Blood Red Shoes - Manchester Academy 2 05/05/12

Dublin band The Cast of Cheers open up the nights festivities like a cheery Death From Above with insanely fast bass playing, synths and shouty vocals. There are some super fans in the crowd who scream along to every word and repeatedly shout “GOOSE!” (one of their songs, apparently) and you can tell the band find the fan-boys incredibly endearing. And so they should! It’s one of the liveliest welcomes I’ve seen for a support band in a while and they definitely deserve it.

The venue soon fills up and everyone eagerly pushes to the front. And it’s obviously because Blood Red Shoes’ stage set up is a thing of beauty. It’s a David Lynch inspired set with red curtains and table lamps, TVs displaying static and old fashioned film set lights. And it makes me fall in love with them even more. Stephen saunters onstage holding a drumstick in the air whilst Laura just oozes cool and they launch into their anti love song to Brighton, It’s Getting Boring By The Sea, that induces a mass sing-along. They race through a set that’s a perfect mix of songs from all 3 albums. From A.D.H.D. to newest single Lost Kids there is something to please every single type of Blood Red Shoes fan. Their set is punctuated with even more Lynch referencing “does anyone like Twin Peaks? And don’t just say yes!” and sadly, sexist heckling. Despite the few idiots in the crowd who are ignored thankfully, Blood Red Shoes put on an energetic live show that captures their grungey, 90s rock sound perfectly. And of course, in true 90s fashion pretty much everyone is moshing for the whole of their set.

Even though I had to dash off before the encore for a train my first ever Blood Red Shoes gig was not a disappointment and god knows why I hadn’t got round to witnessing their excellent live show before now. 

Words: Eden Young
Photos: Holly Read-Challen

Damsels In Distress

In my years as a cinemagoer, I’ve encountered a variety of different films. There’s ones that are so out and out bad they actually end up being good, ones that are so utterly bizarre that I’m often convinced that someone’s slipped something into my popcorn, and those with plots that build up so slowly that I have to have a little nap during them. And then there are films that are so shockingly mundane and awful that I’m not sure whether I should walk out of the cinema or throw something at the screen. Sadly Whit Stillman’s latest offering, Damsels in Distress most definitely falls into that last category.

Stillman is an Academy Award winning writer and director, best known for his 1990 film Metropolitan, which I admit, I haven’t seen, and certainly now have no intention of doing so. Stillman’s Wikipedia page claims that he is best known for his “sly depictions of the urban haute bourgeoisie”, a claim which is pretty much as pretentious as his most recent filmic offering.

Damsels in Distress is set at the fictional Seven Oaks college in the East Coast, one of the last major colleges to become co-educational and is filled with a mixture of idiotic alpha males and suicidal teens. Attempting to rescue Seven Oaks from this predicament are “The Damsels” – leader Violet, (played by queen of mumblecore films, Greta Gerwig) who intends to change the world with a new dance craze, her haughty best friend Rose who, for no particular reason speaks with a British accent after spending a month in London, the slightly dim Heather, and new girl Lily, played by “Analeigh off of America’s Next Top Model and that Ryan Gosling film”. The Damsels run the campus Suicide Prevention Centre and attempt to cure depressed students with tap dance and donuts.

Now, all in all, this could be a successful formula for a charming little indie film, but you would be mistaken. This film’s deadly mistake is that it relies too much on dialogue where instead there should be some kind of a plot. To put it bluntly, hardly anything happens in this film, and I’m almost certain that at least ¾ of this film is purely just Greta Gewig wittering on about something in a pretentious way. Stillman’s style of writing doesn’t appeal to me because he makes all of his characters talk using such a sophisticated and extensive vocabulary that if I wasn’t listening carefully I’d be convinced that they were talking about philosophy and the meaning of life rather than the boy they were in love with. Don’t get me wrong, it’s nice to have a film where the characters are able to have intelligent characters but it starts to get a bit irritating when they all talk in the same way.

Luckily, the film does have a few saving graces. Adam Brody, better known to most people as Seth Cohen from the OC is charming as the charming Charlie, who finds himself caught in a love triangle between the girls. Also there is a sweet and funny smaller storyline involving one of the alpha males, Thor, who was never taught about colours as a child. What the film gets best, however is its cameos, as the funniest moments in the film were probably when Arrested Development’s Alia Shawkat and Parks and Recreation’s Aubrey Plaza popped up. I was tempted to scream, “Don’t go! Please don’t leave me with these characters!” when they appeared briefly on-screen but I managed to resist. I will also admit that, despite hating her character, Greta Gerwig was charming and enjoyable to watch, and I could definitely see her becoming the new queen of indie films (can this happen please? I’d rather watch her a million times over than Zooey Deschanel) if only people would stop casting her in rubbish films like 2011’s Arthur.

So what I’m trying to say is that overall, Damsels in Distress was a completely dull and underwhelming experience. Unless you enjoy being bored out of your skull for a few hours whilst waiting anxiously for SOMETHING to happen plotwise, all I can say is, avoid this film. Maybe I’m not Stillman’s target audience, but the urban haute bourgeoisie definitely do not appeal to me.

Grace Barber-Plentie

Field Day 2012 - Preview

On the second of July, Field Day returns to London's Victoria Park to bring out their usual eclectic line up. And the mixture of cult favourites with acclaimed modern acts is insanely good this year, with the likes of R. Stevie Moore, SBTRKT, Sleigh Bells, Liars, Franz Ferdinand, Austra, Metronomy and Peaking Lights playing, there's none short of constant entertainment.

But who do you choose to see when so many great artists are on offer?
Here's our tips of 5 acts you should definitely check out:

Grimes

Having produced one of the albums of the year, performed on Jools and even expanding to jewellery, launching a jewellery line with pussy rings, it's safe to say that Claire Boucher is having the best year. Having already put on a competition-only show for The Fly and about to play a sold out gig at XOYO this month, it's an understatement to say that she's been in demand lately. Whether she'll be performing solo or with her band, it's going to be something you definitely don't want to miss. 

Django Django

Although they've been around since the early days of 2009, Edinburgh based four-piece Django Django released their brilliant self-titled debut album back in late January. Although, don't expect live shows to sound the same as there are so many layers on the album that they can't even remember all of the instruments on it. Let's hope they at least play Default which still ceases to leave my head whenever I hear it. 

The Men

The Men's most recent album 'Open Your Heart' was an impressive tumult through a variety of genres. Everything from Classic Rock, to Punk to Country was taken on board and riffed out sonically to create a mind-blowing album from start to finish. With an already acclaimed energetic live show, The Men are sure to pack a punch at Field Day, likely drowning out all the other stages with the abrasive likes of 'Animal' and 'Ex-Dreams'.

Gold Panda

Since 2010's Lucky Shiner, Gold Panda has been keeping a relatively low profile, communicating through his Twitter, falsely proclaiming that he's been 'musically disappointing since 2008'. With this festival appearance and the emergence of new jam '4' recently, which he says he made in 10 mins whilst waiting to DJ, could this mean a new album is on the way? Perhaps this means Derwin will be playing some new material at Field Day.

Here We Go Magic

   Off the back of their recent album 'A Different Ship', the Nigel Godrich backed Here We Go Magic will take their live show to Victoria Park. Expect exquisite artistry from the off, this music is truly soundscapes to get lost in. Let's just hope their heartfelt paeans come across well above the other noisier stages (we do not want a Sleigh Bells / HWGM clash).

Buy tickets here: Seetickets
Ticketweb 
WeGotTickets 


 For more info go to:  http://www.fielddayfestivals.com/

 

Aurora Mitchell

Passion Pit - Take A Walk

It’s been three years but Passion Pit are finally back. The connoisseurs of sparkly electro pop have returned with ‘Take a Walk’, the first single from their soon to be released second album ‘Gossamer’ (July 23). ‘Take a Walk’ bids farewell to the falsetto vocals which Passion Pit used so well on debut album ‘Manners’ and it feels much more restrained than songs like ‘Little Secrets’ and ‘Sleepyhead’. But it’s undeniably them, as stomping percussion underlines a niggling synth line. If ‘Gossamer’ follows the same vein as this, Passion Pit are definitely going to come across far less niche than their first album made them seem. ‘Take a Walk’ isn’t half as exciting as most of the songs on ‘Manners’ but it’s at least nice to see them back.

Jessy Parker

The Cribs - In The Belly of the Brazen Bull

Cribs bassist/singer/brother/lover Gary Jarman revealed the reason why we have all been awaiting a new record from The Cribs for so long, ‘We have been waiting for the corporate indie ship to sink’ cries the joint frontman. And with that not looking likely any time soon, The Cribs are coming out swinging.

On their past 3 records, The Cribs have started off with a raucous number (‘We Were Aborted’ ‘Our Bovine Public’ and ‘Hey Scenesters’) Glitters Like Gold however takes you back into the early days of The Cribs with their blasé yet confident approach.

Come on, Be a No-One is the first official single off the album and immediately lets you know that the Jarmans are not messing around, with riffs that sound like they came straight from the grunge scene back in the early 90’s. One of the heaviest songs The Cribs have released to date, Come on, Be a No-One sets the tone wonderfully as the screeching guitars fade out and segue into Jaded Youth impeccably.

Another song we should have all heard by now – Chi Town, and as great as the song is, Chi Town feels out of place on this record as the rest of 'In the Belly of the Brazen Bull' flows together so well. You can’t help but feel this song would be better off as a b-side. The incredibly adorable Noisey kids described Chi Town better than most critics ever could: ‘Elephants like this because they can stomp, it’s quite stompy music.’

Back to the Bolthole is far different to anything The Cribs have done before, the slow build up to the sing-a-long chorus accompanying Ross’s military like drum beat let you know that this is a very special song indeed.

Most Cribs records have an acoustic number; ‘Haunted’ and ‘Shoot the Poets’ to name a couple, I Should Have Helped is ITBOTBBs acoustic number, slowing things down before Stalagmites brings the military-esque drum beats back with full effect.

The last 4 songs on ITBOTBB all merge together to create 11 minutes of brilliance. Self produced by the band at Abbey Road, The Cribs show that although they have roped in legendary producers such as Dave Fridmann and Steve Albini for this record, they can capture the band’s sound and progression just as well as the best of producers.

In The Belly of the Brazen Bull is by far the darkest and heaviest Cribs record to date, but also the most important. The Cribs have come to reclaim indie rock.


8.5


Aaron Lewins

Smoke Fairies - Blood Speaks

As the Smoke Faries' 'Blood Speaks' album opens, it sounds like Katherine Blaimire and Jessica Davies have managed to take Irish Celtic music and Pink Floyd and cook it up into one song. Intrigued? Perhaps you should be. After all, they were plenty talked about in the lead up to this years SXSW festival. An ideal album for spacing out to, as the gentle guitar is lullaby like. But that's not to say this album is background music; the lead singers voice is a unique beauty, raw and timeless.

The albums edgier tracks, 'Let Me Know' and 'The Three of Us' are ones to add to your driving play-list thanks to the cocktail of engaging lyrics, quirky choruses and an adequate dose of riffs. A personal favourite would be 'Take Me Down When You Go', as it is undoubtedly chilled yet I still want to dance to it (when I say dance I mean just waving my arms and bending my knees – it's one of the effects of the album.) Overall, the album sounds like sound track for looking out the window reminiscing, or similarly emotional activities.

6.0

Roisin Seaton

Little Comets - Live @ Scala 26/04/12

So it’s come to this. After years of promoting their debut album, Little Comets appear to be reaching the end of In Search Of…’s run. With the ‘Worry EP’ and the forthcoming ‘Jennifer and Other Short Stories EP’ added to their repertoire, it’s going to be another busy summer for the troupe, but thankfully not one riddled with mundane repetition.

Tonight sees them play their largest headline show in London to date at Kings Cross’ Scala and the devoted attendees tonight have sold out the 1000 capacity venue, and early too. The support act tonight are one mixed up in conflict with themselves. Whilst they may have come and gone in silence under a series of name changes (Big Sleep, Talkhouse, The Slowdown), the 1975 appear to be settled, signed (Dity Hits; General Fiasco, Little Comets) and ready to charge to the top. Songs such as The City and underground hit SEX prove that they’ve got an array of music with enough charm for the top and enough electricity to pull those heights off. Whilst the crowd may be unfamiliar with the band as a whole half hour performance, they’re willing to enjoy themselves and you’d be hard pressed not to in this atmosphere.

So it comes to Little Comets. The band who’s debut album’s singles collection stands up amongst even the toughest touring bands look like they’ve finally hit the big time here. Opening with EP track ‘Worry’, it’s clear that a large segment o of the faithful assembled this evening are completely on board regardless of what happens and when they throw the likes of ‘Adultery’ and jumpy ‘Waiting in the Shadows of the Night’’ together in their set. It’s a huge testament to the passion of both fans and band how well the night goes as even weaker songs on the record are sung by fans. Objectively, they may not sound great, possibly even in the shadows of Two Door Cinema Club still, but when the party that comes with ‘Dancing Song’ is unleashed with huge singalong track ‘One Night in October’, anyone starting to doubt becomes wrapped up in the infectious nature of Little Comets’ charm, if just for a few minutes. Of course, no LC would be complete without one girl, so ‘Joanna’ makes a standout performance in the Tynesider’s show. 

No matter what way you look at it, Little Comets are catchy and they’ve got enough material to demolish festival sets, but it’s not going to be until they’ve got a second album are they truly going to be able to conquer inside venues. Still, a valiant effort in London’s proving ground leaves those in the building happy so for now, that’ll do. 


Braden Fletcher

S. Carey - Hoyas

I'll get it out of the way at the start, Sean Carey plays in Bon Iver, and as such his new EP (and his debut album 'All We Grow' from 2010) sound a bit like Bon Iver. Echoey vocals, sparse music, and so forth. Infact, Hoyas was part produced by Justin Vernon. There is less of the classical elements found on his debut present here, favouring layered synth and vocal loops, reflecting the EP being recorded with "a lap-top and little else". Indeed, when 'real' instruments do appear they bring great contrast to the music. The guitar that cuts into 'Two Angles' half way through instantly brings new energy to the track.

The Bon Iver comparison really is too easy to draw, but it's also what you'd expect from a man who has spent the best part of the last year playing in Bon Iver. It is far more synth based than Bon Iver of course, the throbbing bass that opens 'Avalanche' sounds closer to a dark Postal Service than Bon Iver, it's also one of the strongest tracks of the year so far.

Hoyas comfortably retains the beauty created by the layering within All We Grow, but whilst that was an album for the summer, this is for travelling alone at early hours of the morning. At times the music is barely present, but S. Carey has found the perfect balance between sparse and too much happening. Beautiful stuff.

8.0

Sean Collison

Mowbird - Nannybird

More known as trashy skuzzy garage punk brats, Mowbird sit back and go alt for a short bit. This two-minute track - which sounds like a jolly mid-90s song from an early Saturday morning kids TV show on S4/C - was given away at their latest Wrexham show with Beach Skulls on the 26th of April. A one tracked CD, limited to eight, and the only information found is the word Nannybird, which is most likely a Welsh translation of their name (I mean, don't hold me to that, or nothin'). A simple, cute beat with a playschool-like keyboard flowering throughout the track, blanketed with a quite unusual, yet delightful sounding woman reciting some Welsh, turns out to be a disconcerting, yet rewarding combination.

I have included the song above for free download. Please, love each other and ride your bikes to far places listening to music like this. Also, the band are going to be playing Camden Crawl during early May (4th-7th), so if you happen to be going to it, do please show your beautiful spring faces and your tightly buttoned winter jackets. It's sure to be a lovely time had by all.

Eliot Humphreys

The Gaslight Anthem - 45

It is very hard to fault The Gaslight Anthem. Yes, they may not be the most musically innovative bunch (45 sounds possibly more like early Springsteen meets The Clash than they ever have), yes, a huge part of their sound is frontman Brian Fallon (you can’t imagine they’d be anywhere near as successful without him) but there is no denying they are very good at what they do.

With that in mind, new single (take from the bands 4th album, titled ‘Handwritten’ and due for release June 23rd) ’45’ is heart-on-sleeve punk rock infused Americana at it’s very very best. It sees the band reconnecting with their punk roots following the more “mainstream” feeling of American Slang, musically falling between their first two albums. Fallon is on top form as well. His vocals are fantastic as always, and his lyrics are excellent. Singing of moving on, “turning the record over”.

45 is 70’s punk rock ‘n’ roll for 2012. Yes, it’s not a “new” sound, but when it’s done this well it just doesn’t matter. One of the most exciting tracks of the year so far, but one of the worlds most exciting rock and roll bands. I’ve said it every year since The ’59 Sound, but if this isn’t their year I will be shocked.

Sean Collison