Having only seen Sleaford Mods' live show once before, and at a questionable festival of psychedelia at that, the prospect of seeing them on their own tour is an exciting one. Rarely has a modern band polarised audiences to such an extent, though given the Mods' propensity for telling it like it is, for drawing attention to an ever-widening class divide, that shouldn't come as a surprise.
Wednesday, 2 November 2016
Tuesday, 18 October 2016
As ska-punk stalwarts Less Than Jake prepare to head out on their Fuelling the Fire tour, we caught up with guitarist/vocalist Chris DeMake, while sax player JR provided us with a Top Ten bands he thinks everyone should check out.
Having spent the majority of their career epitomising punk’s live fast, die young ideology, it comes as somewhat of a surprise that the latest record from Los Angeles’ NOFX is underpinned, not by an anarchic sense of debauchery, but a prevailing maturity and, dare we say it, sobriety.
Arguably one of Britain’s most divisive bands, Sleaford Mods have been painting portraits of a broken Britain since their inception in 2007. Combining minimal electronica with inventive expletives and astute social commentary, the duo manage to turn imagery that would otherwise feel depressing and downtrodden into something humorous and often painfully familiar.
When Die Antwoord emerged from the darkest reaches of Johannesburg in 2009, no-one could have predicted the phenomenon they’d become. Embodying the Zef culture (think South African chav, or white trash) of their home-town, the trio possessed an underdog quality, an us-against-the-world mentality that was both endearing and admirable.
While two-piece bands aren't quite as innovative as they once were thanks to the rise of acts such as Royal Blood or Drenge, the scrappy garage-pop of Billingham's Mouses feels like a breath of fresh air when lumped in amongst such luminaries.
Monday, 26 September 2016
Where Leeds was once a bastion for a more alternative North, recent years have seen the festival diversify to such an extent that it now feels like a very different event from that of a few years ago. This isn't to the festivals detriment of course, times and tastes change and companies (such as Festival Republic) have to adapt.