REVIEW// Fizzy Blood/ I'm No Good

Scuzzy new single from scrappy Northern upstarts 

"Be careful what you wish for" comes the whiskey-drenched snarl of Fizzy Blood frontman Benji Inkley. Backed by scuzzy guitars and pulsing bass it's almost threatening in it's delivery, recalling Queens Of The Stone Age if they were born out of a garage in Leeds. 

Taken from their debut EP Feast, it's a ramshackle introduction to the Northern noisemongers charged with leading the current crop of bands wanting to move your feet and burst your eardrums in equal measure. (Also see Tiger Cub, Bloody Knees and Baby Strange) 

The band might sound like fucked-up genies, but if they continue making this kind of racket they might have to listen to their own advice. 

REVIEW// JJ Rosa/ Where Is The Mercy

JJ Rosa turns tragedy into inspiration on heartfelt new single 

Out of tragedy comes inspiration, and none more so than for JJ Rosa who, in the wake of the Paris attacks, wrote Where Is The Mercy as a tribute to it's victims.

Heartfelt and emotive, yet a sure-fire dance floor filler, Where Is The Mercy is an infectious nugget of shimmering synth pop, no wonder then that she calls super-producer Labrinth a pal. 

"Where is the mercy in the world right now?" Rosa questions over pulsing synths, before the bombast of the chorus that showcases the sheer power of her pipes.

It's confirmation too, that Rosa wasn't simply reciting her dad's record collection when she likened herself to Prince and Jimi Hendrix, as the track boasts a killer guitar solo with the kind of shredding that wouldn't sound out of place on a classic rock record.

Where Is The Mercy may be a primed piece of pop perfection, but it's emotion-soaked lyrics ensure it will stand the test of time, long after the chart success it deserves. 

Proof then, that out of tragedy can also come a great pop song. 

REVIEW// Clay To Ride/ This Town

On their new single the Italian trio make a bid for the arena-baiting big time 

It seems that the hatred for a particular place can bring out the very best in a band, and none more so than Italian trio Clay To Ride.

Taken from recent second album Glass Vessels, This Town "represents the union between rage against the barriers that can stop freedom of thought and hope for a changing", and it's this rage which fuels the tracks anthemic arena rock.

Combining colossal riff and thundering drums,  the band channel the arena-baiting likes of Mallory Knox and Deaf Havana.

Frontman Stefano Satori's lung-busting vocals are almost poetic as he asks "Is this the country for old men?", suggesting the town in question isn't short of inspiration.

It results in a stadium straddling sound that begs to be screamed back at them by thousands of frenzied fans, it won't be longs before Clay To Ride are out of this town for good. 

Girls Against

Meet the five teenagers taking on sexual harassment

Gigs give us plenty of things to worry about, from whether we'll get to the barrier and who the support act will be, to if our favourite song will be played, and now, sexual harassment.

No longer safe spaces were music fans can come together, gigs are increasingly becoming sources of anxiety for many, so much so it has prevented some fans from seeing certain bands or going to certain venues again. 

Luckily there is a solution in the form of five teenagers from Glasgow, Edinburgh and London. 

Entitled Girls Against their aim is to raise awareness and ultimately eradicate sexual harassment from venues up and down the country. 

Their campaign has already garnered attention from the likes of Peace and Wolf Alice, aswell as the NME and BBC, their support showing how widespread the issue is. 

We spoke to one of the group's members, Hannah, about the campaign, feminism and how you can do your bit...

There's no better time than now.

What is Girls Against and what is your aim?

Girls Against is a campaign set up by myself (Hannah) and my five best friends - Anna, Anni, Ava and Bea to raise awareness and combat sexual harassment at gigs. Our primary aims at the moment are to continue raising awareness by getting the support of bands and their fans. At the moment we're in contact with venues and their respective security companies to make sure they have proper training in place to deal with the issue.

How can we get involved?You can follow us on social media! Having a decent following on the internet is so important in getting anything done in this day and age - something we think is really great! Keep an eye out on our twitter for our online shop which will be coming soon so you can rep us with our awesome merch. Also keep an eye out on twitter because we'll tweet if we're ever going to a concert and you can maybe join us! If you're an aspiring writer or journalist or generally just have an interest in writing we are taking submission for articles to go up on our blog. These can be on anything to do with inter-sectional feminism - we have a great platform so we want to use it!

Is Girls Against exclusively for girls?No! Absolutely not, we're inter-sectional feminists so we recognise that this happens to everyone no matter the gender - i.e. we support binary, trans and non- binary people. 

Since starting the campaign how many people have come to you with similar stories of sexual harassment? Have you noticed any trends? 

So many! It's kind of ridiculous the amount of stories we receive. To be honest there hasn't been  huge amount of pattern - it just shows how much it happens and that it doesn't just happen at a particular type of show.

Do you think the amount of sexual harassment at gigs has increased or are people just being more vocal about it?

It might have increased, there are no definite statistics so we can't really make a definite statement. People definitely have become more vocal about it and I think that's in part due to the increased feminist discussion. Although it has been going on for years, Peace invited Bea our London member, and Sam (Koisser, bassist) from the band was telling her how it had happened to his mum so it's not suddenly manifested itself recently.

If vocal, why? Do you think it's a result of the recent increase in feminism?

Yeah absolutely, with the rise of pop feminism and other things like that which we think is a really great thing!

What can gig goers do to prevent sexual harassment at gigs?

Being aware that it goes on is a huge part of it. Obviously, letting security know is a great help if you can see it happening.

Follow Girls Against's campaign on Twitter, Facebook and Tumblr

REVIEW// Nots/ We Are Nots

Abrasive post-punk from unrelenting Memphis quartet 

A year after it's US release Nots' debut album finally arrives in UK shores on a wave of Riot Grrrl momentum. A coincidence considering that this distinctly Riot Grrrl band don't care for trends, band-wagons or whatever anyone else is doing. 

It's an attitude that's reflected in their album, and We Are Nots certainly isn't short of attitude, especially of the angsty-teenager kind. 

Following the fool-proof post-punk formula of a repeated one-word refrain over abrasive power chords (Insect Eyes, Reactor) Nots cling on to convention like a dog on the arm of a postman and don't let up, resulting in an unrelenting sonic noise that veers on the edge on violent.

Natalie Hoffmann's venomous bark is reminiscent of Bikini Kill's Kathleen Hanna, backed by a barrage of squalling guitars, plummeting drums and glitchy synths the likes of Black Mold and White Noise sound as though they were written in a fit of GCSE-fuelled rage.

It's a blueprint that could easily become tiresome, yet the Memphis quartet don't seem to tire of things that piss them off, the last track frothing with just as much frenzied frustration as the first. 

Nots might not care for what you're doing but you should certainly care about them. 

REVIEW// Buried Muse

Self-described as purveyors of 'tasteful music' Buried Muse are champions of all things chill. Scouring the underground for it's cream of the slacker crop their You Tube channel is a goldmine which makes Captured Track's rooster look like slight procrastinators in comparison.

Here's our pick of the bunch...

Acid Ghost// OverthinkingWhatever Acid Ghost are overthinking it certainly isn't this song, it's bouncy riffs and buoyant drum beat sounding positively effortless against vocalist Ace Barcelon's lazy laments of "I need her/ But she's already leaving me". 

Mini Dresses// Bracelets
Mini Dresses' sound is just as glamorous as their name suggests. From the swirling guitars to the ethereal vocals, they shimmer like the diamonds that adorn them. 

Lost Film// Ok, LostHailing from Northampton, MA Lost Film have perfected the woozy guitar-pop formula. Part indie jangle, part grunge-flecked scuzz, Lost, Ok is an infectious underground anthem in waiting.

Max Gardener// I Need An AnchorSlacker king Mac DeMarco has competition in the form of 18 year old Max Gardener. The California prodigy's brand of blissed-out bedroom pop is fast becoming hot topic outside of his four walls, ensuring it won't be long before he takes the crown.

ALBUMS OF 2015

12 months, countless albums and endless deliberating, but only 10 of this year's releases can earn the title of Album Of The Year.
After much consideration and a few last minute entries it's finally here- our Albums Of 2015

Pinkshinyultrablast// Everything Else Matters

Despite being born out of a post-Ride/ post-MBV universe the Russian quintet seem surprisingly free from the shackles imposed by their shoegazing forefathers.

Building on layers of feedback-drenched guitars with shimmering synths and dreamy vocals they create a sound that's less gazing down at your shoes and more staring up at the stratosphere. 

Jessica Pratt// On Your Own Love Again

Recorded over 2 years at home in LA and San Francisco, there's a certain nostalgic charm to the 27 year old's ethereal folk that's reminiscent of Nick Drake and Joni Mitchell, tape hiss included.  

Steve Reich// Music For 18 Musicians: Ensemble Signal

Ensemble Signal is a minimalist masterpiece compromising of 14 similar-sounding tracks that seep seamlessly into one another.

Built around crescendos and decrescendos, often of single notes, the instruments rise and set like the sun, the sound of a city waking up.

Diat// Positive Energy

Despite their debut album being entitled Positive Energy Diat are not a happy bunch, yet the Berlin-based band manage to turn their depression into a raucous post-punk racket that's impossible to not compare to Joy Division. 

Ought// Sun Coming Down

On their 2014 debut Montreal punks Ought marked themselves out as ones to watch, and it's the anxiety to live up to this billing which fuels the angsty alt-rock of it's follow up, whilst still maintaining comparisons to their post-punk counterparts The Fall. 

V/A// Cease & Desist: DIY! (Classics From The Post Punk Era 1978-1982)

Compiling cult classics from 1978-82 Cease & Desist is a masterclass in doing it yourself.

From Break The Ice At Parties jazz-funk mash up, to the electro-pop of Private Plane, it's this year's most ingenious and entertaining release that will make assembling an IKEA flatpack look like fun.

Protmartyr// The Agent Intellect

2014's second album Under The Colour Of Official Right cropped up on many of last year's end of year polls, and the Detroit punks look set to do the same with this year's third effort.

Boasting angular post-punk, underpinning frontman Joe Casey's Mark E Smith-esque drawl it's as bleak and abrasive as we've come to expect.

Four Tet// Morning/ Evening

Kieran Hebden's eighth album is an album of journeys. From the literal journey of making chappatis with his grandma to making music in an East London club, to the metaphorical journey that transports the listener from the earth to it's celestial peak, told through the producer's brand of expansive and atmospheric synths.

Institute// Catharsis

 

If albums were named after how they made you feel then Austin punks Institute wouldn't be far wrong with Catharsis. It's frenzied guitars and tub-thumping drums providing the listener with pure punk release.

Jim O' Rourke// Simple Songs

Simple Songs is Jim O' Rourke's first pop album since 2001, yet it's clear he's not lost his knack for a melody whilst he's been away. A melting pot of classic pop elements and more hooks than a butchers kitchen, all backed by the Chicago producers trademark dark humour and wit. 

Many of the albums on this list are available from The Music Exchange, show your support for your local record store and buy independently 

UNDERGROUND// Afterwards

Meet the Italian indie stalwarts giving the genre a makeover 

 

Don't judge a book by it's cover. These words have never been more true than with Italian quartet Afterwards. Whilst they cite Foals, Peace and Sundra Karma as their influences they have more in common with anthemic rockers than scratchy indie upstarts. 

Compromising of guitarist and vocalist Frederico Dal Bianco and Lorenzo Basellato, bassist Carlo Turatello, and drummer Michele, their recent second EP Rage takes the kind of sound you'd expect from the likes of Two Door Cinema Club and soaks in it sonic noise.

Abigayle lures you in with it's fidegty Foals-esque guitars, before giving way to a barrage of beefy riffs, as frontman Dal Bianco laments "Tonight there's no one/ tonight I am nothing." 

Gloom is equally as pessimistic, "Do you prefer to die alone/ pulling the trigger on your own" it questions, suggesting there's a darker side to their seemingly sunny indie.

Rage isn't all doom and gloom though, Something New recalls the reverb-drenched slacker of Jaws, whilst The Unattainable deals in buoyant, upbeat riffs that explode into the chorus' arena-baiting  "woahs", ensuring it draws to a cathartic close. 

If you thought you had indie all worked out you're in for a surprise.  

REVIEW// Coates/ Vol 1 EP

On his debut EP Oliver Coates makes a bid for the Britpop big time

There's something of a Britpop revival happening at the moment, thanks in part to Blur's reunion and the endlessly turning Oasis rumour mill. But, it's not the genre's old dogs you should be concerned about, there's a new kid on the Britpop block demanding your attention- Coates.

Better known as Oliver Coates, the West London troubadour's debut EP, Vol 1 is a upbeat, bouncy slice of Britpop without the ladishness, lairiness and Liam Gallagher.

The Jamie T-esque storytelling of opener Gin And Tonic tells of the cider-fuelled nights on the tiles with a girl that "Leaves every night in tow with a fat lad with lots of dough". Recalling Treay's own charming tales of late-night debauchery. 

It's evident that lyrics are Coates' strong point, whether he's channelling Frank Turner's honesty, backed by rollicking guitars and trumpets on Throw Me Down or Billy Bragg's politically charged songwriting on Talk Of The Town, which tackles vacuous celebrity culture. He might be influenced by Oasis but Vol 1 is no Digsey's Dinner. 

Instead it offers a refreshingly modern take on the genre that's sure to put Coates at the forefront of the Britpop revival. 

10 Things We Leant About Patti Smith

On Wednesday (28th October) Patti Smith took to the stage at London's Emmanuel Centre, not to sing (that comes later), but to have a good old chin wag with critic and novelist Andrew O'Hagan instead. 
During their fleeting 90 minutes together the pair discussed everything from Smith's new memoir M Train and her seminal debut album Horses 40th anniversary, to her love of detective shows and desire to open her own cafe.
It's proof, if needed, that there's still much we don't know about the 68 year old. 
Here then, is 10 things we learnt about punk's first lady...  

1. The first record she owned was Madame Butterfly by Eleanor SteberBut the second is much cooler: Another Side by Bob Dylan,."My mother said: I don't know who this is but he looks like someone you might like."

2. To her punk rock means freedom
"It's just another word for freedom" she reveals, "It's a grass-roots art formed by the people, loved by the people, played by the people."
When asked where a new punk movement might come from she's alot more ambiguous, "I think only the new generation knows that" she says, "You don't need a new punk movement, you just need a movement that people care about. You don't need a new anything, you just need the thing; it doesn't need a name, it's an energy. It's bubbling beneath our feet, every generation makes it's contribution."  

3. She loves detective shows...

"Whether it's Morse, or Lewis, Wyecliff, George Gently, I love them all." she reveals, but it's Kenneth Branagh's eponymous Wallander that's her favourite.
"Often they drink too much, they're bums, they're obsessional- they have to be visionaries and unravel these deep puzzles. They drink too much wine at home at night listening to opera- just like me." To which the entire audience erupts with laugher. 

4.  ...And coffee

Especially Dunkin Donuts, which she claims is no better than a $100 cup from Tokyo,

"[It] gives the illusion that you're sort of in the swing of things". 

5. She was part of a 'Scarlet Fever Club'

An exclusive club for only the worst sufferers of the disease, Smith was joined by the only other member, author William Burroughs. 

6. If she could only use one medium it'd be writing

Whilst Smith would be "sad not to draw or take photographs or perform" she couldn't live without picking up a pen. "I have to write" she reasons, "It's part of who I am."

7. She has lots of writing rituals

When Smith puts pen to paper she has to do so "[on] my own little table in my own little cafe", but most importantly in the morning. "I like to write in the morning" she reveals, " Wake up early before anyone else, when anything seems possible."

8. She wants to open her own cafe

She came "very close a couple of times", but after lamenting that she "make[s] such bad coffee" it's probably for the best that she sticks to the day job. 

9. She likes Adele and Rihanna

When asked what she was currently listening to, no one expected Smith- one of punk rock's creators- to namecheck  chart-toppers Adele and Rihanna. "I like to hear the female voice" she said.
Other artists to get a mention were Karen O, My Bloody Valentine and Jimi Hendrix, who she claimed "isn't even a guy or a girl, he's beyond."

10. She's still got it 

Smith surprised the audience with an impromptu acoustic performance of Because The Night, Power To The People and a song she wrote for her daughter, the former inciting a sing along that ended in a standing ovation. Proof, if you needed any that whether on paper, on record or in conversation, Patti Smith is still very much a force to be reckoned with.

REVIEW// Savages/ The Answer

Savages are back and they're not leading us in gently 

On their second album Savages aim was simply to write "the loudest songs ever", no mean feat for a band who's already raucous debut drew comparisons to Joy Division and Siouxsie Sioux.
But, The Answer, the first track to be taken from new album Adore Life, released on January 22nd, is an all together more punishing affair.

Abrasive guitars cut through frontwoman Jhenny Beth's shrill cry of "If you don't love me you don't love anybody", underpinned by thundering drums, as though they are declaring sonic war on the world.

It's a sound that veers on the edge on violent, suggesting the band have taken more than a few cues from last year's collaboration with Japanese psych-rockers Bo Ningen on Words To The Blind.
It's what makes The Answer less of a statement of intent as a bombastic rallying call to post-punk arms.

Prepare your eardrums, Adore Life is gonna be loud.

REVIEW// U.S Girls/ Half Free

Meg Remy's fourth album is a liberating listen, that's still impossible to pin down

Half Free, the title of Meg Remy's fourth album, could easily be nonsensical,  but one listen to it's politically-charged lyrics and it takes on a whole new meaning.

On opener Sororal Feelings Remy attacks a husband who has slept with her sisters through off-kilter pop hooks and lyrics that Morrissey would happily give his floral shirts for: "Now I'm going to hang myself/ hang myself from my family tree." 

Damn That Valley's dancefloor-filling beats could easily take on the charts, but Remy's war widow wails ensure that she doesn't stray too far from the left-field.

If Window Shade's shimmering synths and sugar-sweet vocals had you pigeon-hole Remy, Sed Knife sees her break out of those shackles, ditching dub for rollicking rock riffs.

Remy's ability to evolve and transform with each song may be contradicting the album's oppression hinting title, but that's what makes it all the more liberating.
She might only be half free to the world,  but musically Remy has no barriers. 

REVIEW// Frozy/ Lesser Pop

On their fourth album the Seaford trio prove that simple can be effective

Finding money you didn't know you had, sleeping in and the smell of freshly cut grass... The simple things in life are the best, and Frozy is no exception.

Their fourth album Lesser Pop compromises of 13 no-frills, no-egos lo-fi pop songs.

Opener Ferris Wheel embraces simplicity. Based around the child-like observation of "A ferris wheel takes you up in the air/ and now you're back down." It illustrates not only the innocence of it's subject matter, but the band too. 

Angela's chorus is a one word cry to it's protagonist, a girl who, like Frozy themselves, doesn't need make up to be effortless, recalling the equally-as-modest Mouldy Peaches.

Cardinals is bizarre yet bitter sweet. Gentle guitars float over singer Nicol's dreamy vocals, like one of it's title's feathers. 

Despite the simplicity, there's a distinct whiff of melancholy from what seem like sunny, sugar sweet pop songs on the surface.
"Think of March again/ it's the month you made a big mistake"  sings Nicol on March Again, or Where Are You's deadpan of "When you see me walking down the street/ you turn around and start running away." Suggesting that the only thing Frozy can't simplify is their emotion.

Like all simple things, Lesser Pop is short and sweet, over in 30 minutes. It makes for a fleeting listen, that's as fun as it is heartfelt and introvert. Not so simple after all.

Lesser Pop is out on October 16th via Oddbox Records, preorder here

REVIEW// Static Animal/ Majorca

Blissed-out bedroom pop from Melbourne mysteries

There's something alluring about an enigma and right now no one is more of a mystery than Static Animal.

Hailing from a bedroom somewhere in Melbourne they are practically unknown save for the fact that they make beautiful blissed-out dream pop.

"I'm so tired but I still find time" they sing on debut track Majorca, perhaps an ode to their bedroom beginnings. All hazy, reverb-drenched vocals that recall early Jaws, underpinned by breezy guitars that shimmer and swirl like the sea of the coastal scape they beg to soundtrack.

One would be mistaken for thinking Mac DeMarco had upped sticks and moved to the beach in the chorus' slacker-esque lament of "It's alright/ let's go", perhaps for giving it all up and doing that yourself.

And DIY is exactly what Stactic Animal does, Majorca's kaleidoscopic home production already bursting out of the four walls it was created in, and you can expect the band to do the same. They might just be known in their bedroom now, but don't bet on them remaining a mystery much longer.

UNDERGROUND// Colour Me Wednesday

Politically charged pop punk from West London that IS suitable for vegans

"I'd change the world/ one person at a time" sings Jennifer Doveton on Shut, the opening track from the band's debut album I Thought It Was Morning.

More than just lyrics, they serve as a mission statement for Colour Me Wednesday (completed by Harriet Doveton and Carmela Pietrangelo), a band who describe themselves as feminist, left-wing vegans.

Their songs tackle everything from all-powerful carnivores- (I'm Not Coming To Your) BBQ- to right-wing boyfriends- Purge Your Inner Tory- through the medium of 3 minute slices of upbeat pop punk.

Citing Kate Nash and Best Coast as influences it's easy to see why the West Londoners are making waves both here and across the pond, having toured the East Coast of America in support of their most recent album, a split with Washington DC's Spoonboy, before returning to our shores to support fellow Riot Grrrls Kate's Party. 

It won't be long before they've converted the whole world, one person at a time. 

REVIEW// Julia Holter/ Have You In My Wilderness

Julia Holter's 4th album is a world to get lost in, just don't wander to far...

On Have You In My Wilderness Julia Holter invites us to share her private universe, in which she explores themes of love, trust, power and relationships using her own brand of avant-garde pop and almost poetic lyricism. It is perhaps no coincidence then, that on the album's cover Holter mirrors an early image of punk-poet Patti Smith.

The opening harpsichord twangs of Feel You give way to Holter's haunting voice as she recalls "the memory of your piano"  over a bouncy bassline that adds melody to the melancholy. 

Holter's voice is the album's focal point, "Do you know the proper way to ask for a cigarette?" she questions on the cinematic How Long, over a sprawling string section. Yet even the orchestral bombast fails to dominate her charming tales.

Betsy On The Roof is the highlight though, Holter's voice is captivating as she coos "Oh oh she said", underpinned by a stirring piano line that accentuates the fragility of her voice, as we realise that Holter's world is an intimate one.

At times Holter gets lost in her own wilderness. Songs like Night Song and Vasquez wander without ever finding a way, too immersive against the left-field pop of Sea Calls Me Home.

It might be an album of two halves, but Have You In My Wilderness is wholly immersive, something to get lost in, and there isn't anywhere in the universe where we'd rather be.

REVIEW// Sexwitch/ S/T

Bat For Lashes embraces her dark side on demonic new album

Demonic, hypnotising, enchanting and ultimately weird. These are just some of the words that come to mind when listening to Sexwitch, the brain child of Bat For Lashes' Natasha Khan and Toy. 

Taking traditional 20th century folk songs originating from Iran, Morocco and Thailand and frying them in acid, Sexwitch is a far cry away from the accessible synth-pop of 2012's The Haunted Man. 

Opener Ha Howa Ha Howa's otherworldly crys of 'He addicted me and I addicted him' is a demonic call-to-arms, almost as if Khan is enticing Lucifer himself to this Satanic party.

Heleyos' twitching bass and abrasive guitars is a psychedelic, acid-rock  wig out reminiscent of Savages corrosive post-punk.

On the epic, 8 minute bombast of Kassidat El Hakka Khan chants "When I die I'm going back to what I was- nothing" as though she's some kind of ritual-inciting voodoo witch doctor as tribal drums clatter beneath an eerie guitar riff. 

Sexwitch is no Laura. Fans of Khan's piano-led ballads will find no solace in the album's psych-folk, as her in ethereal croon is replaced by a haunting howl it makes for a unsettling, almost primal listen that is, ultimately weird.  

REVIEW// Battles/ La Di Da Di

Battles return with a batshit album of sonic experimentalism 

Thought there was no such thing as the nutty professors or mad scientists that childhood cartoons lead you to believe? Well, you thought wrong. They do exist, but not as lab coat doting geeks, instead they play guitars in a band called Battles.

Their third experiment La Di Da Di is a caustic concoction of math-rock, electronica and pop that's entirely instrumental.

Opener The Yabba is the calm before the storm, luring you in all swirling synths punctuated by staccato beats before breaking into some serious guitar riffs and drum kicks, as though Royal Blood just gatecrashed Aphex Twin's party.

FF Bada recalls Foals at their most sonic, or 65 Days Of Static on acid.

Whilst Dot Com sounds as though the nerds have been left in charge of the music at a 90's rave.

La Di Da Di is a mad mix of influences that could easily be a product of a reaction gone wrong in Walter White's meth lab, combusting and exploding  in equal measures at every charged drum beat, it is as bonkers as the nutty professors at it's helm.

Juneau 'Into The Mouth Of The Wolf' Track By Track

Last week Derbyshire duo Juneau released their debut EP Into The Mouth Of The Wolf. It was recorded over an intense 6 hour period at DCAS Studios in Chesterfield by Martyn Stonehouse, who also provides additional bass on Under The Weather and Spit It Out, and guitar and drums on Spirits, to beef out the band's minimalist sound.

Here, vocalist Layla Remeikis reveals the inspiration behind each of the tracks...

Charlie"The song Charlie is an enigmatic mixture of sadness and curiosity, based around the infamous Facebook game 'The Charlie Challenge', in which participants call upon a malicious demon to answer their mundane, insignificant questions. The false illusion of this omniscient apparition (and the anger that it sparked in me!) ultimately lead to the creation of the lyrics to Charlie."

Under The Weather"This song is simply about running away- both literally and figuratively. Taken at face value, the singer is leaving home (not that the inspiration for this is related to my own personal life at all!) to seek a better life elsewhere, but the process of 'escaping' is about thoughts too- Under The Weather is equally about finding the ability to move on and 'embrace it'." 

Spit It Out"Spit It Out is basically a stream of consciousness from the perspective of a vulnerable female in today's society, and how she perceives the world and the decisions she must make (particularly regarding relationships). This situation is, however, relatable for anyone, as Spit It Out emphasises the way that we always want what we can't have, and things sometimes don't work out the way we plan."

Claw It Back"The inspiration for Claw It Back came from an interview in a magazine with Pete Wentz of Fall Out Boy, who was addressing the decline in importance of rock music in today's culture. He suggested that we can not hopelessly cling to the past, and that musical genres must evolve and change if they are to remain popular. The lyrics to Claw It Back ponder the effects of this change in terms of both the music industry and life itself."

 

Games"Put simply, Games is about two people who don't get along. The inspiration for this is undeniably based on real people, but it's universal. We 'play the game' by staying true to ourselves in the defiant face of conflict, and these lyrics highlight the significance of self-confidence and assertiveness."

Spirits"Spirits begun life as a poem and ended as a song, influenced by the themes of intoxication and alcoholism. Poetically and melodically, it explores the journey of adolescence in relation to the expectations and consequences of alcohol, and the image of 'teenage martyrdom'. Like Spit It Out, Spirits emphasises the helplessness of humanity and the way that we can be blinded by our own selfish desires."

REVIEW// The Haze/ Fight To Pay EP

The Oxford quartet prove Gene Simmons wrong on their second EP 

Rock 'n' roll is dead. The debate is as old as the rock stars that spout it. The riff is dying out, record sales are plummeting, it's time we buried the genre for good. Or so they say.

Not if The Haze have anything to do with it. With a bio that simply states they want to 'bring guitar music back to the charts' the Oxford quartet sound as though they might just be the saviours of rock 'n' roll, and their second EP, Fight To Pay the Holy Grail. Maybe not, but either way their going to have a bloody good time whilst they're at it. 

The title track doesn't hold back, kicking off with an AC/DC indebt riff turned up to 11, before frontman Josh Rawle's cock rock-esque snarl of 'Alright', it's evident that they've taken more than a few cues from from rock 'n' roll's greats.

What's Your Name suggests that said cues arn't just music-related, with Rawle's whiskey-denched vocals sounding as though he's had one too many Jack Daniels.  

Look Alive proves there's more life left in the riff just yet, recalling The Rolling Stones and The Black Keys with it's rollicking blues licks.

Ride is the highlight though, it's arena-baiting chorus of 'Ride on my lover/Ride on by' tailor made to be screamed back in their faces by thousands of crazed fans at a Knebworth like peak. 

Fight To Pay isn't game changing, but that's not what the band set out to do. Instead it reaffirms rock 'n' roll's status as one of music's most important genres, with a history of selling out stadiums, breaking records and having a good time, and a future that's set to do the same.  

REVIEW// Smashing Lights/ Sounds Different Feels The Same

On their debut single Smashing Lights stake a claim to the teenage population

Earlier this year the teenage population went into meltdown after the members of The 1975 deleted their social media accounts in a flurry of ambiguous messages, leading to rumours about the band's possible demise. As it turns out it was all a publicity stunt to announce their forthcoming album, but had the rumours been true it wouldn't have mattered, not now Smashing Lights have dropped their new single.

Entitled Sounds Different Feels The Same, it draws obvious comparisons to the Manchester quartet thanks to it's fidgety guitars, shimmering synths and pulsing bassline that underpin frontman Jack's falsetto. But equally wouldn't sound out of place next to some of Two Door Cinema Club's more electronic moments.

With debut EP 1 on the horizon, you can bet your black skinny jeans that the teenage population will soon be having a very different kind of meltdown. 

REVIEW// Boys/ Ocean

West London boys may have just written the soundtrack to your summer

Ever since Daft Punk dominated the airways with Get Lucky back in 2013 critics and fans alike have begun an annual search for the song of the summer. Something that will be blasted from every corner of a festival, from the PA between bands, to a shitty speaker in the campsite- even the portaloos. 

So, who should provide this year's inescapable summer anthem? The answer comes in the form of West London quartet Boys. Their recent single Ocean is all dreamy guitar and reverb-drenched vocals, reminiscent of DIIV or Jaws at their most shoegazy, creating the kind of blissed-out, hazy atmosphere you'll want to spend long summer evenings getting lost in.

Daft Who?

REVIEW// Four Tet/ Morning/Evening

On the follow up to 2013's Beautiful Rewind Kieren Hebden looks to his roots for inspiration but finds his sound in the stratosphere 

Not many artists are capable of sounding so celestial whilst remaining so grounded, yet this is something that Kieren Hebden- better known as Four Tet- has managed on this, his eighth album. Created on his laptop using Ableton Live, VST synthesizers and found audio recordings, the producer crafts 2 tracks spanning 20 minutes each that transport the listener into a blissed-out stratosphere, that will cost you significantly less than any Virgin Galactic flight. 

The former, Morning is an hypnotic expanse of breezy synths that underpin Indian soundtrack singer Lata Mangeshkar's dreamy vocals, punctuated by electronic clicks that pierce the atmosphere like sunlight through the blinds. 

If Morning is Hebden exploring his Indian heritage then Evening is surely the sound of a continuous journey towards his techno future. Perhaps the closest the record gets to a club rave, it begins with trickling synths that warp into fuzzy, distortion-drenched bass reminiscent of early Kraftwerk. Culminating in a swirling crescendo that brings you back down to earth on a wave of extraterrestrial euphoria. 

Morning/Evening is ultimately an album of journeys. Not just the literal journey of making chappatis with his grandma to making music in an East London club, but a metaphorical journey too-from the earth to the celestial peak. 

Albums Of 2015... So Far

We're halfway through 2015, but which albums have already made it on our end of year list?

 Alabama Shakes// Sound & Colour

On their 2012 debut Boys & Girls Deep South quartet Alabama Shakes marked themselves out as blues-soul revivalists.  It's follow up builds on those influences with colossal riffs and psychedelic soundscapes, whilst still maintaining frontwoman Brittany Howard's trademark pipes.

Courtney Barnett// Sometimes I Sit And Think Sometimes I Just Think

The Australian slacker's long awaited and highly anticipated debut album didn't disappoint. Plugged in, the stream of conciousness lyrics of the likes of Pedestrian At Best and Dead Fox sound even more thrilling, channelling grunge and garage rock.  

 Father John Misty// I Love You, Honeybear

On his second album the former Fleet Fox writes the ultimate folk rom-com, his ingenious lyrics coming on like a more loved-up Morrissey "I just love the kind of woman who can walk over a man/I mean like a god damn marching band." If you're not a fan of schmaltzy ballads look away now.

 Hot Chip// Why Make Sense?

You wouldn't normally associate five geeks with making dancefloor fillers, yet on their sixth album Why Make Sense? London quintet Hot Chip continue to defy convention with their brand of house and funk in-debt electro-pop.

 Jessica Pratt// On Your Own Love Again

Recorded over 2 years at home in LA and San Francisco, there's a certain nostalgic charm to the 27 year old's brand of ethereal folk that's reminiscent of Nick Drake and Joni Mitchell, tape hiss included.

 Jim O'Rourke// Simple Songs

Simple Songs is Jim O'Rourke's first pop album since 2001 and he certainly milks it. A melting pot of classic pop elements and more hooks than a butcher's kitchen, all backed by the Chicago producer's trademark dark humour and wit.

 Sufjan Stevens// Carrie & Lowell

Don't be fooled by opening track Death With Dignity's gently picked guitar, the follow up to the Detroit singer-songwriter's sixth album, 2010's Age Of Adz is his darkest yet. Without it's predecessor's fanfare it's both a haunting and melancholic listen, punctuated by raw emotion. 

 Sleater Kinney// No Cities To Love

In January the Olympia trio returned with the long overdue follow up to 2005's The Woods, and if you were in any doubt that they'd lost their feminist energy whilst away, you needn't have worried. No Cities To Love is full of the kind of riot grrrl angst that made them the cult concern they are today.

Jamie xx// In Colour

The London producer's debut solo album complies over seven years worth of material, calling on grime, D&B samples and The XX-esque minimal beats to provide eleven chilled-out dance anthems just in time for the festival season.