immaterial Girl will be released shortly via the ever wonderful, Soft Power. Soft Power have yet to put out something crap. Actually no, that’s unfair because I don’t want them to do that. They couldn’t anyway. Everything they release is just bloody good and could be why I whine about having no money. It’s alright, there are worse things I could spend my money on. Immaterial Girl makes you wish H.Grimace would just hurry up and release a full length record, but its not easy. It’s never easy. They’re a band who leave you wanting more with their EPs, and that’s how you get it right.
I adore the song Great Divide, it reminds me of early Hole. That’s always a good thing, I’m a fan of Courtney Love and I don’t understand how anyone couldn’t be. Well, we know why don’t we. Never mind… Immaterial Girl is a remarkable EP that as soon as you get to the last few seconds of the last track, Wasted Sun you find yourself hovering over the back button to start it the EP all over again. I’ve played Immaterial Girl a lot this morning, I’m not sure how many listens I’m up to now but there’s something massively addictive about it. Like penny sweets from the corner shop (they’re not that cheap at all now, sadly or fortunately, depends.)
H.Grimace are an exceptional band (and they come from near where I used to live) who don’t hide behind a big sound. They have this strong grip on creating euphoric moments in their songs, and Wasted Sun is definitely a prime example of that.
We need to talk about the song Imogen. Not only is Imogen the name of my Goddaughter (yes, someone was daft enough to make a Godmother, it’s okay we’ve known each other since we were 4 and we’re both as daft as each other.) The bass on Imogen sounds like it was crafted for a James Bond film. The bass creates some kind of heightened suspense and the vocals are creepy at times, it’s bloody wonderful and I’m fairly sure it is THE song that those “critics” will end up wetting themselves over, and you know what? Rightfully so.
H.Grimace will be playing Power Lunches in Dalston on 24th January (release show/fundraiser for the US tour)and after that they’ll head out on tour in America with West Coast delights, Couches. Immaterial Girl will be released via Soft Power Records on 26th January as cassette release.
I think 2:54 look at the weather and think, “Yeah, now we’ll release something..it’s pissing it down outside. It’ll fit the mood.” On this cold, wet and dreary Monday London’s finest (if you want to get particular about this we’ll say Ireland/Bristol’s finest) 2:54 released the video to their new single, Crest which is taken from the best record of 2014, The Other I.
Crest is brilliantly shot and makes you feel you are in the throes of one of their gigs, throwing your body about and yelling the words back. If you’ve ever seen 2:54 live, you’ll probably been left in awe of how each of them are just massively into what they are doing. I know I’ve said it so many times, but Alex is probably the best drummer I’ve ever seen (think he’s wearing a Fugazi shirt in the video which is also excellent.) He gets really into it in the video, and that’s just a little taste of what they’re like live.
Shot in black and white, the video is as moody as their remarkable sound. Crest is one of their heavier songs and is undoubtedly one of the most important moments on The Other Day.
If you have holiday to take at work, why not do what I’ve done and go see the band more than once and treat yourself to a night in Manchester, London and Bristol. You won’t find a finer band.
Are we over the “New year, new me” bullshit yet? Are we all aware that you can change whenever you want, you don’t need to wait for midnight on the 1st January to do so? And the gym is open beyond January… Alright, I’ll go back to the past 12 months.
Everybody likes to inflict their “ALBUMS OF *insert year*” upon anyone towards the end of the year. Some mention records that nobody probably listened to just to seem “cool” or they slag off good ones just because they did well. It’s all a bit daft, and the only person’s view of a record that really does matter is probably the fans who love the band. I could be wrong, I most likely am but I’m not someone who aims to ever be right. I don’t care enough, so with that..I decided to put together my list of lyrics of the past year. Lyrics that I listen to intensely and cause me to play the same song about 20 times in a short amount of time and not wanting to listen to anything else for a while. They could be lyrics that someone else thinks is shit, but what does that matter? It’s obvious who I’m going to write about because it is those who have put out records last year that I will probably still play all the time. I judge a year by the music not what happens in my life, I’ve again, probably got it all wrong but it’s things like that,that sort of stop me from getting on a plane and fucking off without saying a word. Oh and I’ve not got much ££££ to do so anyway. Maybe one day I’ll grow a backbone. Until then….
D’Angelo- The Charade. Towards the end of the year, the King of Soul FINALLY, after 14 years, put a record out. Black Messiah was not just one of the best records of the year but it was the most important. The whole message behind it stood for something bigger than those who were patiently waiting for a new D’Angelo record could imagine. Everywhere went nuts when it came out, and it is was beautiful. There are so many wonderful lyrics on Black Messiah, but this one from The Charade is one that really hit me. It sums up the brutality that was happening (and still is) in America. “Degradation so loud that you can’t hear the sound of our cries.” If anything can sum up the events and injustice, it is probably that one. You can tell from any D’Angelo song that he’s someone who watches and takes note of human behavior in all its ways. Black Messiah was full of hope and pain. It brought a sense of unity and a bit of peace that was much needed. Again proving that Music is one of the most powerful tools there is.
Morrissey- Earth Is The Loneliest Place. I probably would have gone for Kick The Bride Down The Aisle or Staircase At The University, but there is something about Earth Is The Loneliest Place that I couldn’t ignore. For those that hate Morrissey, there’s a load more of us that love him. Love conquers all, right? Morrissey’s lyrics are a huge part of my life and a load of others. The way he writes is something else, he gets to the very core of you and you feel as if he’s writing the songs about you. Is he saving your life or is he just able to put it all across better than you could? Personally, I think it is both. For me it is the line, “And humans are not really very humane. And earth is the loneliest planet of all.” Some lyrics just speak for themselves really. We have all seen how cruel humans can be, and we have all felt lonely. You can feel lonely anywhere, and our planet earth is a prime example of that. But if you are feeling lonely, go to a record store. Just like Penny Lane says in Almost Famous.
Band Practice-Magic! Last year one of the finest duos around and New York’s finest, Band Practice released their debut record. Make Nice is full of songs that make you feel like you’re part Tina Belcher/part Patti Smith. All music should aspire to that, the world would be a better place for sure. My favourite song off the record is Band Practice Theme Song, but this lyric from Magic! is my favourite : “When I walk inside my door , the world seems safe and it offers more.” We all know daily life can be a drag, a real pain in the behind and sometimes as soon as you step outside, you wish you hadn’t. If you’ve never experienced that, then you’ve never taken three tubes to work and had several items and body parts shoved in your face. It’s not even 8am and you’ve had enough. Songs like this a real comfort and stop you from punching yourself in the face out of sheer despair, or you know..punching someone else because all they are doing is glaring at their phone gormlessley and not watching where they are going.
BANKS- Fuck ‘Em Only We Know. Goddess was one of the best debut records to come out last year, and Banks I feel, is the only R&B singer that comes close to Aaliyah. When Aaliyah died, she left a huge void and she’s irreplaceable. Most are, and we dispose of singers so easily, but Aaliyah was so rare. Bans has that gentle feel to her music that Aaliyah created. Fuck ’em reminds me of a song that would have sounded amazing on Aaliyah’s last record, there’s something about this song. Something really special. Banks, like all great songwriters is someone you can tell watches others. Whether it be strangers or people she knows, she takes their story and turns it into a work of art. I adore this lyric: “Even addicted to your grumpy face. I know exactly just how many kisses fit between your eyes.” It’s such an observant and adoring lyric. If you’ve felt like that, then you’ve experienced real love.
Julian Casablancas & The Voidz- Human Sadness. I love the way Julian sings in that tired, fed-up and frustrated way. He makes you really feel what he is saying. Sure on the Tyranny record it’s hard to make out what he’s singing, but when you read the lyrics, you see another person who is massively observant and is paying close attention to how people behave. Human Sadness is an intense song, and many would say that this is one of the best songs Julian has ever done, and they’re not wrong and is evident in the lyric: “Understanding is more important than love. If not money will always trump justice.” If you’ve seen how corrupt the world can be, you’ll have seen that those with money will always outweigh most things, Julian’s picks up on how unfair it is yet it is something that may possibly never change.
Warpaint-Disco//Very. Warpaint are an easy band to write about. I don’t know what it is about them, but they are one of the few bands that when I listen to them, I just want to write down every thought and feeling that they bring to life. When music is this magical, you really cannot let it go. Disco//Very is unlike most of their songs. You know that drop during Undertow? Well, all of Disco//Very is that moment for about 3 minutes. It’s bloody euphoric, and I adore this lyric : “Only in the sound of the voices I scream.” That line is a kick to the soul, it smacks you and you just feel..as sickeningly clichéd as it sounds, it just makes you feel alive. If you’ve seen them perform this live, you will see that nobody stands still. It’s got that wonderful mystical Warpaint feel surrounding it, and you can’t help but play it over and over. It’s delightfully infectious.
Nadine Shah-Stealing Cars. If her voice doesn’t move you, then go see someone about that. Her voice is bold and gloriously powerful. I remember hearing Runaway and just being in awe of this stunning voice, Nadine is something else. What I love about Nadine is the strength in her voice, the only other singer who is as strong as her has to be Anna Calvi. Both singers can break your heart and terrify you in the next breath. That’s what makes them powerful and bloody brilliant. “Check your pulse when I speak.” Take that line how you want, but when you listen and I mean really listen to Nadine sing it, you feel as if she’s talking right to you. Nadine is such a brilliant songwriter and I firmly believe her new record is going to be one of the best ones to come out this year.
Dum Dum Girls- Too True To Be Good. Dee Dee is an underrated songwriter. She’s as powerful as Patti, and she sings in such a clear way and with such purpose. Much like Patti. Too True was in my Top 3 records of 2014, and again is one I’ve not grown tired of. You never grow tired of your favourite bands do you. Too True To Be Good is lyrically my favourite off the record, and I love Dee Dee’s voice throughout the song. When I first heard it, I became hooked on the lyric: “It’s hard to outrun a devil from behind.” Dee Dee’s lyrics are outbursts of truths and sources of comfort, you can hear it in all its glory in songs like Coming Down. She just knows how to phrase something in a way that hits you in the gut. There’s nobody else like her.
2:54- South. When 2:54 FINALLY released The Other I, it felt like my birthday and Christmas had come at once. The Other I was released 2 days before my birthday so I wasn’t far off. I immediately fell in love with the record and I was so proud of the sound they had created on the record. It was still eerie like their debut, but it had something else. Something I’m still trying to find the words to describe, but I’m yet to get there. My favourite song off The Other I changes by the day. I seem to flirt between South and Pyro. Pyro’s got this brilliant attitude to it, but South has this lyric : “Got nowhere to, nowhere to put misshapen love.” It’s obvious how much I adore this band (I’m using my work holiday to go see them on tour) and this lyric just made me adore them even more. You know how sometimes a band you really love, and you don’t think they can amaze you anymore? Turns out they always can….
2:54-Blindfold. The drumming on this just proves why Alex Robins is one of the best around, and the video to this is beautifully shot. It captures London in all its beauty. I saw them play this at Union Chapel and they made a powerful anthem sound like a haunting chant. It was just beautiful. None of this has really been written in order, but my favourite lyric of 2014 has to be “Everybody says I’ve got to say what’s on my mind. But how do I say, that am I really losing my way. Every day.” If you pick apart 2:54’s lyrics, they read like chilling poetry that would cause Poe to freak out slightly. Colette is a brilliant songwriter absolutely brilliant and the way in which Hannah writes the music just goes so well with Colette’s words. It’s got to be a sister thing because nobody else comes close. There are so many reasons as to why I regard 2:54 so highly. Partly because they are genuine and lovely people, partly because their music takes you some place else and partly because they’re unlike anyone else. Their music is spooky but euphoric. It’s not too late to get a ticket for their tour next month….
When a band/singer changes their sound, it can either be utterly shite or something really bloody great. Fortunately, Autumns are super good and have made something ridiculously good.
I’ve written loads about Autumns since being sent their music possibly a year and a bit ago. I loved how Christian was basically a one-man band, and he reminded me so much of Dirty Beaches. The fury in his music and its cinematic feel was something I really enjoyed and became obsessed with. The new sound is equally as important and a little louder. Loud is good, musically.
Je Veux Être sounds like something Orange Juice would have probably come out with. It’s a brilliant short and punchy number (Ramones did it, many tried to copy but ballsed it up) and it’s the only thing I’ve been listening to for the past half hour. As someone with a questionable (or even non-existent at times) attention span, Je Veux Être is just perfect. It’s a wonderful build up brewing within the last minute and suddenly the last 30 seconds is nothing short of a beautiful fuzzy noise that makes you want to turn it up some more. I had every intention of writing my “Lyrics of 2014” piece, but Autumns distracted me and that’s really okay. I need to give it some more thought anyway.
Autumns are Derry’s finest, and someone somewhere needs to find the funds to bring them to the UK. Easily one of the most exciting bands around who I’m just so bloody proud of. I can hear a few bands I love sifting through the new Autumns sound, and it’s just so good. Christian’s voice is one I really love, and I’m fairly sure their EP (out in February) will be one of the year’s finest moment.
The EP, titled The Blonde EP will be a limited 7″ release out in February.
Beat In My Bones. 