Author Archives: Olivia

D’ANGELO- Black Messiah.

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14 years ago I walked into HMV and purchased Voodoo by D’Angelo. I bought Brown Sugar at the same time, mainly because I didn’t have the funds in 1995 but a weekend job allowed me to buy both Voodoo and Brown Sugar. I couldn’t ever choose which I love the most, it’s impossible. D’Angelo has been a huge love of mine for so long, and to wake up knowing a new record was out today was great news. There have been so many brilliant moments in music this year, for me. And I could have happily listed them off until this morning- pre D’Angelo release. So now, I can pretty much say that Black Messiah is THE most important and best thing to happen to music this year.

I’m not sure how to write about Black Messiah. I could pick apart every song and go on about why they are so good, I could go on about why it is so important for someone like D’Angelo to release this record or maybe combine them both and ramble on. I don’t know. I really don’t. I guess if you want a standard review, you’ve got the likes of *insert name.*

So, is Black Messiah a masterpiece? Was it worth the wait? Yep and yes some more. What you need to understand is that D’Angelo is the best R&B singer around. The guy just oozes  real soul. He’s not some auto-tune buffoon relaying on producers to make him relevant. Even when he wasn’t making music, he was relevant. Always. This is the guy you listen to when you want to escape the modern world and go way back in time. He’s got nostalgia (I hate that word, sorry) flowing through his music. Marvin never really died. The thing about Black Messiah is it has been released at a time where something like this is truly truly needed. Sure he is known for his romantic wordplay, but Black Messiah is graciously political in all the right places.

This record is a touch of Al Green and Sly Stone, comparing D’Angelo to anyone current would be offensive to his music because if it wasn’t for him… But anyway, Black Messiah is the most important record of the year. That’s all we really need to know.

If you want your heart broken in a non romantic sense, then play and listen very carefully to The Charade. It captures everything that has been going on with yet again, police brutality and lack of a justice system. If  “All we wanted was a chance to talk, ‘stead we only got outlined in chalk. Feet have bled a million miles we’ve walked, revealing at the end of the day, the charade.” doesn’t move you, then maybe you side with the police. D’Angelo is a brilliant writer, a fascinating story-teller. Shit, Damn, Motherfucker will always be my favourite song by him because of how he puts you in that situation. There is something beautiful in the way he writes about pain, with a sort of child-like innocence to it all. He’s someone who watches and writes about it so effortlessly yet careful. He just knows what to say, and my god, I am happy the wait is over.

 

But let’s be honest now, any record that credits Q-Tip and Questlove is going to be nothing short of genius. Kids that were probably created to the sounds of Brown Sugar and Voodoo now have the opportunity to understand why D’Angelo is so so important. Black Messiah is a result of years of on and off, up and down. But it is here. It is finally here.

We’re living in a time where we have gone back, too far back. A time where we were supposed to have learnt from. Some have, others evidently haven’t. Black Messiah is THE record to zone out from the real world to. It’ll ease some hearts, unleash some tears and speaks so much truth. It is the most powerful record of the year. Hype isn’t always deserved, but when it comes to this- oh it is truly needed. The greatest singer around is responsible for the greatest release of the year, that’s all there is to it. Black Messiah is a real Soul/Funk record that will appeal to anybody and everybody, it’s just so bloody good. Music is powerful, trust no one who thinks otherwise. This record is an expression of desire for unity and freedom, if that doesn’t make you want to see a change in the world then I feel bad for you, I really do.

The record ends with Another Life, a six minute dreamy gem to drift you off some place else but keeps you in the moment enough to hit play all over again. Each song gives you something new and a different way of seeing things. Frustration and love trickle through the Black Messiah. 14 years is a crazy long time, but if this is what happens then maybe it’s alright. But, D’Angelo don’t leave us so long again.

 

BAND PRACTICE- Make Nice.

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“I don’t know how to make nice
I don’t know where I went wrong
I don’t know how to tell you
So I learned the words to all of your songs.”

 

I’m currently faced with one of the most difficult tasks in life- buying a new coat. I hate all of them and I think the best solution to not be cold is to just not leave the house during Winter. If I need anything, I can just buy it online. But then again, there’s the thing of having a job and having to leave the house to get there. It’s all so difficult. You know what else is difficult? Trying to break in my new Docs. I don’t want to part with my old ones. They’ve been through a lot. I clearly don’t adapt well to change do I.

Writing about a band that I love is usually easy. When it;s a band that I’m pals with, then it feels a bit weird. Then again, if I didn’t like it I wouldn’t write about it so there’s really nothing to worry about.

Yesterday, finally, Band Practice released their debut record Make Nice came out today. If I was going to make a list of brilliant records of 2014, I’d definitely put them in there. But I’m not doing that this year, I’ll do lyrics instead. Anyway. So the record came out today and it’s ridiculous.

Band Practice are Ben and Jeanette (she does The Miscreant magazine. I write for them, she’s awesome as is the magazine. She didn’t tell me to tell you that, I felt like it.) JW’s voice is beautiful.

The songs are everything you thought high school would be. For me, it was nothing like it. There were no crushing crushes, nothing of the sort. I was and always be an average bore. Band Practice have provided songs that will ease anyone out of their awkward stage, or in adulthood- make it easier to deal with.

The 9 track record starts with the awesome Band Practice Theme Song. JW pays a little homage to wonder kids Comfy in the line, “This is my big comfy scarf.” This is the perfect track to open Make Nice with. But I want to talk about my ultimate favourite off the record, Bartending At Silent Barn. It’s full of wonderful self-doubt and I’m pretty sure anyone who listens to it will relate to it a hell of a lot. I adore the line, “Nobody in my head likes me so sometimes I get lonely .” It’s such a sad line, and I’m fairly sure why I love it. I tend to go for lyrics that are quite self-loathing and the like. I love the way JW sings this song, and I feel a bit awkward talking about how she sings! I love how there’s a bit of a fed-up feel to her voice at the start, then a little giggle happens (I think it’s a giggle) and the song just smacks you beautifully in the face. The drums, always the drums isn’t it.

Band Practice have basically put a record out to fit every mood. If you want to sulk in your room, stay in your pjs and never see anybody again- this is the record for you. Ultimately,  you can also flail your limbs about to some of the tracks without a care in the world. Do a mix of all of them, but make sure you don’t overlook the lyrics. The lyrics are gorgeously crafted, and yet again, another band that make me wish I had even a small fraction of musical talent. Alas, I don’t. I just do this instead. Some of the songs will break your heart (Spare Parts) but really, what you’ll adore are the quick-witted lyrics sung by Jeanette and Ben. See, this is why duos are just the best.

Make Nice has been released by the great Chill Mega Chill, and you can buy the tape/download it here:

https://bandbandpracticepractice.bandcamp.com/album/make-nice

Embrace the cute corgis and play as loud as you like. Oh and if you’re fortunate to live in NYC, go their release show this Friday at 603 Upstairs : https://www.facebook.com/events/1526395474274610/?ref=22

2:54- Shacklewell Arms. 4th December 2014.

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The best things in life are free (thanks Luther and Janet) and also, sometimes the best things are kept a secret. Yesterday afternoon whilst tearing my eyes away from work for a split second (15 minutes) I saw Bella Union’s clue as to who was their secret headliner for their Christmas show at the Shacklewell Arms. The clue was, “an East London bus route.” SO EASY. It’s 2:54. Easily. How did I guess it? Because that’s the bus I spend most of my life on. My plan after work was to go to the gym (this fatty has lost some weight) and go to sleep. Two things I enjoy. I also love 2:54. I love them more than the gym and sleep, and if I didn’t go I’d probably be a bit annoyed. So off I went!

A band called Landshapes were on first., who were mighty impressive. Their singer sounds a bit like both Emily and Jenny from Warpaint mixed with Foals-esque sounds. What I did hear/see was pretty damn good.

At around half 10 Alex, Colette and Hannah took to the stage to perform an acoustic set. Colette told me afterwards that they couldn’t get their gear out of their lock-up and get it to Shacklewell Arms in time, as they finish work at 9pm. The fact that they have day jobs makes me respect them a bit more you know? Most bands I listen to do work as well as in a band, it’s hard. It’s really hard. I can’t pretend I can relate, I wish I could. But not being paid to write about Music but having a desk job during the day isn’t really the same. Being in a band requires more effort and dedication.

I don’t know if it is old age or sheer tiredness, but I cannot remember the setlist. I know they opened with Crest and closed with Sugar. The Monaco was also played. I wish I could remember the other 2/3 songs they did, but it is half 8 and I’ve had 5 hours sleep. I hope today is gentle with me.

Seeing a band like 2:54 do an acoustic set was truly special. I don’t know how everyone else in the crowd felt (there was about 30 people, they all buggered off after Landshapes for some stupid reason) but it was beautiful. If you’ve ever seen 2:54 live you’ll know that it’s quite intense and heavy. They are gentle version of one of my favourite (and ultimately one of the greatest) bands, Sleep. My Gran has got me a Sleep t-shirt for Christmas, she’s the best. 2:54’s sound captures everything I absolutely love about music. They’ve got this heightened sensation in their sound that has really come alive on their new record, The Other I. Everything about their music is dark, ethereal and really intense. I don’t know how many times I play them at work to get me through staring at a spreadsheet. It bloody helps. I probably annoy everyone drumming along on the desk.

Alex, as I’ve said so many times, is easily my favourite drummer around. He’s a pleasure to watch and he just makes you wish you could play the drums. In their set last night he really shone during The Monaco. I love the regimented drumming on it mixed with Colette’s delicate voice. Then we have Hannah. If you ever feel the need to make a list of the best guitarists (please exclude gender as gender shouldn’t be a ruling factor) then she needs to undoubtedly be number 1. I think I spent the evening admiring her gorgeous Fender acoustic and being in awe of how brilliant she is. I could never get tired of watching them live or acoustic. I love how Colette is on stage, her enforcing hand gestures are equally as dominant during an acoustic set as they are during their normal live set-up. I’ve said it before, she moves on stage as if she could bust out a verse by say, Wu Tang Clan word for word with no problem at all. If you’re one of those people who seek to define music by gender or are constantly looking for “the best front-woman” then just look at her. However, if you want a band that have everything and know that gender shouldn’t define a person’s profession, then 2:54 are that band. What I’m trying to say is, 2:54 are bloody great and I want you to love them.

When you see a band you really love in such an intimate setting, it makes you appreciate their music a lot more and you hear the pieces you may not always hear on record. Not only are they an excellent band, they are genuinely the loveliest people I’ve met. Also, I know nothing about fashion but Colette had on a beautiful coat. Just incase you were wondering.

2:54 are out on tour in February playing Manchester, Bristol and London. A drunken decision was made last Friday with my good friend to go see them in Manchester. If I had the funds, I’d do Bristol too. But hey, 2 out of 3 isn’t so bad.

Go to your local record store and pick up the finest band on Bella Union’s new record, The Other I by 2:54. It is full of mystical wonder and heavy sounds, mixed with haunting vocals.

NADINE SHAH.

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“Check your pulse when I speak.”

Originally I was going to write about Nadine’s new song, Stealing Cars. I started it last night, felt sick and went to bed. A new day has dawned, I’m still ill (Hi Moz!) so I’ve started it again. Why focus on one song when I can just ramble on for a bit about why her voice is probably one of the best things around.

Last year I wrote about Runaway for another website I write for. I didn’t acknowledge how it made me cry instantly. I never mentioned that Nadine’s voice can reduce me to tears instantly. Now I have, I should probably attempt to say why. You can hear proper venom in her voice in Runaway that won me over. Then I started really listening to the lyrics. I love lyrics, probably because at times I’m underdeveloped emotionally but if I could function properly I wouldn’t have filled up so many notebooks nor would I be doing this. You can hear her voice beautifully quake as she sings the chorus, you cling onto it all. You want to yell “whore” with her. Nadine doesn’t yell it, but it’s a word that makes you want to yell. Only if it’s in a song though, don’t go round calling people it. That’s not too polite. The music feels like a train approaching, all you can do is let it pass you by. It builds up hauntingly during the chorus. A year on and the song still gives me goosebumps (I’ve also got the window open.)

Love Your Dum And Mad was 2013’s most underrated record. I don’t care what you say, so many people bypassed such a beauty. Redeem yourself. As far as debut records go, this one is something else. The sheer darkness and Nadine’s way with words would make Nick Cave piss his pants. She’s instantly up there with him. Why? Because she puts you in the moment. I know she’s been compared to the likes of Nick Cave and to an extent it can be tiring. But my god she’s a majestic storyteller like him. She’s got power in her voice like Patti Smith, you can’t help but be in awe of her.

After playing Ville Morose most of today and last night, I am quite keen to start an online petition to get Nadine to sing a full record in French. Listen to it through headphones. No idea what she’s singing, mainly because my French goes as far as “Ou est la piscine” and my fondness for the French word for bin, “poubelle.” The latter probably annoyed my French teacher in school. “OU EST LA POUBELLE MISS!!” I got a C in my GCSE and I did it a year early. Très bon.

I’ve seen a few gigs recently in churches, and I can’t help but think that Nadine’s voice was made for the likes of St Pancras Old Church or the Union Chapel. Her voice is big at the right time in songs. She’s got the kind of voice I wish I had when I sing. It’s best if I don’t sing. Or speak in French. Much like Anna Calvi, she has this dominating deep voice that takes over you and sings with such clarity. She grips you with such a force, you almost don’t notice.

It has never happened before really, but her music reminds me of one of my favourite books, Bel-Ami by Guy de Maupassant and in places,  Down and Out in Paris and London by George Orwell. I don’t know what it is, maybe I go far too deep into things but her music and voice really gives such powerful imagery. Listen to Dreary Town, you’ll probably get what I mean. Her voice on that…if I had the words, I would use them. I don’t have any words to describe how powerful and beautiful it sounds. In some songs her accent comes through, like on Floating when she sings the word “Lover” it comes through. I love hearing accents in songs. Not London accents so much.

There’s a singer I’ve been writing about now for maybe nearly two years called The Long Wives (Brandy St. John) and her voice reminds me of Nadine’s. The way both really put you in the heart of the song with how they project certain words and aren’t afraid to be really open with their words. It’s a level of honesty that is missing in so many. I’m fairly sure if I went to one of Nadine’s shows I’d be the idiot at the back sobbing at every song. Sorry.

This is pretty much all over the place, mainly because I can’t really focus on one thing to write about at a time when it comes to her music. I listen to something, and I’m hit with something else. Sometimes that’s what you need. You don’t always want to feel or think of one thing when you listen to something. You want it all to hit you at once. I’m all for chaos as I loath routines and organisation.

I am fairly sure, and this is just me going by Stealing Cars, that Nadine’s new record which is out next year will be utterly special. A voice likes her’s is rare and divine. It is to be treasured yet played pretty much all the time. I adore the dark and creepy atmosphere in her music mixed with her captivating voice. She’s just sublime. J’adore!

THE LIVING EYES.

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Having not learnt my lesson from subjecting myself to really loud music on Monday evening, I’ve found a band who are brilliantly loud and sound like everything I want in a band. Oh how many times have a said that? How many times have I really meant it? I just love certain noises, and The Living Eyes are a certain noise. I write this as London looks like a grey abyss. There are certain bands you should listen to when the weather is like this. The Living Eyes are not this band, instead they take you to a warmer climate.

The Living Eyes will be releasing Living Large on 19th January. Put some Christmas money aside and treat yourself to what will evidently be one of 2015’s highlights. For those who adore the fuzzy tunes of Garage rock, The Living Eyes will certainly wet your whistle (calm down.) They remind me of a band that I never compare anyone to. One because no one sounds like them and two, I bloody hate comparisons. But I’m on my lunch break and this is as good as I’m going to get. They remind me of my beloved The Gruesomes. The Gruesomes were this raw and fearless band that shaped a lot of what I listen to. They are also the only band that I love that I’ve yet to own something on vinyl by. Finding any vinyl copies of their music is bloody expensive. I live in hope. I did find a copy of a Count Five record in a Parisian record shop last year. I’ve got a little hope, so I’ll cling.

The Living Eyes will make you feel as if you’ve donned your best Bermuda shorts and head for the nearest beach. But if you take one look outside, maybe just sit in your bedroom and flail your limbs about in a carefree fashion. I’m at work, I can’t do any of that. No fun.

The Living Eyes are a mighty band from Geelong (Australia.) Australia has an amazing Garage rock dare I say it, yes I shall “scene.” It’s on a par with most of the stuff from the States. They’re not afraid to be loud, and of course they capture the beach-vibe more than most. The Living Eyes are one of the most thrilling bands I’ve heard in a long time. I know bugger all about them. I don’t know how many records they have out, I don’t know how long they’ve been going for. I know nothing that would seem “vital.” All I know is that I bloody love them. That’s enough, right? In this case, love is enough.

Some will say these guys are Punk, some will beg to differ. Never beg, you’re not a dawwg. Anyway, the thing is the REAL essence of Punk is alive. It’s not in a shitty piss-pop “Punk” band like Paramore. Oh no. Not in the slightest. It’s in bands like The Living Eyes. These dudes are fearless and probably play recklessly. I’m talking playing until they bleed and fling their guitars around and nearly smacking each other. Blood, sweat and fear. They’re the kind of band that wake up that lazy part of you. The part that doesn’t come out too often. They are far too good to ignore and of course, to play quietly.

So yes, Punk is alive and well in bands like The Living Eyes who aren’t afraid to play with ferocity. I don’t know what their tour plans are, but go see them when and where you can. Maybe take a spare shirt with you if you have to get public transport home afterwards. Or just embrace all of the sweat and chaos. The latter is probably the best option.

Maybe you’ll dance to these guys, maybe you’ll break stuff due to uncontrollable movements. Whatever you do, make sure you play them loud and turn everyone you know onto these guys. It doesn’t get more exciting than this. Maybe they will save us all with their gloriously brutal sound.

Living Large will be released via Agitated Records. New song from the record right here: https://soundcloud.com/goldstarpr/living-eyes-high-standards

THE JESUS AND MARY CHAIN- Psychocandy Shows.

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“But you break me in two
And you throw me away
And you spit on my head
You trip me up.”

After spending more money on gig tickets, travel and accommodation – it is with a slight bout of deafness and sheer joy that I can say, I have finally seen The Jesus And Mary Chain live. Twice. In the space of a few days. Not sure how I am not totally deaf, but it’s fine. It is an excuse to not listen to anyone (not like I do anyway.)

I don’t want to turn this into a comparison of Manchester vs London. I’m siding with London because I was at the front, I can’t hear and the venue was a lot nicer. The Troxy is one of the most stunning venues I’ve ever been to. I’m usually a fan of venues that look like they’re about to fall down and are the size of a shed, but I like to make an exception. Instead, I’ll just go on about how TJAMC are one of the best bands I have seen live, finally.

I knew it was going to be loud. I knew it was going to feel like my ears were going to burst and bleed. I wouldn’t have bought tickets if I wasn’t alright with that. The crowds at both nights (and I’d imagine for most dates/all) consisted mainly of middle-aged men having the time of their lives. Some crying onto their best friend’s shoulders, most shouting the words back at Jim as if he’s some modern-day Messiah (he probably is, let’s be honest.) For me, it felt like a Morrissey show but with a bit more bite. How these guys react to TJAMC is how grown men are at a Morrissey show, without the stage invasion. There is something beautiful about seeing this. TJAMC appeal to those who are awkward, unsure but carry the weight of daily feelings like no other. They are for those who do not mind the darker side of having emotions, what they do mind is being told how to offload it all. How do you offload it? You stick on TJAMC and you think of someone or something that is really eating you. This is how you come alive.

I wasn’t even a mere thought before Psychocandy came out (I was born a year and one week later, always late.) but it has become one record that I quite simply, cannot live without. Is it a bold statement? Is it foolish? There a few thousand from over the past week or so who will probably agree with me. United. It’s a record that means more to me than anything else I’ve ever heard. I’ve felt every ugly and passionate feeling Jim sings on that record, and fuck me I am not ashamed. I’m sort of proud that I am able to relate to such a remarkable record. See, I just can’t live without it. To see it live in its entirety was something no part of me ever thought I would see. I never ever thought I would see TJAMC live, ever. I have a tendency to like bands that have most members dead or they hate each other. Sometimes both. Thank you Jim and William for getting your shit together.

I expected nothing from the shows, all I cared about was seeing TJAMC. The excitement I had was probably borderline irritating, I don’t care. If you get the chance to see your favourite band in the whole wide world live, go. Just go. I don’t care how you fund it, just go. Treat yourself. You need to.

There was an atmosphere at both shows that I sincerely hope was at all of them. It was a mixture of relief, absolute happiness and shock that it was about to happen. I know this isn’t a live review, all it is is something unleashing how it feels to see their favourite band of all time live. Finally. There was nothing wrong with these shows, every element of it was perfect. Last night, William played a bum note during a song and Jim just turned to him as if to say, “typical” shook his head and grinned. William was like the mad scientist surrounded with amps and pedals. Jim was every bit the brilliant frontman I knew he was. There was no need for painful conversation between songs. I’m not a fan of that. And I don’t think they are either.

Seeing You Trip Me Up and My Little Underground live meant more to me than I thought they would. Those songs hold more sentimental value to me than a song probably should. More than I want them to, but seeing it all live was like a release. A sigh of relief, yet I didn’t want it to end. TJAMC have been missed, so dearly missed. I hope they never leave us again because we needed it. Live music needs bands like them. Being brutally loud and not apologising for making you feel as if your ears are bleeding. If I don’t get injured or go a little deaf at a gig, I probably didn’t have a good time.

TJAMC’s music is the polar opposite to me, sound wise. They are brutal, somewhat sinister and loud. I’m too shy for my own good, but I’m alright with clinging onto that. Psychocandy is a release of all sorts, and to finally see it live goes beyond the words I have written.

They opened with April Skies. A song I thought would be too much for me to witness, but my god it was beautiful. To just watch that over and over would be something else. Maybe they’ll do a tour for Darklands…that’d be nice. There is no doubt in my mind that TJAMC are the best band, ever. How Jim Reid feels about the Velvet Underground is how I feel about them. Ultimately I do feel the same about the Velvet Underground, obviously. I think that’s quite clear. One of the true special moments last night was Miki Berenyi joining them on Just Like Honey. Oh, and Kevin Shields was sat upstairs too. Shoegaze heaven.

The shows I went to were euphoric and loud. Seeing middle-aged men take their partners with them as if to say, “This has been me for the past 30 years, this is who I am” was just beautiful. The songs are as important as they always were, much like the band.

VIVA THE JESUS AND MARY CHAIN!

2:54. St Pancras OId Church. 19th November 2014.

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“Nobody here can make the feeling new.”

Second time seeing 2:54, second time seeing them in a church. It is fair to say that their eerie and ethereal sound is bloody glorious in a church, and I would fully back them playing these kinds of venues. Why? Because there is something quite beautiful about seeing a band like 2:54 in a church. I can’t actually put it into words what it feels like, but if you’ve listened to them you know what kind of environment they are perfect for.

Last week they released their second record, The Other I. As someone who is pretty much still obsessed with their debut record, I wasn’t sure if I was ready to let it go and move onto the next. Turns out I am, and I’m of course, obsessed with it. There is something about their music that makes me want to write about music constantly. Maybe it is because everything I adore about music is in their sound. Do I want it to sound a little creepy? Yes. Do I want lyrics that not only I can relate to, but are in awe of how they are placed together and sung? Yes. Do I want music to sound like I’m not where I currently am? Yes. Do 2:54 do all this and beyond? Of course.

The PA system blares out Tender Shoots. A delicate song to listen to through headphones, but through a PA in church, it’s haunting. I cannot remember the setlist, but I remember moments (made use of a happy hour in a bar beforehand, so go with me on this.)

I loved the little jam at the end of Scarlet which went straight into Sugar. Sugar for so long was a song that I played on repeat, then they made a video to it and it just went insane. It’s a song that’s got so much going on in it that my little head can’t get itself around. The drums on it. Oh man. More on the drumming in a bit. Some songs are met with a beautiful smirk from Colette who, on stage seems like this powerful being stalking the stage and commanding it with rapper-esque hand movements. Off stage, she seems the opposite. One of the most genuine souls I’ve ever met, but more on that later. The new songs are adored by the 120 or so of us in the room. I thought, how can they still be playing small venues like this? But the thing is, this is where they sound perfect. Last night’s show was the first of their tour, and anyone who has a ticket is in for a real treat.

The drumming. Alex is pretty much the best drummer I’ve seen live, and one of the best drummers I’ve heard on record. If you’re looking for a group of musicians to influence you to start a band, listen to 2:54 then go see them live. Church or no church, just please go see them. I hope a 14-year-old kid somewhere hears this band and starts something magical of their own. I’m however, 28 with no musical talent, it’s probably why I do this. Ha. Alex has this ability to make the songs sound more brutal live. 2:54’s sound is delicate but mixed with bold moments. Moments that just make you hit repeat all the time. He makes the drums sound like waves crashing around you, a prime example of this is during Creeping. I wish I had the money to do all of this tour just to see him drum. He’s nothing short of brilliant.

Hannah and Colette play No Better Prize together. Just Hannah on guitar and Colette’s blissful vocals. Her clarity when she sings is gorgeous, and you pick up on the lyrics much more. You pick out certain lines, and not only do you identify with them but you’re bloody grateful someone has said it. My favourite part of the gig was a cross between No Better Prize and South. I think I’m sold on South being my favourite off The Other I. It was Pyro but I’m sticking with South. I think the new bassist is called Rich? Sorry if I’m wrong. Anyway, he’s bloody brilliant. Bassists don’t get enough credit I don’t think. For 2:54, the bass really adds something haunting to their sound.

Their heavy sound mixed with gentle vocals is really what appeals to me. It’s like beauty and the beast (none of the band are beasts, I just mean mixing something ferocious with something tame.) There are a small number of bands I could quite happily watch for the rest of my time, 2:54 are evidently one of them.

At the end of the show, I hung around to buy myself a t-shirt (as always, I do my clothes shopping at gigs don’t I.) In complete shock to me, Colette recognises me. “You’re Olivia aren’t you?!” My ability to say something awkwardly daft thankfully past me by (thank you Happy Hour, thank you!) Her words about my writing meant a hell of a lot to me. Firstly, I never expect a band to read anything I write about them and secondly, if they do read it I wouldn’t expect them to remember! She said I write beautifully about the band. It’s easy to write about them because I just love them and I have done for ages! When you really believe in something, it is easy to put that across. I’m just someone who loves music in all its possible ways. Balls to the genre, I just want it to make me feel something. Her kind words are staying with me, and when I feel like stopping writing, I’ll replay them in my head.

I told her I sold my ticket for The Jesus And Mary Chain to be there last night. “I hope we were worth it” she said. You have no idea. Can February hurry up now please?!

CAT POWER- Union Chapel. 11th November 2014.

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There are many ways to celebrate getting old. There is crying into your  pillow, enjoying some whiskey or my favourite- seeing a band/singer you love. An early (day before) birthday present to me was a ticket to see Cat Power last night at one of London’s most gorgeous venues. Union Chapel is down the road from me, which is pretty cool. It is a venue that could make the most horrendous singers sound amazing. But for the likes of Cat Power, it just shows how brilliant they are.

Previous to this show Chan had canceled a few due to being sick, however if I could sing the way she did last night when I’m sick then I’d be bloody happy. She means to me what the likes of Patti, Bobby, Morrissey and Lou mean to me. She’s someone who can put across what I think/feel better than I can. She’s got a beautifully brutal way with words. Her honesty is gorgeous and endearing. How someone couldn’t be a fan of hers, I have no idea.

Her songs for the most part flowed right into each other. She went way back with some of her songs, and for me hearing Great Expectations (second record, Myra Lee) was perfect. I saw her in 2008 and it was around the time Jukebox was released. Her set consisted of songs from that record and The Greatest. To hear some older songs last night was amazing. She started her set on guitar. Just Chan and a guitar. She seemed to be quite nervous and unsure, but as she made her way to the piano, everything fell into place. She came alive and her beautiful sense of humour came out. If Chan ever packs in music,  I sincerely hope she goes into comedy as her sense of humour is wonderful. Her laugh is infectious. When she starts, you go with her.  She’s delicate when she speaks, and when she sings you pick up on the hope and strength in her voice that comes from a dark place. She got through some bad shit, and she’s still around. I know people look up to others far too easily, but hand on heart- she’s one of my idols.

Although it is obvious in her lyrics she’s a fantastic storyteller, it becomes much clearer when she tells stories to the audience ranging from her cracking her head open to creating a single-mum house cleaning device to Instagram blocking her. Her humour always shines through, and she’s someone you really couldn’t tire from listening to. She just leaves you in awe. She really has that Patti Smith quality about her. It is so rare to find, but Chan truly has it.

At the end of the show, she is greeted with  a message from an iPad that reads END. Maybe from an iPad, or maybe from some god telling us all to get out. She played 2 seconds of 3 songs including my beloved Metal Heart. She finds humour in everything, and you know, from all the struggles she has had it was bloody wonderful to see her on that stage smiling and joking. At the piano, she said something along the lines of “I’m just happy to be having fun for one minute.” Moments like this make the setlist seem like a minor thing. She fell in love with piano at Union Chapel, and although she seemed mad at herself for forgetting some notes/songs, she played it beautifully.

If you’ve read about Chan’s shows you’ll see how people said she can be hit or miss. She apologised a lot last night for getting things wrong, but I didn’t care. I don’t think anyone in the room did. All that mattered was that Chan felt well enough to play for just over 2 hours last night. It felt like a real private moment, and one anyone who was there will remember for a long time. For me, I’ll remember the stories she told and not the songs she played. Her presence on stage is hypnotic. She’s a woman who stands for everything the world lacks and needs- peace, love, compassion and freedom. She has the bravery to speak up and to be honest. Her songs are vulnerable which is what makes her so easy to fall in love with. Seeing her in such an open place (I guess you could say vulnerable) last night made the songs carry even more weight. I held back some tears as she softly played I Don’t Blame You.

I’ve probably missed out a bunch of things, but I can safely say this is one of the greatest (sorry…) shows I’ve ever been to. Her music gives you hope and her words are a comfort blanket. The Greatest made me teary eyed and hearing Hate so clearly was something I”ll always treasure. She could sing the phonebook with just a guitar and it would make me cry. She’s powerful and I really don’t think she understands just how inspirational she truly is. Last night’s show is one I’ll remember for a long time, but then again, you don’t really forget seeing your heroes. I think hearing seeing Maybe Not was the moment I let some tears fall. That song along with Metal Heart are my favourites by Chan. I love how open they sound and how safe they make you feel. The lyrics to Maybe Not are so pure and gorgeous, I wish I could write something as brave as that.

Also, one last thing- her friend and guitarist, Nico Turner opened for her. Listen to her music. She’s on the same level as Chan. Her cover of Something In The Way by Nirvana is brilliant.

2:54- The Other I.

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There are a few bands that you can associate with dark and misty weather. A band that you trudge through muddy puddles just to purchase some grime supermarket sandwich on your lunch break or a band you will happily wander through the streets to get home in a torrential downpour, just because they fit the mood. You can go as far back as you like or you bring it up to date with a band that are just nothing short of excellent. I’m spending my lunch break wisely by listening to The Other I for the third time today and attempting to write something about it that hopefully puts across how great it is. Alternatively, you can skip this and just buy the record next Monday (it’s out 2 days before my 28th, November is an alright month.)

2:54 are a band I have spent a lot of time listening to and really appreciating everything about what they do. I think Alex is one of the best drummers around, Hannah makes me wish I could play guitar and Colette has this gorgeous voice that I part wish I had, and the other part of me wants to have her sing me eerie songs every night before I sleep so I have some wonderfully lucid dream. Everything about 2:54s music is what I love. They have this brilliantly dark tension to their sound which is what made me fall unapologetically in love with their music a few years ago. The demos/b-sides I heard before their first record came out made me realise instantly that they were going to be a band that I would have to always listen to. To this day, I play their first record almost constantly. It makes the journey to and from work a little easier, I push myself a little more at the gym when I listen to it, I walk home imagining their lyrics coming to life. Their words and music are like an old, sacred Gothic novel made for Autumn/Winter. The Other I really brings all I’ve mentioned to life in the most ethereal way imaginable.

I tried to wait until I got home to write about The Other I, so I could spend the rest of my afternoon at work listening to it whilst staring at a screen pretending to know what I’m doing. I obviously, like a child at Christmas, just couldn’t wait.

The first three tracks are ones we have already heard. I’ve written about them previously so you know how I feel about them. No Better Prize and Sleepwalker were made for you to have obscure dreams to. The best way to listen to music of any kind is through headphones whilst laying or sitting on your bed. Do it in the dark, set your mind free and go some place. However, listening to The Other I at work is equally as powerful. The images come through, and as hard as I am trying right now to not shut my eyes and go somewhere; their songs are strong enough for me to do it with my eyes open. Colette’s voice on Sleepwalker is beautifully haunting. Her voice has this perfect gentle tone to it but at the same time creeps you out- on Sleepwalker it really comes to life. The Other I sounds perfect against their debut record, one isn’t better than the other. Both are masterpieces, and I vow to stand by that.

Tender Shoots is a quiet and delicate gem, and before you know it you are hit with The Monaco. I’m pretty sure, if they do this live, the drums are going to sound insane live. It’s slightly more upbeat (tempo wise) than their others songs, but I don’t mean this is something to dance to. You just move your body differently to it than you would to others. On their first record, how you move to Sugar is different to how you move to revolving. Something takes over, and you just go with it. I know I go on about Colette’s voice, but there’s a little breakdown on The Monaco where it just echoes and it is standout moment, for me.

Everything gets heavier from Crest onwards, and you sort of feel like you’re listening to a band that got you through your teenage angst years. Instead, you’ve found the band that allow escapism for adulthood. I’ve been trying to figure out what song I love the most on The Other I. Part of me is besotted with Pyro, but then I listen to South straight after and I cannot choose. So I won’t choose. The Other I, if you’re looking for comparisons, heavier than their debut. There are some “smack you in the face” moments on their debut and there are plenty on The Other I.

I don’t know if I’ll make a list of my favourite records this year, but if I feel the need I think it is safe to say this is my number 1. I’m torn between Pyro and South right now, maybe if they play them live I’ll be able to make some kind of decision but life I guess, is too short to always have favourites. All I know is that The Other I is a perfect record to listen to on this dark, murky day. Just like their debut, I plan on listening to it constantly. Their London show on the 19th (November) has sold out but they’re playing Dingwalls in February.

2:54 are a quiet storm, a sacred listen. If you ignored them the first time, don’t make the same mistake again. They are a band that make you realise that not all new music sucks and not every band is copying what has been done before. The eerie atmosphere that flows throughout The Other I is one of the main reasons as to why I love the record. That, and the fact that a band I really bloody adore and believe in are back, that’s enough to make me happy right now. 2:54 are a band that I want everyone I know to listen to and to love, just because they have this indescribable quality to their music that just makes it feel like you’re listening to something truly precious. I hope some lost teenager hears their music and starts their own band; that’s just how much I really dig this band.

Alright, that’s enough. I’ll go to my work now.

 

THE JESUS AND MARY CHAIN-Darklands.

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tjamc-darklands

“Talking fast on the edge of nothing
I would break my back for you.”

It’s hard to pick a favourite album/song by your favourite band, because you love them so much it just seems impossible. It’s also a really good excuse to just sit and listen to them constantly. I’ve always been sure of my favourite record of all time, but song I struggle with. I can change my mind instantly. Just when I think I know, I’m reminded of something else. I would write about Psychocandy but I’m saving that for 18th November (2 days before I finally see TJAMC live.)

Last night I worked out how much money I’ve spent on November’s Psychocandy shows. I’m not ashamed or anything like that. Whatever money I have left over goes on something music related, so I might as well spend it on something that is as special as these upcoming shows. I was going 3 times, but one of the London dates clashes with something else. I think I’ve found a good home for my ticket. So it’s just one London and one Manchester date. If I had more money I would have gone to Glasgow, pretty sure those shows will be the most and probably most special.

Anyway, this isn’t about Psychocandy.

I’ve been listening to Darklands a lot recently, and I realised the worth and meaning of the lyrics on that record to me. They are equally as impressive and as moving as those on Psychocandy but with a lot less reverb. In short, you can hear Jim and William’s voices clearly. I do miss the sheer noise and brutality that’s all over Psychocandy. The lyrics are vulnerable on Psychocandy, but Darklands has that. Maybe it has it more, I can’t make that call. All I know is that it is a brilliant second record.

April Skies is the one song by TJAMC that hits harder than the rest. All the significance it has to me is way too personal to even try write down, and if I tried I would just sound really stupid. You don’t need to read it and I don’t think I need to be so open. There’s just no need. But I can appreciate the lyrics with slight distance from what it means to me. April Skies has one of my favourite lines of all time, and a line that just sums up why I love the song so much. You know what it’s like, you hear a song and you’re convinced it was written for you, for a certain point in your life that will always smack you in the face when you listen to it. The line: “I take my aim and I fake my words. I’m just your long time curse” I adore that line to the point where I would happily have it tattooed on me. Although I probably wouldn’t be up for discussing why that line. Their lyrics was always the reason as to why I became a fan of The Jesus And Mary Chain. I really can’t remember anything else. I don’t know how old I was, where I was or why it happened. Sometimes you just don’t need to know. Maybe I was just another lost soul who got saved by a band. For better and for worse, The Jesus And Mary Chain have been my “go-to” band. It’s not always Morrissey you know! (Usually is, but shush.) There’s another line from the song towards the end that’s really important but it’ll just end up turning into a piece about April Skies, and I don’t think I have the words for that.

Darklands I feel is massively underrated in some respects. Sometimes a band/singers second record is always shadowed by just how phenomenal their first one is, but TJAMC managed to create something different but equally as important. All of their records are important, but I’m starting to hear things in Darklands that I’ve not heard before. I really paid attention to just how beautiful and brilliantly romantic About You is. It is a gorgeous love song that anyone should be honoured to be thought of when hearing this. TJAMC wrote some of the best love songs ever. They’re the best because they aren’t typical, they are sickly love songs that make you want to puke up your breakfast. Those kind don’t sit well with me at all, they make me feel uneasy. They don’t feel real and they don’t sound heartfelt. TJAMC put it all into their music, and the lyrics are evidence of that. They wrote the kind of songs I wish I could.

Nine Million Rainy Days is such a sombre song. If you read the lyrics it reads like some old Gothic love poem from way back when. It brings up these ideals and nightmares in your head. You remember the things you maybe should have forgotten. But you cling, because that’s just the kind of person you are. There’s really no shame in it. “And all my time in Hell was spent with you.” It’s just a stunning and brutally honest line.

There is that underlying dark and less obvious brutal sound to Darklands but everything about it is so open. The lyrics are gentle and the way they are sung just makes them hit your gut harder and quicker than most. Their lust/love driven songs are so easy to relate to, or maybe it is just how my brain is wired. It is the perfect record to follow Psychocandy. I can’t imagine my life without these two records, I really can’t. I once found a few 7″ singles from Darklands in a market and just bought them all. They were about £2 each, I think I gave one away- for sentimental reasons, obviously. Always the way. Darklands is a record to lose everything to, mentally. Physically, you lose it to Psychocandy but mentally it has to be to Darklands. Maybe they’ll do a 30 year anniversary tour for that too, hopefully.

I love the lyrics to all the songs and how they all seem to have that darker side of love flowing through them. You do everything for one, and for what exactly? It’s alright because look at the songs that come from it. It can be unrequited, it can be a pain in the arse, it can abandon you, it can be there in ways you weren’t sure of- but it is there. Darklands is just one of those records that when you listen to it, for days and days it will be the only thing you listen to. I’m not sure how many times I’ve played it recently but each time feels like the first time I ever heard it. I’ll never love a band as much as I love TJAMC, they are my one and only. There is something about them that just means more than most, and I’m pretty sure Darklands fully justifies why.