Tag Archives: Music

LYRICS OF 2014.

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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….

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.

 

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 :

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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!