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.
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.
“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:
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.
Beat In My Bones. 