Author Archives: Olivia

AZAR SWAN-And Blow Us A Kiss.

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There are some records that when you hear them, you know that in 10/20 years from now someone is going to name it as a record that made them want to make music or to just do SOMETHING good. You can probably list about 5 now, right? I have a solid 5 that I could list if I was musically talented. I’m hopeful that someone, one day is going to drop Azar Swan’s new record in that kind of list.

I love music that is weird. It doesn’t matter what kind of music it is, I just want it to sound weird and I want it to make my brain do weird things. And Blow Us A Kiss by Azar Swan is probably the most beautifully weird record I’ve heard in a long time. I’m pretty sure those who listen to them will automatically think “ZOHRA SOUNDS LIKE KATE BUSH.” No. Just listen to her voice real closely and you’ll hear nothing from anyone else in her voice. It is truly beautiful. Zohra (a gorgeous name) has this wonderful tone that eases you, but not like a comfort blanket. She kind of psyches you up to feel like you can do anything and/or that whatever is eating you just isn’t worth it.

My favourite so far from the record is For Last And Forever. The start of it sounds like something real sordid and depraved. As you get deeper into the song, you feel like you are in some dingy, dark, basement bar being stalked out by some possessed woman. Whatever gets you through, I can think of worse. This isn’t bad at all. Her voice lures you in instantly on every track but there is something about For Last And Forever that feels really sinister, it’ll be the one I play to death for sure.

Judge a record by its artwork. If the artwork looks a little strange, then buy it. Fall in love with, and keep doing it over and over with most record purchases you make. I’ve done it many times and the bands I’ve done it with have become bands I constantly listen to and really adore. There is something thrilling about buying a record that you know nothing about aside from the fact that your eyes are hooked on what they have seen. Sometimes you’ve got to go with your eyes and not head/heart (or bank account.)

I’m really bad with putting music into genres, I find it pretty daft you know? Music is music and there is too much of it for any of it to be lumbered with a unnecessary description. If I like something, I like it. If I don’t, then I don’t. Azar Swan take bits of all the creepy stuff I listen to and have made a truly ethereal and creepy record. Zohra’s voice pierces through you in the most pleasant way possible. I remember when I first heard Zola Jesus years ago. I was in awe that a person’s voice could do that or have such power. The same feeling comes to me again when I listen to Azar Swan. Oh, and yes they are a duo but that plays no part in my opinion of them. I know I love duos, but Azwar Swan are something else. They’re the type of band you would need to say playing in an abandoned church or in a neglected cemetery. Their music feels like it was made for a horror/thriller film. Their music isn’t going to relax you in a conventional way, and I think that is part of the charm and why they are a sheer joy to listen to.

Zohar’s lyrics have the power to rip into your gut and really make you think; just go back and listen to their first record Dance Before The War then ease yourself into And Blow Us A Kiss. You can flail your limbs about to their futuristic sounds if you want, but start off with laying on your bed and blasting it through headphones. Really connect with the song In The Garden. There’s something in Zohra’s voice on this song that makes you really REALLY feel it. It’s a gorgeous song. Blank Space is a haunting gem that you jut keep hitting repeat on, it feels ritualistic.

I feel uncomfortable writing reviews because I don’t think I can do it. All I do is blab on about how it makes me feel and all it conjures up. I have no right to talk about the production on something as I don’t know anything about it!

So what I am trying to say is that, Azar Swan have just put out on the most exciting and eerie records I’ve heard all year. It’s a pleasure to listen to, and they are evidently one of the most interesting bands around.

And Blow Us A Kiss is released via Zoo Music.

ROWLAND S. HOWARD- Teenage Snuff Film.

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“I’ve got a lot to say
But I keep my own counsel
I’d like to spit it out
But I won’t speak with my mouth full.”

 

There are some records that freak you out and stay with you forever, no matter what. You can find something new and fall carelessly and blissfully in love with it. But there are times where all you need is that one record that shook you to the core and wrapped itself around your brain and heart with the first listen. This record can be from now or 30 years ago. The feeling it gives you never fades. Never.

Today would have been Rowland S. Howard’s 55th birthday. He’s missed. His delicate way with words, is missed. His ferocious guitar playing, is missed. He is missed.

I decided to write about his first solo record, Teenage Snuff Film as it is one I frequently listen to- at home and at work. When I listen to it, I am anywhere but where my body is. There is release and tension in Teenage Snuff Film which makes it timeless, beautiful and relatable. The record can freak you out due to how open and vulnerable it is. Rowland was one of the finest songwriters ever, he was unafraid to go beyond what you thought a person could feel. This is why I miss him.

Dead Radio is my favourite from Teenage Snuff Film. I adore how he points out why a person is bad for him and how he is equally as bad. I listen to it, and where it takes me is sacred and something that stays, for every right and wrong reason possible. Everything TJAMC’s Psychocandy makes me feel and reminds me of is right in this song. My errors and faults bubble to the surface, but I don’t mind. You can’t press down on everything all of the time. His lustful and passionate words makes you wish you could have guts like that. But, I suppose it is natural to be afraid. He was brave so you didn’t have to be, and that is something that is evident with every listen.

All of Teenage Snuff Films feels like an ode to a person- a partner or an intense friend, it has that unconditional reliability and truth to it. I’m starting to feel less comfortable with writing about new music as I sometimes feel like I’m doing it for the sake of it. Writing about what has come before seems easier to write about, I’m not sure why but I would take something like this over something new and polished any day.

If you judge records by their artwork, then you would take a lot at Teenage Snuff Film and think it was a dark body of work- your judgement wouldn’t be wrong at all. It’s a dark and heavy record. It isn’t for those who want conventional boring love songs about how your heart skips a beat when you hear your desired ones name/voice. That’s what makes it relatable and accessible. It’s a record that, if I was a musician (be grateful I’m not) I would work my behind off to make something as powerful as. Teenage Snuff Film is a gritty and underground listen. Everything about it feels like an unmentioned rite of passage. Rowland guides you through every ugly feeling so you don’t have to carry yourself, alone and twisted. Sure some may pass it off as an uncomfortable listen but to be honest, I don’t want to listen to anything that makes me feel at ease or “safe” I suppose. I want a piece of music to take me out of my mind, body and soul. I want it to freak me out as much as possible- I don’t care what type of music it is, I’m just looking for a certain feeling. If you limit yourself to a certain genre you become really pretentious don’t you? Sure you like what you like, but open your mind and expand your record collection.

If you want cruel, listen to I Burnt Your Clothes. If you want shame, listen to Shut Me Down. If you want warped devotion, then just play the whole record and you’ll hear it creeping in and out of each song. You can take your own meaning from each song and you can feel every single word that falls from Rowland’s mouth. You can sense the trembling and you pick up on certain lines that just stay with you. Certain songs become everything to you. What they mean to you is on the tip of your tongue and rooted deeply inside of you.

With every listen of Teenage Snuff Film I become more and more aware of just how important it is and more importantly, how much of a genius Rowland was. That term is thrown about a lot and I’m guilty of chucking it about. But with Rowland, it is a fully justified and right way to describe him, his music and his words.

It’s alright to have ugly and bleak thoughts/feelings. It’s alright to not want what is expected from you. It’s alright to feel uneasy and uncomfortable. Just don’t let what you feel define you. Teenage Snuff Film is full of things no one else but Rowland could ever teach you. I’m happy to keep on listening.

CROCODILES- LONDON FIELDS BREWERY. 11TH OCTOBER 2014.

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With every review of Crocs I write, I always say the same thing. I always say how bloody great they are, and as someone who is rarely right- with this, I know it to be true. They are probably the best band I’ve seen live and are bloody lovely guys.

Last night they played as part of the Hackney Wonderland. I paid £10 just to see them and didn’t go see anyone else. Maybe that was foolish, but my girlfriend and I went to have pizza. As an Italian, I can’t turn down pizza. Also living right near the venue is always good!

If you’ve ever been to see Crocodiles in London you will have probably seen the guest of honor and all round brilliant guy, Omar. Omar stole the show at the end, but more of that later. He should be their hypeman. Shouting abuse at the crowd to get them moving. If you’re not moving at a Crocs show, then something is wrong with you. They aren’t a band you stand still to. No way pal.

Crocs treat us to some new songs off their new record, and judging by how good they sounded live I am confident again with declaring their new record to be the best thing to happen in 2015. The last new song they did in the set was my favourite. No idea of song names, but this one was my favourite. Crocs are one of those rare bands that sound better and different with each release. Summer Of Hate is the record that owns a large part of my heart, but each of their records just proves how marvelous they are.  Severely underrated, but the best ones usually are. Of all the times I’ve seen them, last night was possibly the best and it could be down to the magnificent stage invasion at the end to I Wanna Kill.

Personally the best moment for me was them playing Summer Of Hate. I can’t remember if I’ve seen them do it before, but last night felt like it was the first time. It’s my favourite song by them,and if you’ve ever seen a band you love play your favourite song by them live you will understand what that moment means. You don’t feel as if anyone else is around you, and you’re completely and utterly immersed in the moment. It’s a beautiful feeling and maybe, just maybe you haven’t lived until you’ve experienced it.

They opened their set with the anthem for perverts, Marquis de Sade. An anthem you’ve just got to sing a long to. Also, if you read a Marquis de Sade book on public transport, people don’t want to sit near you. It’s brilliant. He was also a fantastic and twisted writer that you need to read. His mind was obscure and perverse, and wonderful. If you don’t like conventional things, go read his work.

The last two songs were insane. They did their cover of Jet Boy Jet Girl (which I am so happy they now play) and were joined by the majestic Omar on vocals. When he isn’t yelling “ASS CLOWN” at Brandon, you can find him near the front loving life. Crocs ended their set with I Wanna Kill which was greeted with a beautiful stage invasion. It was a glorious state of chaos, and every band should do this. I don’t care who you are, you should let your fans get on stage with you and belt out a song. This bit in the set pretty much showed how much they are loved and how their fans really appreciate it when they come to town. In an ideal world I would have the funds to go to a full tour and write words like above about it. They aren’t a band you see just once and that’s it. They’re a band that you have to keep on seeing because the atmosphere at their shows is something else. They are one of the few bands that make me want to just write about music forever. It annoys me how underrated they are, but last night truly showed how loved they are and those that watched them know just how brilliant they are.

Each of them are bloody mesmerising to watch. Charlie flings his guitar about and holds it like a machine gun, Robert beats the living shit out the drums in a glorious fashion, their bassist David (he’s in Hatcham Social, a band I fell in love with at uni many moons ago!) seems to be in a trance as he plays and you fall into it also, Brandon’s voice creates this atmosphere in the room that takes you back in time. I can’t (but will always try to) emphasise enough just how bloody great they are. And also, they are the most loveliest and kind guys you’ll ever meet. I bloody well owe them.

Anyway, obligatory photo with BW and CR :

crocs111014

What 20,000 Days On Earth Taught Me.

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Last Friday I took the day off work. I past a poster of Nick Cave’s film at a tube station, immediately checked the showings and made my way to the cinema. I’ve never been to the cinema on my own before, but I felt 20,000 Days On Earth was a film I had to see on my own. Mainly because I didn’t want whoever I went with to talk through it or slag it off in any way afterwards. Nick’s a hero of mine, and this felt like some kind of ritualistic viewing that just had to be done on my own.

I’m rubbish with sitting through films. I can think of other things I’d much rather be doing mid-way such as taking a nap. I would rather create my own world through reading a book or through a piece of music. I knew I wasn’t going to be taken anywhere in particular when watching 20,ooo Days. I went with the hopes of learning and with more love for Nick Cave than I had done before.

You know the story about my love for Nick Cave. It all started with being fascinated with a poster of him on my uncle’s bedroom wall at my grandma’s old house. I used to go up to his room whilst he was out, and just stare in awe at this massive poster of him. I don’t know what it was about it, but I was just obsessed with looking at it. As I got older and heard his words, it became clear why this man was going to be such a vital part of my life. He explained to me what romantic love was before I was subjected to it later than most.

What I learnt from his film was the madness, torture and passion that goes into writing. It doesn’t matter if you are poet or a journalist, you will experience self-doubt, self-hate and the inability to sleep before 3am. You torture yourself to get something good out of you. I did it for years. I relied on naps, custard creams and bad films on BBC2 to get me through daily life. The less I had, the more I wrote. That’s the only way I can put it. I had no money and too much time, the combination of this meant staying up to write anything, something…just so I could. The love to write about music is there, really because I’ve only ever really sat down with one person to speak about music with. That ship has now sailed, for I am frequently told that what I listen to is shit, depressing and/or weird. It teaches you to shut up, but I still write. There must be someone out there. Possibly. Hello.

20,000 Days was not a film I was expecting to have such an emotional grip on me. I am fully aware that seeing it once was not enough. I will more than likely go back to see it, because I want to pick up any details I may have missed out. Anyone who loves and adores Nick Cave would quite happily sit through an hour and half of him reading the phonebook- that’s not the point. What he did with this film was quite simply make me understand exactly why I love him- his mind. A person’s mind is their best quality. Sure we all say looks do count, but the mind is something really powerful and worthy of getting to know. Just because someone wears a nice shirt and has a good jaw line doesn’t mean their mind is any good. They may be really vacant upstairs and can only tell you what the TV tells them.

A few things Nick said during this film have really stuck with me. Like a line from a song that you feel was made just for you. I’ll start with this one:

– “Your limitations make you the wonderful disaster you most probably are.”  There is no one on this planet who has never fucked up. Remember that. I balls things up on a daily basis, I can’t imagine not ever making a mistake daily. As you get older, you stop caring. I’ve recently been panicking about turning 28 in a few months, and I’ve kept my insecurities to myself, I always have. Hearing someone who I deem as a hero say these words has made a lot of things easier. Those who have never fucked up have never lived. Remember that also. I know what I can do, and what I can’t do. The things I cannot do no longer bother me, I simply accept that they are things I’m just not meant to do or even acknowledge. I’m alright with that. We are all disastrous in our own way, but it doesn’t have to rule you.

-“Mostly I write. Tapping and scratching away, day and night sometimes. But if I ever stopped for long enough to question what I’m actually doing- the why of it- well I couldn’t really tell you… I don’t know. ”  This one really does speak for itself, I suppose. If you ask anyone why they do something they love, it comes to a point where they can no longer tell you- it just is a part of them that they cannot define. I think, sometimes if you cannot explain why you love something that is enough. When you have a career based on words, sometimes you realise that words aren’t enough to describe it. Does that make sense? In my head it did, but written down it probably doesn’t. I once tried to figure out why I love writing about music, it freaked me out slightly so I stopped. I panicked a little and went back to whatever level of normal I am.

-“Songwriting is like putting a child in a room with a Mongolian warrior and then adding a clown and if the clown doesn’t work you kill the clown.” Quite possibly may have misquoted it, but you get the point. His description on how to write a song is pretty accurate. It is a form of torture but also an intense release. His songs have a glorious sense of euphoric madness to them, and he’s not someone you listen to casually on and off. He’s someone who, once you listen to whether it be The Birthday Party or with the Bad Seeds, that’s you hooked for life. For me, it was The Birthday Party that did it for me. I loved their somewhat aggressive sound, and I do think that Rowland S. Howard was one of the greatest guitarist of all time. Combine that with Nick’s genius way with words, and you have an untouchable band. Nick’s way with words can teach you what love is. Love in the way that no one else has ever really portrayed. It isn’t all leisurely walks in the parks whilst gazing at the sky. It goes deeper than that. It challenges you and the person you love. For better and for worse, it is there. His way with words is not enviable at all, he just makes you realise that there is nobody quite like him and you couldn’t imagine anyone ever coming close to just how brilliant he is. The world would be a better place if we all took time out from our day to listen to Let Love In from start to finish, every single day.

I don’t know what I was expecting from the film, or if I was expecting anything at all- but I learnt a lot. I cried at some parts during the film. When he spoke about his father, and when his father said he looked like an angel on stage- that got to me. When he said losing his memory/mind was something he feared, that hit me right in the gut. When the woman in the front row cried during Stagger Lee (it was Stagger Lee, right? I could be wrong) as Nick was holding her hand, that got me teary eyed. The film was made up of beautiful moments that just made me love Nick Cave more than I thought I possibly could.

 

Oh, and Happy 57th Birthday Nick!

JESSIE WARE. Roundhouse. 18th September 2014.

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Exactly a year ago I won tickets to see Jessie Ware at Abbey Road Studios, a year later I win tickets to the iTunes Festival. This meant selling my Fat White Family ticket, but it was fine- it went to a good home.

Anyone who has seen Jessie Ware live (and I don’t mean via the internet) will know she has this indescribable presence that just makes you want to keep seeing her perform live. I don’t know what it is, but as soon as she starts singing even if the songs are heart-breaking, you just feel alright. She has this effortlessly gorgeous voice that doesn’t hit the music industry very often. I know I’ve said it many times but she’s got the soul/passion that I’ve only heard in Sade and Aaliyah’s voice. All three of them have this soft, gentle and reassuring quality to their voice and music. It is a pleasure to listen to.

She opened her set with Running which everyone pretty much went nuts to. But the new songs are really something else. Sure everyone loves Wildest Moments but can we PLEASE just declare Want Your Feeling as the best thing to happen all year? If you don’t dance, even just a little bit to it, then you should see a doctor about your joints. They’re not moving right, go sort yourself out. Her new songs sound beyond brilliant live, so I think we have all reached a mutual understanding that Tough Love is probably going to be one of the best records out this year. We’re all okay with this aren’t we? Good. Every year I find at least one song that I could quite happily play on repeat, all day every day and Want Your Feeling is that song for me this year. I love every little thing about it. The lyrics may be a little sad, but the song just makes me massively happy. My moves to Groove Is In The Heart (my girlfriend will say they are embarrassing, and they probably are) are pretty much similar to what Want Your Feeling makes my limbs do.

Her songs just make you want to turn to the person you love/adore, and to just tell them that. Her songs, even when heart-breaking just ooze a wealth of love that isn’t conveyed enough. Or maybe it is, and Jessie is the only one doing it in a real way. A way that is relatable. However, my attention was lured away from Jessie a few times when I saw a man doing incredible dance moves up in the seating area. His moves were seriously influential and they’ll be taking over dancefloors soon. Hopefully. He was having a ball, and his moves really showed that. Anyone who saw them enjoyed the little hand gestures he was unleashing. I’ll probably be using them.

I read a few reviews of last nights show, and some were bashing the fact that her set consisted of new songs. Her album is out in a few weeks; surely it makes sense for her to use a platform as massive as this festival to play them? Some people are never satisfied, so we ignore them. Her new songs sound gorgeous live, and it is fairly obvious that Tough Love is going to sit nicely next to Devotion as being a fine piece of work. When she performs live, she is someone who really puts their all into it without being forced. You can see just how happy she is to play these new songs, especially Kind Of…Sometimes…Maybe which pretty much makes you want Jessie and Miguel to work with each other all the time. For me, I really loved Cruel and Pieces. You And I (Forever) is brilliant also, basically it is all excellent and you’re daft if you don’t buy her new record.

Last year when I saw her, she had just got engaged to Sam and now when she talks about her husband this captivating glow just takes over her, and you really feel a sense of pure and unconditional love. That’s how it should be. The fact that she is happy but can write painful and heart-breaking love song really shows how brilliant she is. And I do think one thing about Jessie is that she really doesn’t know how good she is. She’s better than good obviously. This humble soul is a credit to the music industry, and I do stand by the fact that she’s my generation’s Sade. She’s a genuine soul whose voice just takes you somewhere else. I wish I had the words to describe just how wonderful she is, but those that love her know.

She’s not released her second record yet, but last night proved that Jessie Ware is easily the best vocalist around. No one else comes close.

 

THE DEBUTANTES.

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Any band that can mix a 60s girl group feel with sad/woeful guitar sounds will probably become a band I end up adoring. The Debutantes are pretty much that band.

The Debutantes consist of Sarah and Paula from September Girls and their pal Leon. Together they have made something really beautiful. They have this sadness flowing throughout their songs which is done in a way that isn’t all “PITY ME! LIFE IS HARD!” kind of bullshitty way. Their songs will heal hearts and make you want to dance. If you don’t end up doing questionable moves to Burn The Merchandise then something isn’t right. Perhaps go see a doctor.

In the midst of the reverb sounds, you can’t tell that they are from Ireland. They sound like a band from the West Coast with their sun-kissed guitar sounds, but don’t let location fool you. A great band can make you feel like you are anywhere in the world and that is what makes The Debutantes so great.

With the sun appearing less, walk into the dusk with their record blaring in your ears. Or be a bedroom dancer and sway to their summery grooves in a freeing fashion. The Debutantes will make your heart swoon and make you gush with glee. They are just a brilliant band.

The EP will be released as a cassette on the ever wonderful Soft Power Records, and you can catch Soft Power at the Indie Label Market in Edinburgh on 11th October (day of the EP release also.) The tape is limited to only 100 copies.

You can stream the EP here: http://softpowerrecords.bandcamp.com/album/the-debutantes-s-t-e-p

2:54-Blindfold.

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Since seeing 2:54 last week, I was pretty much wishing for the next few months to just go super fast so I could finally hear their new record. Some things I am just not patient with.

But to ease the waiting game, they have put a new video out for Blindfold. I really like how vulnerable the lyrics are and how Colette sings them. If you can believe in every word, you know you’ve found something worth treasuring. Blindfold still has that eerie sound that flows through 2:54’s music, but it is less heavy in Blindfold- the dark feel to it is in the lyrics this time, not the music. I just bloody love the lines “I don’t want to find my way back home” and “Everybody says, I’ve got to say what’s on my mind. But how do I say, I’m really losing my way every day.” Words for the soul from the heart.

After hearing Orion, In The Mirror and now Blindfold, I think it is fair to say that The Other I is going to be one of the best things to happen this year.

When you watch the video to Blindfold you can’t help but fall in love with London. Even after my rage towards the Victoria line yesterday morning, I still love this city and probably wouldn’t want to live anywhere else. The video is beautifully shot, and makes you want to wander the streets of London late at night with some 2:54 blasting in your ears. It also makes you want a jacket like Colette’s.

The Other I is out 10th November via Bella Union.

2:54. Union Chapel- 8th September 2014.

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Last night I went to two gigs in one night, remind me to NEVER do that when I have to be up at half 6 the next morning for work, but obviously it was worth it. It usually is. My ability to be alert today slipped away at around 1.30pm when I spilt my lunch down my white Velvet Underground t-shirt.

The first gig that I went to last night was the Bella Union showcase down the road from me at Union Chapel. I know I’m a fan of dark, dingy places to see bands but the Union Chapel is marvelous. Go see something there, it doesn’t matter what or who it is- just go. I’m choosing to only write about 2:54 because they pretty much were my reason for going. Anyone who knows me (sorry about that) knows how much I adore that band. There is something about their sound that makes me want to always write about music and on the flip side of this, makes me loathe the fact that I cannot play an instrument. I’ve got a cowbell somewhere but I don’t think cowbell players are in demand are they?

If you’ve been lucky enough to see 2:54 live, you’ve probably left in awe of Alex’s drumming skills. I left the gig wishing I could beat the shit of the drums like he does. He’s got this incredible way of making every cymbal crash sound like a wave coming over you and you just drift away peacefully into this eerie world that 2:54 create in their music. I know I say it with a few bands I’ve written about, and I’ve probably said it before about 2:54 but the atmosphere in their music reminds of one of the best records ever made- Seventeen Seconds by The Cure. If I get that feeling from a band, then I’m pretty much sold. The kind of music that makes you feel as if you’re lost in the woods with mist descending down on you, and you feel lost. Part of you wants to escape, the other part of you just wants to keep on walking. Hannah, is one ferocious guitar player, and I sincerely hope she is inspiring people to pick up the guitar and make their own noise. Their bassist? Watch him. He’s insanely excellent.

2:54 treat us all to some new songs from their record which is out 10th November (2 days before my 28th birthday!) and it all sounds bloody glorious. Their dark and beautifully moody sound is back to warm our hearts and souls once more. Although, I must admit I still play their debut record every day to and from work. There is something about their debut record that I’ve not found in much else, so I keep playing it. I think it is also because I’m partially in love/awe with Colette’s voice.

As it was my first time seeing 2:54, I can’t think of a better place to have seen them other than at the Union Chapel. The sound in the chapel is perfect, I’m pretty sure me singing Mariah Carey tunes would sound wonderful in there (going too far? Probably….) Some venues are made for certain bands, and the Union Chapel was definitely made for 2:54.

I enjoy sitting down as much as anyone else, but it felt really weird watching them put their all into their set and we were all sat down staring at them. I wanted to be at the front singing Scarlet back at them or air-drumming along to Sugar. When they went into Sugar I just wanted to stand up and move in a questionable fashion, but I’ve got a lot of self-control so I stayed seated. Their mini jam at the end of Scarlet was bloody brilliant too.

I don’t know the names of their new songs, but they did play In The Mirror and they ended with Orion. Colette put her guitar down for Orion, and her stage presence really shone through on that song. She’s got this dominating glow about her on stage that lures you in. One of the songs they did, I think it may have been the third one (possibly) was brilliant, and seeing Orion live made me really excited about the new record, The Other I. They’re the kind of band you’d want to sit down, and just talk about music with. Whether it be their own, or what influences them (can someone sort this for me?!)

After seeing them last night, I’m pretty happy to say that 2:54 are one of the best bands around and are one of the best bands I’ve seen live. Their shows in November cannot come round quick enough!

BANKS-Goddess.

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“But I’m so tired of eating
All of my misspoken words.”

 

After waiting for what seems like an eternity or something equally dramatic, the gorgeous Banks has FINALLY released her debut record. Anyone who has heard her EPs knows just how bloody great she is, and how she manages to make you long for a full length record in just one song. Goddess is a record for those who have ripped hearts out, had their hear ripped out, those in love, in shame, in doubt and in pain. In short, it is one of the best records to come out this year.

In some songs Banks is longing for the love of the one who holds all her affections, but in others she is the one wanting to leave romance behind. She’s a storyteller, and she has this ability to really rip you apart with her honest words. Songs such as Change show the harshness of love and how manipulating it can sometimes be but opposite to this are songs like Waiting Game which echoes a desire to be loved. Personally, I feel You Should Know Where I’m Coming From to be the best song on Goddess, but I’m likely to change my mind.

Goddess isn’t a record for those who are tough; it is for those who have recently been hurt and if you can get through Someone New without crying then you are a stronger person than me (although it doesn’t take much.) There is so much that needs to be said about this record, but I really have no idea how to get the words out. It is one of those records where you just have to really REALLY listen to it. Take in every single word that Banks sings, and how she sings them. She sings these songs as if they were made for you. Her lyrics at times are sad, but not in a “woe is me” kind of way, but in a way that just stops you in your tracks and throws you back to a time where you felt that way.

One of the best things about Banks is that she is unlike anyone else, but if you’re someone is keen on comparisons, then basically Banks has an Aaliyah like quality to her voice. It is delicate and extremely powerful in the right places. She can break you and mend you with her songs, and that is what makes her not only believable but accessible too. Goddess is a mighty fine debut record, and one I’ll probably never grow tired of listening to.

Banks sings about love and relationships in a way most would shy away from. She’s not afraid to exploit the ugliness of them and the beauty of them. The good, the bad and everything in between she unleashes, and she does it in such an elegant way that makes you become addicted (there’s probably a better word) to her voice. Goddess is the kind of record you play when you stumble home at 2am and are unsure about everything around you. Banks’ voice will ease you into a peaceful slumber and you’ll wake with a clear head.

I don’t know what it is exactly I love about her music, but I’m guessing is it the sheer honesty and detail in her lyrics. Take the song, Fuck ‘Em Only We Know- the lyrics to it are full of detail and love, “I know exactly just how many kisses fit between your eyes.” That’s modern romance in all its glowing glory. And back to You Should Know…the line “If I told you solitude fits me like a glove, would you let me out?” is probably my favourite on Goddess.

In all its seductive and haunting glory, Goddess is one of the most impressive records I’ve heard in a long time. It doesn’t feel like a debut record, and I think that’s what makes it effortlessly brilliant and memorable. It is one of those records that her fans are going to cling harder onto than they did with her EPs, and why? Because the song cut into the heart and soul a little deeper. Her songs are bold, beautiful and vulnerable, and that is why Goddess doesn’t feel like someone’s first record. Some say perfection doesn’t exist but they’ve probably not heard Goddess yet.

John Peel 75.

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Everyone has their own reason as to why they do certain things. It can be a song, a book or a person. Going with the latter is sometimes dangerous because it doesn’t always work out. It helps if the person that places some kind of drive inside you is someone you’ve never met, or will (sadly) never meet.

For me, John Peel is the reason as to why I thought I should write about music/weird stuff no one really cares about. All those weekday nights staying up just to hear something weird and wonderful paid off. Why be awake and alert for a Maths lesson knowing Algebra is not as important as hearing an old Peel session by The Fall? Mark E Smith’s wisdom is worth more than knowing how to do long division. John Peel backed the underdog, he played the music that others would pass on- foolishly. He turned my ears onto the likes of Cat Power, someone who’s music has been everything to me when I had nothing.

I’ve said all these things about John Peel many many times before, but as I listen to bands that have come out since his death I can’t help but think he would love them. He would probably love the ethereal feel of Warpaint, he’d swoon over the girl group sound in Dum Dum Girls, he would probably have Crocodiles in for Peel Sessions as many times possible. He’d probably adore the likes of PINS, 2:54, Bo Ningen, Savages, Gäy, Fat White Family. I could list more, but you get my point.

There is nobody like him around, there never will be. The bands he backed lasted, the bands a lot of “DJs” back now have a shelf life of around 4 years, if they are lucky. Music shouldn’t be disposable, but to so many it sadly is.

Make your own scene.

Happy 75th Birthday John xx