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Velociraptor! – Kasabian

Following the 2009 success of West Ryder Pauper Lunatic Asylum, Kasabian released their fourth studio album in September this year. It was always going to be difficult for them to produce a good follow up to WRPLA, but they definitely succeeded and produced an album which was a step up.

The album is packed of catchy melodies, memorable guitar riffs and are likely to be massive hits; and if the rumors of them headlining Reading/ Leeds Festival next year turn out to be true, they will be fantastically received by the crowd. The song Switchblade Smiles was the first song to be released by the group, providing a hint of what the new album was going to be like; and Days are Forgotten was the first available single to come from the new album, even making an appearance in the UK top 40 which is such a rarity for rock/ indie artists these days.

Velociraptor! works well as an album because of how the songs flow into one another, and also function independently. This makes the album a good starting point for new fans, and also an album that can be listened to in its entirety. There album is a reminder of the Brit-pop era, with similarities being found between Blur, Oasis, and Pulp. There is definitely the guitar influence from these bands, but with added strings and  orchestral melodies clearly heard in Acid Turkish Bath: mirroring the moves of Blur and the Verve.

Songs worth a listen to from the album include (not in any order):

1. Velociraptor!

2. Let’s Roll Just Like We Used To

3. Days are Forgotten:

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On being questioned recently about the quality of new music and whether or not there is a current band with the ability and quality to define a generation of music – as The Sex Pistols did in the mid-seventies and The Stone Roses did in the late 1980’s – to become a band the transcends the throw away indie of today. There was no answer – it seemed as though a new movement in British music would not be sparked for at less another year or two. That was until A Different Kind Of Fix. It took nearly half a month of listening before it was clear that Bombay Bicycle Club’s evolution into the lasting band, the era defining band, which will kick start a movement was nearing the definitive points of its career.

Even though A Different Kind Of Fix initially disappointed, to say the very least, which is why it took so long to get into, please allow this article segment from just prior to the album release to be taken back: “BBC: just don’t see them ever again – listen to their new album and see, oh wait on second thought do not waste your time and money. They are nothing more than hotel lift music now after such an amazing debut in 2009 with I Had The Blue’s But I Shook Them Loose (if you want to listen, get this, it is pretty near a masterpiece). They have fallen so far.” How very wrong. This really shows an inability to instantly see the brilliant in the change of direction of the new record. It was hard to get to begin with, although it is very hard to see why that was so after the revelation of its brilliance.

Over the last month of listening to A Different Kind Of Fix, the negativity about it has all but evaporated – how could it ever have been perceived in such a negative way initially it can’t be said – even calling it hotel lift jazz music. There is in reality nearly nothing negative about the album, it cannot be truly criticised unless it isn’t understood that BBC have to adapt and evolve from past works. The transformation if not shocking is incredibly well pulled off. Even Shuffle – the lead single is brilliant, whereas Always Like This, Lead Single off of I Had The Blues was the worst track on the album; Shuffle just has a perfect balance of beats, piano samples and Jack Steadman’s melodies.

Shuffle and its beats just work so well for Bombay, seemingly a route gone down to due to the success of Always Like This, which is sounding better than ever post-the new album. The Samba beats have led them to the subtler more atmospheric sound that is truly epic. The epic ineffable qualities of the brilliance behind this record are instantly evident in How Can You Swallow So Much Sleep, a joyful opener with strong hip-hop based beats where BBC let you know what you are in for – an album of truly subtle dauntless epic beauty. It clearly moves down the route of combining acoustic and beats based alternative indie, and very successfully it might be added.

The album does seem slightly disjointed between the powerful baggy based beats that link strongly to both The Happy Mondays and The Stone Roses, the definitive band whom BBC are beginning to emulate; and the melodic vocal based songs such as the second half of What You Want and Beggars. The acoustic sections such as Still are the and Fracture, sounding a bit too much like Mumford for anyone’s liking are the weakest points of the album. These are a few hangover moments from Flaws in the acoustic sections, but that can’t be complained about if you get three albums in as many years, especially as the album as a whole is so brilliant.

The barriers seem to blur between what is a beats song and a chilled melodic number. Everything seems very distinct yet maintaining the beats and the melody that make BBC so accomplished, enough now to make truly great music, to the level of nigh-on generation or musical movement defining. This merger of beat and melody that makes this album so boundless is most clear with the best songs on the album, on Bad Timing; Your Eyes, a beautifully desolate, mournful song about Steadman’s ex-girlfriend, one of the most compelling tracks on the album; and Leave It, containing one of the few real choruses on A Different Kind Of Fix. In Beggars and Favourite Day BBC have a few softer chilled songs that make you remember where they came from with a lessen energy compared to their prior work as if harking back.

What You Want reaches just beyond the heights of Your Eyes, building in power in with a feeling of helplessness at the inability to control ones own feelings. Its a rapturous freedom song, that doesn’t have the desired effect. This kind of freedom is not at all desired after, the longing of the song is really in being a part of the feeling of helplessness and that is where you are left by the end of Four minutes as we as the whole album, you become nothing but flesh and bone, it exposes you entirely.

Take The Right One is undeniably the best track on A Different Kind Of Fix, one of those transcendental songs whose brilliance cannot be explained. It is baffling how they were able to write and create something of such tremendous beauty and nakedness. The same has to go for the album as a whole – that is why Bombay Bicycle Club has to be recognised as the defining band of the current music sense, it is impossible to see how anyone would say otherwise.

Best Tracks:

  1. Take The Right One
  2. What You Want
  3. Your Eyes
  4. How Can You Swallow So Much Sleep
  5. Leave It

Oscar B. Wilson

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The Horrors have undergone an incredible transformation in just three albums, from the uninspiring impatient Goth-rock of Strange House; through to the brilliant post-punk shoe gaze revival of their 2009 album, Primary Colours; and finally with the new wave psychedelic, nigh-on unfaultable Skying. At last it seems as though The Horrors are going to properly break through and gain the recognition that they truly desire. Primary Colours only reached number Twenty-Five in the album charts, and that was with it being one of two contenders for the best album of that year and in one week of that year Twenty-Four albums were out selling it! The obvious answer to that it is – it’s actually more likely to be good if it isn’t the bestselling album of the year, and that was most probably the case with Primary Colours, however Skying should be a different story.  This Album desires at very least widespread critical acclaim.

The Album should go down well, firstly because of it simply being a quality album and secondly because of the clear 1980s neo-psychedelia and influences including Echo and the Bunnymen, The Teardrop Explodes, The Psychedelic Furs and most clearly Simple Minds with the introduction of synthesizer based pop into the style of the album. This makes the album accessible to those who remember the eighties as well as the current Horrors fans from the late noughties. Widening the appeal of this album has come from the inclusion of synth as well as the introduction of brass – using the trumpeter featured on A Day In The Life and Strawberry Fields Forever by The Beatles on the fourth track, Endless Blue.  The six piece brass section is perhaps instrumental in the dreamlike drug-filled state of the album as a whole.

Faris at points even sounded like he was about to start singing Don’t You Want Me by The Human League, and that’s not a negative. It is such a positive, The Horrors have truly taken the best elements from that era whilst somehow managing to keep a contemporary sound, surprising considering how dated The Human League sound.  I Can See Through You, is another change from anything that they have ever done before with an organ part that adds more to the whole dreamlike quality of the albums well as adding to the collection of brilliant intros contained in Skying.

The Psychedelic dream like qualities of, particularly Changing The Rain, Endless Blue and You Said make up some of the strongest points of the album. The slower brass based build up on Endless Blue, indicative of The Teardrop Explodes best known song Reward, leads to well-known Horrors thrashing guitar riff waiting for Dive In to strike up and Faris giving one a feeling of intense solitude. This sense of solitude is added to by The Horrors use of reverb and effects, which have given them the eighties sound on this record.  Comparisons to the eighties can be found everywhere with The Psychedelic Furs seen to crop up again and again, notably in Wild Eyed and Faris’ similarity to Sister Europe, even so everything on Skying has succeeded in sounding fresh, as they have added to these sounds to make them their own rather than just reproducing songs in exactly the same way.

The Sea is a clear theme to add to the psychedelic components most noticeably with Endless Blue and Oceans Burning (It’s in the name as well as in the distance and solitude of both song’s lyrics) and You Said, a song about crashing waves leaving us with nothing. It may have something to do with their choice of artwork as well. Faris Badwin has recently stated that a favourite topic for lyric writing is the power of nature, it is all very clear. The scale of this subject matter, primarily in the massive power of nature and in the elements elevate the album as a whole giving the listener a feeling of its important – captured best in Moving Further away which also contains recording of Sea Gulls, sadly recorded in the centre of London.

Moving Further Away, part of countryside sessions whilst trying to recreate the atmosphere of The Rolling Stones when they recorded in the French Countryside. The epic of the album to blow Sea Within A Sea out of the water, so to speak, in eight and a half minutes it proves the quality of the band thanks to its overwhelming sense of solitude. The same can be said of Oceans Burning, which just falls short of the epic proportions of Moving Further Away. Still Life, one of the finest tracks on the record is nothing short of a masterpiece, the most instantly brilliant song which was the perfect lead single, again with the subject of distance and solitude – as well as hope and the prospect of figuratively being found again.

You Said is a brilliantly moody nonetheless euphoric existential track about the uncontrollable power of nature and the best songs along with Still Life – it is less poppy and immediate than Still Life. The Ineffable beauty and importance in a track about having nothing and the moody elation of the delivery have come together have ended up with perfection, its an undeniably perfect song.

If an album better than Skying, or at least close to its brilliance is released in the reminder of 2011, I will eat my hat. Skying is unquestionably faultless album of brilliant intoxicating dreams of songs with resonating beauty in the struggle against the powers of nature whilst it still leaves you with a strong sense of personal relevance. It is utterly Faultless.

Best Tracks:

  1. Still Life
  2. You Said
  3. Moving Further Away
  4. Dive In
  5. Endless Blue

Oscar B. Wilson


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Yr Friends EP

Johnny Foreigner are a three piece band from Birmingham, who have played with the likes of Los Campesinos! and Stagecoach. They’re well known for their noisy, riff filled music, and the band just reek punk. For instance, they gave fans the link to their video Harriet, By Proxy (which was done for free by a fan/film student in Chicago) before they gave it to their record company, asking fans to get it as far over the internet as possible; youtube, vimeo, facebook, tumblr, twitter, and all the rest. There’s something extremely loveable about this band, which becomes clear just from reading one of their blog posts. Johnny Foreigner’s music is split into two; loud, upbeat, noisy music to jump around in your house to, or acoustic, laid-back sounds riddled with lyrics that just about any listener can interpret, whilst it still being clear that the song was written about a personal experience.

1/3rd of Johnny Foreigner, Alexei Berrow, has been working on a side-project (which he claims he writes ‘when everyone else is in bed’). This side project is Yr Friends, and it’s just so wonderfully woeful that you’ll just want to put on your contemplating face and mope all evening. Lex’s heavy birmingham accent tells the story of break ups and questioning, with lyrics like “i think he’d be good for you, i think you’d be good for each other” and “what’ll i do when i’m wondering who is kissing you, what’ll i do?” This EP is perfectly melancholy and my only wish is that it was named after the title of the second track – how you feel every night (probably), rather than yr friends have been lying to you. Because this album pretty much sums up any woeful nights you spend crying at your laptop screen or phone with no new messages. We’ve all been there, so we might as well have some music to accompany it.

Find the EP here.


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Tyler, The Creator – Goblin

Tyler, The Creator, an integral part of Odd Future Wolf Gang Kill Them All (or, for short, OFWGKTA) shocked and stunned both the music channels and blogging sites with his second album, Goblin. If we’re being stereotypical, Tyler looks, acts and sounds like a rapper, but there’s something different about him and his music. His painfully honest lyrics are accompanied by original beats, which is refreshing to hear in a world where rap music samples anything from Annie to 21st Century Schizoid Man. Even if this album doesn’t appeal to your common music taste at all, at least it’s an album you can say doesn’t sound like anything you’ve heard before. Artists being original. Crazy, right?

However, Goblin has received a lot of controversy for it’s misogynistic and offensive lyrics. For instance, in Tron Cat, Tyler claims to rape a pregnant bitch and tell his friends he had a threesome. Charming. Goblin left twitter users and bloggers fuming before it had even been released. However, I decided to do some research of my own, and the conclusion I came to particularly shocked me. For someone who’s music taste usually covers indie and alternative, sometimes with a bit of moderate screaming in there too, my ‘urban music’ knowledge covers very little ground. (Using speech marks around ‘urban music’ probably isn’t going to help with my reputation, either, is it?) The only rap album I own is Kanye West’s My Beautiful Dark Twisted Fantasy (which is brilliant, by the way). But there’s something about Tyler and his music that appeals to me. Reading from early interviews, excluding his use of Extensive Capital Letters and words like nigga and swag, Tyler seems like an intelligent 19 year old, with views and opinions I can relate to despite having very little in common with him.

In my opinion, I think this album is a 15 track long vent of his anger and despair for life in general and particularly the other cliques within music culture; hipsters, wannabe gangsters and a continuing list of other try-hards. And it works, and it deserves the recognition from music channels and radio stations it’s receiving. Put it this way; I’m a lot happier listening to a song about stabbing Bruno Mars in his oesophagus (listen to Yonkers) rather than a ‘love song’ catching a god damn grenade for some girl. Tyler’s music is opinionated and unlike anything else in it’s genre, instead of just being a soppy mess of lyrics about a girl. Anyway, what’s happened to romance? The majority of ‘love songs’ these days are about the girl being a ‘sexy bitch’ or just wanting to have ravage sex with her all night. Fantastic, really good that these influential figures are doing all they can to promote sexual equality and feminism. I digress…

Some of Tyler’s lyrics are just so outrageous that you just can’t take them seriously, and I don’t think they were intended to be taken seriously. They were written by an angry teenager for angry teenagers, that’s how we should interpret them. Never the less, I can’t help but feel that all of the hype around Goblin left me feeling slightly disappointed with the outcome. It’s good, but it’s not brilliant. However, it’s definitely a step forward into bringing more alternative influences into rap music and turning away from the top 40, and for that, I think it’s definitely worth a listen (here it is on spotify).

Tyler and the rest of OFWGKTA are at Reading Festival on the Saturday, and from what I’ve heard, they put on an incredible show. So, if you want to release your inner swag to music that’s still accepted enough for the artists to be asked to play at a mainly indie and rock festival, then Odd Future are for you.

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Get Loaded in the Park 2011

Described as a festival in a city environment, Get Loaded (GLITP) brought more than 20 artists to Clapham Common for a day of music. The line up this year was definitely impressive for any indie/alternative fans out there and was well worth the £35 ticket. GLITP was on the 12th June 2011, and lasted from 12pm to 9pm. The headlining act was Razorlight, and there were many other big acts throughout the day such as The Cribs and Darwin Deez.

GLITP poster

Darwin Deez

Despite knowing very little of their music, Darwin and the gang produced an entertaining show to watch nonetheless. Although the rain could have dampened the mood, the quartet did a great job of warming up the crowd for a day of music. The bassists crazy dancing, Darwin’s stage presence and the well practiced mini intervals between every couple of songs including rapping and dancing, managed to get the whole crowd smiling. Darwin Deez were definitely a great act to have at the start of the day because of how much the warmed up the crowd. Songs worth a listen to are: Constellations, DNA and Bad Day.

Los Campesinos!

Our expectations for this group were high as it was our first time seeing one of our favorite bands. It was clear from the outset that Gareth (lead vocals) wasn’t particularly enthused. Whilst the rest of the band warmed up backstage, Gareth moodily sat on the stage on his phone, which we later saw to be bitchy tweets about other artists. The set list provided a good insight for people unfamiliar with the band, however we were slightly disappointed as our favorite songs were not played. Having said this, the songs played were performed to a high standard with the instruments complimenting each other well. Although we found this experience a tad disappointing, it will not stop us from seeing them perform live again once their new album comes out this year. Songs worth a listen to are: We Are Beautiful, We Are Doomed, Knee Deep at ATP and In Media Res.

Patrick Wolf

Dressed entirely in green and armed with an impressive range of instruments Patrick Wolf certainly did create a lasting impression. The audience definitely loved him and he interacted well with the crowd through joining them on the ground level. Before seeing him I was completely unfamiliar with his music, and after seeing him I wasn’t convinced to give it a listen. Sure, he was definitely talented (he played a golden harp on the stage!) but the show wasn’t likable. After being told that he only had 5 more minutes on stage, he certainly was not pleased. He told the crowd about how this show was a ‘homecoming gig’ for him after growing up in Wentworth, and then proceeded to tell his story of how he used to work in a sandwich shop in Covent Garden but got fired after making a tuna sandwich wrong; and therefore anyone can achieve anything just like him!! He then went on to complain about having a short stage time, and wanted the same duration as Darwin Deez; then carried on his show, running overtime. Patrick Wolf was definitely entertaining, but probably not of the more enjoyable shows of the day. Songs to try are The City, and The Future.

British Sea Power

Having only known a few of their songs before the show, I was hoping to leave wanting to listen to more. Starting their set off with Waving Flags and ending with Carrion/ All In It, the group definitely played their songs well. The highlight of the show was definitely the crowd who were all very excited and responsive to the group, and being in the crowd was enjoyable. However, the band weren’t the most interesting and didn’t engage much with the audience which was a bit disappointing. The group sounded just as good on their albums which was pleasing, and after the show it did make me want to listen to them more. Songs worth listening to are: Waving Flags, No Lucifer and Living is so Easy.


We didn’t see very much of the noisettes, but what we did see was definitely impressive. Lead singer, Shingai Shoniwa looked absolutely amazing and her stage personality was very likable. She interacted well with the audience, and even crowd surfed, and sung brilliantly. The group all sounded really good, and put on a good show with their stage decor and the atmosphere created. Songs worth listening to are: Never Forget You, and Wild Young Hearts.

The Cribs

The Cribs were definitely the highlight of the day for us, they sounded amazing and the atmosphere was indescribable. We had spent most of the day at the main stage in an attempt to be near the front for the Cribs, and this had payed off. At the start of their show we were in the fourth row of people so had a perfect view of the stage, however throughout the show we managed to get pushed back to half way through the crowd due to the amount of pushing and mosh pits. Despite this, the show was still fantastic and so enjoyable. The band started with Cheat on Me and ended with City of Bugs, both from their 4th studio album Ignore the Ignorant, and played songs from all four albums in their show. The band sounded even better than they do on recordings and interacted well with the crowd. Their show was so good, that we have literally had songs by the Cribs stuck in our heads for around a month after. In my opinion, all 4 albums are worth a listen to; however the songs worth a listen to are: Hey Scenesters!, Martell, Mirror Kissers, and I’m a Realist.

A picture taken by Sarah Dear of the band.

Johnny Flynn

Johnny Flynn was the last person that we saw at GLITP, and the show was a nice way to end the day. The atmosphere was quite relaxed and calm, and Johnny Flynn sounded just as good as on his CD’s. Unfortunately we missed him playing Kentucky Pill, but the set was so beautiful that it made up for missing it. Songs worth a listen to include: Kentucky Pill, The Water, and Lost and Found.

Overall the day was so much fun, and the £35 ticket seemed like a bargain! The acts and the crowd combined made the day so enjoyable and made the event worth going to.

-Nadeen Chudge and Sarah Dear.


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Michael Eavis, after this year’s Glastonbury said that the festival “may only have three years left”, both due to people being put off by cost and the fact that they’ve seen it all before. I agree with him, but where this might see an end to other festivals or at least their decline – most likely the festival republic group. Clearly shown by the Reading Festival line-up, firstly because it lacks two good headliners, everyone who wants to see Muse has seen them enough times now to get very bored, if not they aren’t people who are really going to enjoy a music festival because they are twelve years old and still at the stage of just listening to one album before they start to develop any taste at all. I do understand however that My Chemical Romance have to be put up with, even if they are even worse than Muse, simply because “Reading Rock” needs one day of rock emo-pop? Wait a second does it? I think not. The point that I’m trying to make is that none of it is new. The most exciting band playing this year at Glastonbury, and also at Reading formed in 1978 for Christ’s sake. Secondly, due to the price of seeing twenty bands whom you saw two months ago, in my case at Glastonbury and one band whom you’ve never seen, being nigh on £200. All we need is some new music.

We can’t expect any new music to be at festivals, especially in the next few years, if a replacement genre doesn’t grow quickly out of the death of indie, which too me is a necessity and the sooner the better, for the sake of new music and all festivals. Glastonbury however, is not going to die out even if it is the last festival standing – which no doubt it would be. Glastonbury’s immense variety and diversity of events many of which having nothing to do with music, make it better than any other festival – the healing, craft and green fields all making the festival a cut above the rest. The environmental concerns of the festival are also a great aspect, although a CND speak to an indifferent Pyramid crowd by Caroline Lucas, Green MP  just showed me that the general populous is uncaring for wider society and the survive and improvement of human civilisation. They were waiting to watch U2 so it probably was a crowd disproportionate of British people, or so I hope. I could say a lot on the green aspect of Glastonbury, environmentalism is personally of great importance the problem is the wider world doesn’t seem to find a fault.

Such experiences beyond music make Glastonbury the greatest festival in the world, the atmosphere for me in my third year was unbeatable – even the mud improved things, except from lengthening journey times and that can be a bit problematic on such a huge site. Mud and sun; a strange combination for the time of your life, until you remember the music but that’s what makes Glastonbury as well as the compulsory pie from Pie Minister next to the Brother Bar at West Holts, the nicest pies ever. Also Shangri-La after hours is a must, even if it is utterly pointless and you don’t like drum and bass dance music, it’s an unmissable spectacle of lights and dystopian devastation. If you fail to watch the fireworks and countless Chinese lanterns on a Thursday night you simply don’t deserve to be there. To name but a few of the sides to Glastonbury that give it such an atmosphere of liberation, yes including the pies.

Nothing that I have yet mentioned created such a euphoric atmosphere as the secret gig on Saturday on the Park Stage at sunset, on walks Jarvis Cocker to the largest ever crowd at the stage with people being turned away, people like Kate Moss! Do You Remember The First Time first up just hits the spot, and Jarvis’ banter “You didn’t think we were going to forget about you Glastonbury!” or words to that effect, to me Pulp are Glastonbury, they hit the big time after filling in as headliners in 1995 – making Common People a Glastonbury and a British Anthem. This time it was a brilliant nostalgic sing-a-long, at least for those how are old enough to have remember the mid-nineties.  For me it was unmatched control of the audience thanks to the brilliance of Jarvis, Babies, Sorted Out For E’s And Wizz, Disco 2000 and Sunrise. I can’t think of a better performance, without presuming too much I think it could have equalled their 1995 headline slot, said to be the greatest ever Glastonbury moment. This years is at least mine, the greatest gig that I have ever been to by a country mile.

There were other bands playing, but it only really needed one Pulp gig and I was satisfied, the rest of the weekend was a winding down process after the awe inspiring Pulp. So on to the rest, sadly for those who wanted to hear what I thought of Coldplay and Beyonce, shall not be in luck – I’m religiously stationed around the John Peel Tent and The Other Stage highlights included Everything Everything who played a brilliant set from their first album Man Alive, Tame Impala who are the new 60s Psychedelic revivalists, The Vaccines with some good snappy summer guitar tunes, and Bombay Bicycle Club who’s old material from I Had The Blues But I Shook Them Loose was as brilliant as always, Cancel On Me is an incredible song ruined by the new material that they have clearly based on Always Like This, the most commercially successful song off the first album and the worst on their – I am not expecting anything from what is undoubtedly going to be a mediocre second album. The Horrors came out with some very mature new material, with resemblances to Simple Minds and Orchestral Maneuverers in terms of the Syth, on first listen they showed that they were building on the brilliance of the second album Primary Colours, particularly with the previously released single Still Life, a strong contender for my personal Festive Fifty number one spot. It sounded superb live, they really have got the hang of the depth created using synthesizers and Faris Badwan has learnt to sing. Skying is going to be some third album.

Three bands all with female front women, really showed some class, The Joy Formidable have improved no end in the 10 months or so since I last saw them live, and they were brilliant then – I suspect this to be down to the chemistry created by the three-piece playing in a line with Matt on drums on centre left rather than behind, plus the addition of a centre stage seven-foot gong pleases me. Warpaint whose ghostly EP Exquisite Corpse far outshone the later debut album The Fool, but luckily they played these earlier songs, and to great effect including the raising of the hairs on the back of my neck, a must listen for a fan of the Cocteau Twins and Siouxsie And The Banshees. The same as Esben and the Witch, to whom I would possibly add Florence And The Machine to the influences of band that sound like a gothic fairy tale, just like their name sake. There album Violet Cries was recently released and is well worth a listen, even if it isn’t the most accessible of albums.

Nothing came close to Jarvis and Pulp, such an strong atmosphere and set list, the headliners of my Glastonbury Festival 2011, and I’m sure quite a few of that crowd’s as well. Eavis is wrong, money and recycling bands aren’t ever going to put people off Glastonbury, such things have no importance, the festival is an escape and a way of life that is as far away from dying off as it is possible to be. Love the farm, don’t leave a trace. I love the farm but always leave a trace of myself, part of my soul there, in those fields of Avalon.

Oscar B. Wilson


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