Gig Review – At The Drive-In @ O2 Academy, Newcastle (10/03/2018)

Overdue, my first blog post of the year; and seemingly, it coincides with pretty much my first proper gig I’ve been to this year – At The Drive-In and respectfully, Death From Above, live from Newcastle’s O2 Academy.

The support’s support band (if you will), Le Butcherettes, provided us with some early Mexican garage punk. Frontwoman, Teri Gender Bender (interesting), hurled herself around on stage to the sound of synthy beats and lashing guitars. It was passionate and enticing, and a good start to the evening.

Not long after that, everybody’s favourite Canadian noise-rock duo, Death From Above (formerly known as Death From Above 1979 of course), checked themselves into the toon with a brilliantly concise and equally raucous set. Lauching with ‘Nomad’, the two-piece then rattle through a career-spanning back catalogue, with drummer and vocalist Grainger, officially deeming the North-East’s most populated city as ‘Grainger Town’. The Geordies took to this well and thus enjoyed some silky moves from the singer (when he wasn’t behind the drumkit), accompanied only by Keeler’s exceptional bass effects. I was also teased horribly at one stage when ‘Turn It Out’ had what felt like a ten-minute intro. This is normally a two and a half minute anthem that I’m used to just bouncing my way through.

Regardless, they were fantastic and now I was pumped for At The Drive-In.

At around half past nine, the five-piece stroll onto stage and within seconds of the first bleeding chords of ‘Arcarsenal’ piercing through the monitors, the crowd goes crazy. 2017 album, ‘In*ter*a*li*a’ gets a good plugging with the likes of ‘No Wolf Like The Present’ and ‘Hostage Stamps’ being early additions in the set. All the while, Bixler-Zavala’s iconic on-stage, never-ending generator of steam kettle feeds his tea addiction and is an immediate eye-clincher for everyone involved.

Most well-known track, ‘One Armed Scissor’ is introduced as a song about ‘spacemen’ and is met with a rapturous moshpit. The relentless noise is the most impressive aspect of At The Drive-In’s live performance as the energy levels are maintained by Rodriguez-Lopez’s screechy guitar yelping and the rhythm section’s tight playing. The atmosphere becomes a lot more balladry before pelting renditions of ‘Quarantined’ and ‘Governed By Contagions’ are punched in the guts of the loyal fans in the Newcastle crowd.

The bass amp is then left unkept for a good few minutes pre-encore as an ear-damaging sound rings through the O2. This is only seen to by the crew before the band return for a massive live version of ‘Pattern Against User’. The whole crowd sing the chorus back with all their hearts and it rounds off a top night at a great venue. All in all, great show.

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Posted by on March 12, 2018 in Uncategorized


My Top 10 Albums Of 2017

Better late than never, I welcome you all to my annual list. Always much too overthought, overwritten and over-analysed. Well, this year is no exception.

Royal Blood, Lorde, Alt-J, Arcade Fire, The Horrors and Everything Everything have all been sacrificed in order to compile this top ten list. Baring in mind that those are some of my favourite bands in this day and age, if not ever, some VERY difficult decisions have been made.

However, as always, it’s not about the bands or the names, it’s about praising the bodies of work and stunning records that have been released in the last twelve months, so let’s crack on with it, shall we?


10) The War On Drugs – ‘A Deeper Understanding’

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At Number 10, to kick things off, we have the gorgeous and lucid tones of Adam Granduciel’s The War On Drugs with their fourth effort, ‘A Deeper Understanding’. Massively Springsteen-ified as is the norm with the six-piece, this record was always going to be following in the shadow of the hugely successful, ‘Lost In The Dream’ from 2014.

Saying that though, the Philadelphians stick to their guns and produce what is an impressive listen. The early tracks, including ‘Pain’ and ‘Holding On’ sound anthemic and connective. They’re ‘morning songs’ as I like to call them. The ‘evening songs’ come in later on and personal favourite of mine is ‘Thinking Of A Place’. Eleven minutes long, the mammoth track opens with spellbound synths and draws in lush acoustics. It’s a song and an album in general that you can get insanely lost in.

Nominated for a Grammy award, it quite frankly deserves the accolade. ‘A Deeper Understanding’ I most certainly understand, it’s a beauty.



9) Queens Of The Stone Age – ‘Villains’

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Here ya go then, potentially the coolest band on the list in at Number 9. What a rollercoaster few years Josh Homme and Dean Fertita have had since releasing the seminal, ‘…Like Clockwork’ back in 2013. Endless touring, massively rewarding project with punk hero that is Iggy Pop and not to mention the support and courage that had to be maintained with friends and from-time-to-time bandmates, Eagles Of Death Metal after the unforgettable tragedy in Paris from a couple of years back.

All has led to releasing this fantastically flawless seventh LP, ‘Villains’. Soused with swagger, ooze and slick songwriting, Josh Homme and co. create their most brash and haunting effort to date. Opening track, ‘Feet Don’t Fail Me’ launches into a driving riff after a drawn-out build-up and you feel that the lyrics, ‘when the needle hit the groove, I commenced moving’ paves the way for the remainder of the record. We go clubbing with QOTSA in lead single, ‘The Way You Used To Do’, then mosh with them throughout frantic ‘Head Like A Haunted House’. ‘Xana-dos and xana don’ts’ is a bonkers lyric on that track, fitting for a bonkers but brilliant set of musicians.

The rest of the album is a forceful slap in the face and concludes another fine album from a band still heavily in the shadow of Foo Fighters in the rock-sphere. Michael Eavis, make the right choice for 2019. QOTSA rule!



8) The Amazons – ‘The Amazons’

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Reading born and bred, the Amazons clock in at Number 8 with their fast-paced, chorus-screaming, gut-wrenching collection of songs from their self-titled debut album. And I tell you what, I’m gonna have a rant now – (overdue, I know).

How ON EARTH has this not been included in any end-of-year lists that I’ve come across so far? Please link me to some if anyone knows as I’d be interested to see but I’m honestly amazed that it hasn’t. Here is a great indie-rock album designed for youngsters with songs about life, love, relationships, boozing, drinking, loneliness, work, enjoying yourself, not enjoying yourself so much etc etc. It’s everything that a young band starting out from sunny Berkshire SHOULD be singing about. Cliche some might say? Not at all. When the songs are this good, this rehearsed and well-performed, it doesn’t matter.

‘In My Mind’, ‘Junk Food Forever’, ‘Stay With Me’, ‘Black Magic’ and ‘Ultraviolet’ are all anthems in their own right. ‘Something In The Water’ and ‘Little Something’ both punch you where it hurts and are pulsating live. The Amazons are a young band with awesome ambition and talent. Massively underrated album in 2017.



7) The xx – ‘I See You’

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Fine, like a lip-licking bottle of red, the wonderful xx leaped back into our stereos after a five-year break in January and released their new style-shaping third album, ‘I See You’.

This was pretty much the first record I fell in love with this year and I’m actually glad they took a hiatus after much touring, more spotlight than desired and more accolades than expected. Of course, Jamie ‘xx’, the producer, the brains behind the operation and the bloke who stands at the back with a drum machine and a couple of cymbals gave the world, ‘In Colour’, which made it onto my annual list in 2015 at Number Seven. This was hailed as a clean, mature club record, littered with samples, loops and collaborations; something The xx are not known for as such.

Well, the tables have turned. ‘I See You’ sees the London three-piece still delivering their sombre and unique performance style on tracks such as ‘Replica’ and ‘Brave For You’, but entering the club also. Opening track, ‘Dangerous’ presses play on the LP with a looped saxophone that intertwines quite sexily with Croft’s and Sim’s on-point vocals. Not to mention lead single, ‘On Hold’, one of the tracks of 2017, where samples are stacked and layered perfectly for the built-up chorus to form an iconic pop song.

Experiencing this live, with the sun coming down over Worthy Farm at Glastonbury on a warm Friday night in June was certainly a live highlight of mine this year. The xx, take more breaks, ’cause this album is bloody brilliant.



6) Sampha – ‘Process’

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This man. Oh, what a man. Most definitely in my top ten favourite human beings in Britain, Sampha Sisay, AKA Sampha, finally unveiled his long-awaited solo debut record back in February, and to much, much acclaim.

When I heard this for the first time in its entirety, I thought this was it, this is the best we’re gonna get this year. Of course, that wasn’t to be the case, but I guess it goes to show how desperate I and others were to hear what the Londoner had to offer on his own.

‘Process’ is a heartbreaking album in a way, written subsequently and inspired by the sad passing of Sampha’s mother. ‘No one knows me like the piano in my mother’s home’ speaks for itself and the song not only becomes one of Sampha’s most popular, but is a beautiful anthem of 2017. He performed it twice at the Mercury Music Prize award ceremony in September after deservedly scooping home the renowned title. There’s no doubt that it’s gone on to be a very special song for people listening all around the world.

Aside from this, the instrumentation and accompaniment on ‘Process’ is certainly something to revel at. Every synth, keyboard, drum beat and layered vocal is explored on this forty-minute classic. The songwriting is second to none and Sampha has no intentions on stopping following the remarkable success of his debut effort. Most recently, he’s been contributing vocals for musical project, Everything Is Recorded but personally, I’m looking forward to this ‘difficult’ second album he’ll be writing and recording with a little help from his Mercury cash win. Difficult second album? My arse.



5) Loyle Carner – ‘Yesterday’s Gone’

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Another family moment now, with 23 year-old Ben Coyle-Larner, doing what probably isn’t rock-n-roll in the slightest, by asking his own Mum to write and record a poem about her son’s early childhood. This would eventually feature on ‘Sun Of Jean’, the closing track on this stand-out, honest, bloomin’ fantastic debut album, ‘Yesterday’s Gone’.

Named after his late Dad’s long-lost recording, ‘Yesterday’s Gone’ is one of the most down-to-earth, laid-bare, slick collection of tracks from a young British hip-hop artist you’re going to hear this decade. With rhymes and bars flowing out the South Londoner like the Thames on tap, this album was one of the firm favourites to win the Mercury Music Prize, only to be succeeded by Sampha of course, as mentioned above. Tracks such as ‘Ain’t Nothing Changed’, ‘Stars And Shards’ and ‘No CD’, take it ‘back to basics’ as best mate, Rebel Kleff raps on the latter track. The hip-hop format is simple, yet so unique. ‘She could be my little freckled-face fidgeter’ on ‘Florence’ is one of the many creatively poetic lyrics that feature on the album, and show a real wordsmith in the making. Carner is a massive talent, one we must treasure and one we must support. Real bright future ahead.



4) Kendrick Lamar – ‘DAMN.’

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What can I say? This man is just a genius. You think Mr Kendrick Lamar can’t possibly can’t get any better, then he releases ‘DAMN’. Damn.

Insanely critically acclaimed, award nomination after accolade, this double platinum album is one of the most decorated of 2017, having also featured on most magazines’ end-of-year lists, normally at Number 1.

Concerning underlying themes of success, angst, self-deprecation, love and friendship, as well as certain digs at the US media; ‘DAMN’ is already regarded as a rap classic, hip-hop royalty. And I can tell you, it really does deserve all the praise it gets, because it is remarkable. ‘HUMBLE’ hears Lamar going playful, with an awesome looping beat that gets stuck in your brain like the most brilliant, annoying song there’s ever been. ‘I am so fuckin’ sick and tired of the photoshop’ is an acapella lyric that will be screamed back at gigs and festivals in the UK next year. ‘DNA’ is the most frenetic, frantic, flustered rap song there’s been in years. It must’ve been a bitch to master, the vocals are layered to perfection and the production is outstanding.

There is also the small matter of this being a concept album to an extent, with Kendrick coming out after the record’s release and claiming that it can be listened to backwards as well as forwards. Last track, ‘DUCKWORTH’ includes a reverse scenario, which takes you all the way back to the start of the album in a matter of seconds. It all makes perfect sense when you’ve listened to the LP numerous times. ‘DAMN’ is a truly fascinating body of work, inside and out. I’d argue it’s a game-changer.

The only reason ‘DAMN’ hasn’t made it to the top spot is honestly because the next three albums mean more to me personally as we’ll digest. But seriously, if it was scored on delivery, performance and creative ideas, Kendrick would be at Number 1. No question.



3) Wolf Alice – ‘Visions Of A Life’

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YES. The saviours of UK indie in the 21st Century were back with a bang this year, releasing the apparently difficult second album, ‘Visions Of A Life’, which followed the huge success of debut effort, ‘My Love Is Cool’ in 2015.

Difficult it obviously wasn’t, ‘Visions Of A Life’ is a masterclass in how to write and record a range of contrasting guitar-based songs with a 2017 twist. Frenzied, feverish second track, ‘Yuk Foo’ is born out of lead singer, Ellie Rowsell’s low self-esteem and no-bullshit attitude. She screams, ‘Am I a bitch to not like you anymore’. The track and album in general also feels like a political and social stance, with Wolf Alice paving the way for young people in politics in 2017, standing against the powers that be for equality, women’s rights and an end to xenophobia.

The tracks that follow are expertly diverse. ‘Beautifully Unconventional’ is a cracking little conventional indie-pop song. ‘Don’t Delete The Kisses’ is a heart-throbbing smoocher, while ‘Formidable Cool’ is sexy, suave and forceful, all at once. Rowsell also gets angry again – screeching, ‘But that’s all he fucking did, when he fucked you on the floor’. Album finale and title track, ‘Visions Of A Life’ was described as a ‘7-minute odyssey’ in a radio interview by the band prior to the album’s release. It strikes as a rock escapade and is a groundbreaking track to polish off any LP. I saw them perform all these songs recently in November on their UK tour and they really are an animal live. The student crowd in Leeds worshipped them, as did I.

There’s been talk this year that Wolf Alice are possibly the most important band in this country at the moment. Whether that’s true or not, I can’t say, but I will say that one day they WILL headline Glastonbury, they WILL win more awards and they WILL release even more amazing music. They’re special.



2) LCD Soundsystem – ‘American Dream’

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In as the runner-up and after seven stupidly long years without a new album, it’s visionary, James Murphy and his LCD Soundsystem crew – AKA, one of the best bands EVER (in my humble opinion – better known as one of my favourite bands ever).

For myself, ‘American Dream’ came with a lot of anticipation. Murphy has worked with Bowie (God rest his soul) and produced an Arcade Fire double-album between this record and third effort, ‘This Is Happening’. As well as this, the band have been touring and playing festivals, performing the cult-favourites that their fans adore. This fourth release felt like a very significant one and as soon as I heard ‘Call The Police’ and ‘American Dream’ come out as a double A-side, I knew it was going to be something extraordinary. Both tracks build to a glorious showdown, one after the other, and it’s Vintage LCD.

The band have also kept up with the times. Coming straight out of Trump’s new-found America, Murphy wails on ‘Call The Police’, ‘Oh there’s a full blown rebellion, but your easy to confuse, by trigger kids and fakers and some questionable views’. Politically charged, with their own individual, electronic-indie instrumentation style; there’s also an honest and relatable feel to the record. ‘Change Your Mind’ hears Murphy go into his shell and unveil how he’s been for the last seven years. With projects galore and pressure always mounting, he’s the face of LCD and softly sings, ‘I ain’t seen anyone for days, I still have yet to leave the bed’.

Generally, LCD Soundsystem are always raising the bar and questioning other musicians. ‘Emotional Haircut’ is a stab at musical perfection and is most likely my favourite track of the year. The last one minute and twenty seconds lollop into a moshpit frenzy and the volume can’t help but be increased. ‘American Dream’ is a masterpiece, the North American scum ain’t going anywhere anytime soon.



1) – The Big Moon – ‘Love In The 4th Dimension’

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❤ ❤ <3. Our Number 1 album, my album of 2017 is The Big Moon’s indie-infectious ‘Love In The 4th Dimension’. What a pleasure it is to finally write that. Some of you may have read my post on ‘Girl Power’ from a while back, where I was praising female-fronted bands, The Big Moon being at the top of that list. Well, that was at the time when I literally, physically could not stop listening to this album.

I discovered it late on after the release back in April and ultimately when the Mercury Prize decided to offer it a well-deserved nomination. What can I say? It may be a surprise to some people, it’s a surprise to me really that this has topped the lot, but the fact is, it’s a fantastically raw, brash debut LP from a tight four-piece. Reminiscent of the ’90’s, the album speaks to me and many others in a way that no other record has this year. Similar to The Amazons thematically, songs about love, lust, friendship, having a good time and fakeness all appear on this quick-fire, forty-minute shell-shocker. ‘And I don’t remember bringing in the new year’ illustrates the band’s solidarity on ‘Happy New Year’, while ‘The End’ hears lead singer, Juliette Jackson squeal, ‘I’m melting over you’ above crashing drums and guitars, a moment that gives me goosebumps every single time without fail as it reverberates through my stereo.

They feel like songs that should have written years ago, defining their personable relation. And truth be told, I’ve had a funny old year, personally and socially, full of massive highs and lows and massive ups and downs. This is the record that’s stayed with me through everything and I want to thank The Big Moon for that. They’re not breaking records like Ed Sheeran, they’re not headlining festivals like him either, they’re not setting the world alight, but they have released a debut album that is as good as any, and means so much to me in particular. There honestly hasn’t been a record that’s pounded me in the face like this in years. So thank you, The Big Moon. Thank you so bloody much.



Well, that’s it for another year. What an exceptional year it’s been for music. 2018 really will have to pull its socks up if its to match or even beat the delights of 2017. I for one am really looking forward to hearing what the next twelve months has to offer.

Anywho, at the time of writing this, it’s New Year’s Eve, so I hope everyone enjoys themselves, however they choose to celebrate. As long as you’re listening to good music in the company of good mates, that’s all that matters. The simple things in life, eh?


Nice one, cheers for reading. J x

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Posted by on December 31, 2017 in Uncategorized


Gig Review – Wolf Alice @ O2 Academy, Leeds (18/11/2017)

Hey-up, happy Sunday!

I’m currently sat here on a chilly Sunday afternoon, still exhausted from the mania that was Wolf Alice at Leeds O2 Academy last night. Do see gig review below:

So I wander into this lovely little O2 venue, one that does well to support new bands and established bands also, at around 6:20 and catch the majority of Superfood’s set. They’re a bit of a hipster outfit, very B-town – something that I feel even as a 23 year-old, I’m a tad too old for… or maybe that was because I was surrounded by 17 year-olds and students. Who knows. Anyway, they were a bit out there with their indie-funk influences and were a decent enough start to the evening.

Then about half an hour after they’d left the stage, Sunflower Bean from NYC stroll on and kick into some killer Southern rock jams, as well as reliving a couple of solid tracks from last year’s ‘Human Ceremony’ LP. I was especially impressed by Nick Kivlen’s guitar playing. The guitar itself resonated a slick sound and all-in-all it was a tight performance from one of the best support bands I’ve seen in a good while.

The crowd of course start piling in before Wolf Alice arrive on stage and the place gets typically warmer. The lights goes down and on come Ellie, Joff, Joel and Theo. The band launch into the first few chords of hazy opening track from ‘Visions Of A Life’, ‘Heavenward’. After that you are immediately launched into Wolf Alice’s world, and it’s just wonderful. There is no break in between opening track and the frenetic ‘Yuk Foo’. The kids go mental and I quickly become a sweaty mess.

After a little tribute to the debut album with a run-through of ‘You’re A Germ’ and ‘Your Loves Whore’, arguably the most fabulous moment of the evening comes early in the set when a sparkly disco ball makes itself known above us alongside a gorgeous rendition of ‘Don’t Delete The Kisses’. Ellie’s now top-quality vocals shine through and it’s a highlight of the set.

The rest of the set pre-encore is a 50/50 mixed bag of tracks from the first two records, with ‘Silk’ reminding me of ‘T2 Trainspotting’ I re-watched a night prior to the gig. It must be stapled in the band’s set now following the significant feature in the film’s soundtrack. ‘Formidable Cool’ is also a personal best bit for me, its sickly swagger bleeds through the O2’s floorboards and sounds bloody awesome.

After promoting the new album with blasts through of ‘Planet Hunter’, ‘Beautifully Unconventional’, ‘Sadboy’ and ‘Space & Time’ (much to everyone’s pleasure), fan-favourite oldie, ‘Moaning Lisa Smile’ draws the biggest moshpit of the night and I notice a kid missing his trainer, frantically searching the dark ground of feet and over-priced spilt beer, with only his Iphone torch for help.

Someone eventually returns the shoe to this grateful chap and Wolf Alice reach the end of their first set with the insanely exhilarating ‘Fluffy’. This is pretty much my favourite WA song and I go positively apeshit. It’s amazing.

After a little breather, the band return to the stage with the smooth, dreamy ‘Blush’. By this point the crowd are heavily anticipating hearing ‘Giant Peach’ then buggering off to grab some water to hydrate themselves with. Joff Oddie’s technically gifted guitar-playing throughout the duration of the set has been second to none and his passionate on-stage tendencies are synonymous with gig closer ‘Giant Peach’. The place erupts and everyone slumps out onto the streets of Leeds City Centre, knackered.

So yeah, there you have it. If you’re going to any of the remaining shows on Wolf Alice’s UK tour this month, including the massive date at London’s Ally Pally, make sure to have a cracking time and enjoy it. It’s a gig you won’t forget for a while, from a band who are swiftly becoming the most relevant and important band in Britain. Cheers for reading.


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Posted by on November 19, 2017 in Uncategorized


Girl Power

Coming to the end of the year now and it seems to me that 2018 may be the year that the women finally blow up and come into the mainstream on festival line-ups, album charts and maybe even TV events.

There’s been a lot of moaning in the media in the last eighteen months or so concerning the lack of female bands/female-fronted bands on festival line-ups particularly, with the Reading and Leeds festivals this year shedding limelight on only half a dozen (tops) girl bands over the main stages the whole weekend.

This doesn’t look good for the festival organisers, as the ideology in this liberal age is for everything, from the Cabinet to the Festival Republic stage to be absolutely 100% equal, 50/50. This is difficult in music festival terms, as your big names (Foo Fighters, Green Day, Kasabian, Arctic Monkeys etc) are all men. It seems to be getting increasingly harder for girl bands to break through and reach the headline status that maybe some deserve.

However, it may be due to the global success of Adele, Beyonce and Tay-Tay, or the cult sensations of Warpaint, Savages and Wolf Alice’s Ellie Rowsell (had to mention her of course), but there does appear to be a notable influx in girl bands. Black Honey, Dream Wife, Pale Waves, Bloxx and The Big Moon are all female-fronted at least and are breaking through at speed. The Big Moon especially have captured people’s ears and released one of the best debut albums of the year in April with ‘Love In The 4th Dimension’.

All have been touring hard, whilst prolifically releasing DIY-type music – to hopefully re-invigorate a generation of punk rockers in the UK.

Watch out 2018, the girls are back in town.

Ciao for now.

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Posted by on November 16, 2017 in Uncategorized


Why Live Lounge Month 2017 Is The Best Live Lounge Month Yet

Aaah, September. Big month, September. School starts again, first dashes of Autumn and of course, Live Lounge Month on Radio 1.

The last one there probably doesn’t relate to as many people’s lives as the others do but hey, it does mean something to the dedicated listeners of BBC Radio 1 – some of whom may have been listening since Day One, way back in 1967.

And that very anniversary is getting brilliantly celebrated this month through the medium of the ever-so intimate Radio 1 Live Lounge, these days curated by bubbly mid-morning presenter, Clara Amfo.

All bands and artists selected this month are asked to play their new single, an older classic of theirs and a cover of a popular track from the last fifty years. This, as you can imagine, opens up many doors indeed.

We’ve had The Foo Fighters unleash the almighty power of rock with an AC/DC cover from their LA studios, The Killers blend 2017 single, ‘The Man’ with Bowie classic, ‘Fame’, (mainly due to the not too dissimilar beat and time signature) and Wolf Alice beautifully deliver a haunting rendition of Green Day sing-along, ‘Good Riddance (Time Of Your Life)’.

As well as excellent Live Lounges from Radio 1 favourites, The xx and Stormzy; we’re sure there’ll be plenty more to enjoy before the end of the month is upon us.

Now, gotta go and catch up. Jay-Z’s to watch. Na-nite.

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Posted by on September 25, 2017 in Uncategorized


Two Of The Best With Two Of The Best

Good afternoon, happy Saturday!

So you always get those times in a calendar year where no good albums at all come out, and then you get those times where so many great, brilliant records come out and you’re absolutely bombarded! The latter is definitely happening at the moment in music I feel, not forgetting also that we are building up to the winner of this year’s prestigious Mercury Music prize being announced.

We start with Queens of the Stone Age. Coolest rock band on the planet? Possibly behind Foo Fighters you may argue. Anyway, they’ve just released their seventh studio album titled ‘Villains’. There’s no doubt that it would have taken a massive record with many top quality songs to even be spoken in the same breath as sixth colossus, ‘…Like Clockwork’, but it’s certainly up there.

Smooth, silky, sexy, even boppy to some degree; ‘Villains’ is full of heavy guitar-driven behemoths of songs such as ‘The Evil Has Landed’ and ‘Domesticated Animals’. Synths are even included, as lead single ‘The Way You Used To Do’ fuses Californian distortion with drops of electro. The whole record is dark, but also feel-good. Really great listen.

Secondly, we come to one of my favourite bands, currently and of all time; LCD Soundsystem. ‘American Dream’ has only been in stores for around twenty-eight hours at the time of writing this blog post. It’s been purchased and I’m listening to it right now. Wow, it is phenomenal. I’m probably biased because I adore all the albums and still to this day they hold a top five place in my best gigs ever – but it’s fantastic.

With so much inspiration from 70’s and 80’s retro groups and electro, James Murphy has planned and tirelessly worked hard on every track. He’s documented some of the production of the album on social media and you can really sense that LCD have gone back to some of their roots from the self-titled debut era. ‘Tonite’ must be a throwback to old-school funk-soul electronica. ‘Emotional Haircut’ is loud, bombastic and barbaric, similar to how ‘Movement’ was on the debut; and it doesn’t matter how long closer ‘Black Screen’ may be, it’s hypnotic and scintillating.

This is a band whose musicianship is hugely underrated in my opinion, and are live performers like no other. Every album is a masterpiece, ‘American Dream’ being the latest to the collection.

Cheers, have a great weekend. Keep listening!

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Posted by on September 2, 2017 in Uncategorized


The Weekly Escape

Evening all.

So as I wrote about a few weeks ago now, I’m officially ‘back behind the mic’. I’ve started presenting and producing a regular music show once more on my local community radio station, Sine FM, (Sundays at 6pm if you’re interested).

I wanted to start doing the show for a variety of reasons:

  1. I’ve missed radio. It’s been a year since I did some hospital radio, that which I didn’t get much out of, and it hooks you in once you’re into the routine. You start listening to more radio in general, especially the station you’re part of. It’s like a family you don’t see much at all, but you know you’re all part of the same fish tank so to speak, it’s literally got community written all over it.
  2. I need it for the CV. After doing a degree in Radio Production, you really would think that I may have found a job in radio, but as of yet I haven’t (typically in this day and age). Therefore, I figured I’d need to have something written on the CV so as to make me look interested still, which of course I very much am. SOMEONE EMPLOY ME.
  3. Lastly, it’s something to look forward to every weekend. Sometimes when you’re in a job, you have weekends where you just really can’t be arsed because you’re so tired and you lounge around watching sitcoms and eating doritos… (remind you of anyone?) I desperately try to utilise my weekends anyway and I knew that this show would give me something to strive towards every week, even if it is just an hour on air, playing music, with only potentially a few listeners. That’s something I can happily accept, because it makes me feel great. At the moment, I feel like I’m reaching a crossroads in my personal and social life, and this show and what comes with it is the beautiful form of escapism I crave for weekly. I know from now on in that I’ll just be looking forward to Sunday at 6. I’m able to play the music I’m listening to and enjoying, to people whom will appreciate it and support my passion. What can’t you love about that?


Anyway, I don’t mean to go deep, but it happens sometimes. Cheers for reading. Joe x

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Posted by on July 16, 2017 in Uncategorized