Wednesday, 29 October 2014

#381: My Scene: Israeli Punk w/ Zoo Harmonics

My Scene: Isreali Punk w/ Zoo Harmonics

This feature was originally written for Shout4Music. Click the link above to read in full.

#380: Catching Up With...Acre Tarn

Catching Up With...Acre Tarn

This feature was originally written for Artrocker. Click the link above to read in full.

#379: Joseph Coward - The World Famous Joseph Coward

Joseph Coward

The World Famous Joseph Coward

October 27 2014 (Stiffy Byng)


Born in Brentwood, Essex, Joseph Coward left both school and home in the space of a year, carving out an existence in London, attracted by the promise of a scene which never caught on. Now 22, Coward is on the cusp of releasing his debut album, the ironically egocentric 'The World Famous Joseph Coward'. “I have no interest in trying to be nice. My one interest in life is really being honest, that's the nature of my work as well”. And it shows.

Friday, 24 October 2014

#378: VEYU - VEYU (EP review)



November 3 2014 (Baltic)


It's as if these days, any band who's anyone has their own practice room / recording studio / installation space, from the Fat White's in London, to SWAYS Records' 'Bunker' in Salford. And the same can be said for Liverpool's VEYU, who procured their very own arts space, the fittingly named Fallout Factory. Fitting because the band recall mid-80s Manchester as much as they do the same era of their hometown; channelling the bands of Tony Wilson's now infamous label in equal parts to Liverpudlian heroes such as Echo and the Bunnymen.

Wednesday, 22 October 2014

Tuesday, 21 October 2014

#376: Catching Up With...Skinny Roller (U&I Music Magazine - October Issue)

Catching Up With...Skinny Roller

Image: Philip Howe Photography

This interview was orignally ran for U&I Music Magazine. Click here to read in full.

#375: Catching Up With...Slaves

Two-piece bands are popping up everywhere at the moment, the likes of The Black Keys and Royal Blood seemingly making the format in to a genre in its own right. Fortunately for the Kent-formed, London-based Slaves they’re shattering any preconceptions of how a duo should sound, sharing more in common with Manchester’s Brown Brogues than either of the aforementioned.*

With a blistering repertoire of tracks behind them, Isaac Holman and Laurie Vincent are managing to make a noise that would be impressive for even a full band. An acerbic vocal and blistering punk energy making for some of the snottiest garage rock around; the anarchic evisceration making it difficult to look away from.

New single ‘Hey‘ is no exception. Going straight for the juglar, the track is two-headed assault on the senses. Cataclysmic guitars wail along with the feedback they’re producing, encorporating it as if it were another instrument. Lyrically the track is a no holds barred stream of conciousness, “lacking in any direct message” but ultimately harbouring a violent psychosis that matches the danger of the music perfectly.

We caught up with the band just after the single’s release and asked them to tell us a bit about themselves.

*Interestingly enough, Brown Brogues have since added a bassist after hearing about two-piece being coined as a genre.

Hi guys, thanks for having a chat with us. First of all, who are you and how did you get together?

I’m Laurie. I am 21 a Capricorn and I play guitar in a rock boy group called slaves. The stars aligned and fate brought Isaac and I together very fortunately for us.

You’ve been described as a lot of things, noisy bastards being the most frequent. How would you describe Slaves’ sound?

Noisy gentlemen.

You’re new single ‘Hey’ is an anarchic, visceral affair. What’s it about, where did it come from?

It came from the sweatiest practice studio we have ever been in, a box about 10ft by 10ft wide and completely soundproofed with no ventilation. It could of come from our position trapped in there maybe.

Falling somewhere in between garage rock and hardcore, you’ve developed quite a punishing aesthetic. Who are some of your biggest influences? Do you associate more with garage rock or punk?

Baxter Dury, Mike Skinner, Damon Albarn and Eminem are all huge influences on both of us. We probably associate with neither genre that strongly but love bands and ideas from both. I feel defining your band by a genre instantly diminishes your potential audience. Why make it harder for your music to reach more people by calling yourself punk? That is also not very punk at all to call yourself punk. We don’t care for labels essentially, who needs them?

You’re supporting Jamie T. on his upcoming tour, what can we expect from your live shows and why should people make sure they get there early enough to see you?

We will probably ask you about your favourite biscuit or similar food types. It will be fun, we will have a right laugh basically. Who doesn’t want to enjoy themselves? That’s why they should come early enough.

Finally, any news or exclusives you’d like to give our audience?

I burst the blood vessels around my eyes for the second time in my life this morning. It was horrible. I’m not very good at being ill….I also got a really great kinder egg toy the other day and have attached a picture of it for the viewers. My girlfriend was a bit jealous I got a better toy than her. Leading all you readers to ponder on how shit kinder egg toys have got since we were kids….

Thank you for your time, my favourite biscuit at the moment is a foxes golden crunch cream.

Cheers guys.

#374: Two Weeks Running - Human Nature (EP review)

Two Weeks Running

Human Nature 

November 1 2014 (Martian Records)


Bolton will always be a town in the shadow of two things, Manchester, just ten miles southwest, and the portly waistline of perhaps its most famous export, Peter Kay. Fortunately for Two Weeks Running however, their sound is far sharper, angular and ultimately much more palatable than Kay's stand-up routines, proving that not all of Manchester's musical output emerges from the city centre. Having already found fans in the likes of Tom Robinson and XFM's John Kennedy, the band hit the ground, ahem, running, and haven't looked back since.

Saturday, 18 October 2014

#371: Introducing...Lovechilde

Brainchild of multi-instrumentalist Thomas Eliot Dodd and producer James Dashwood, Lovechilde are a genre-warping duo making post-punk at its most depraved and claustrophobic, whilst elements of motorik Krautrock, drone and tripped out electronica keep their sound from becoming too constricting. 

Thursday, 16 October 2014

Sunday, 12 October 2014

#369: Catching Up With...Frank Turner

Frank Turner is a man that divides opinion. For many, he's this generations answer to Billy Bragg; a folk-punk icon that has never strayed far from his roots. For others he's a strayed further than they would have liked, moving away from the hardcore of Million Dead in to something less angry though no less impassioned.

#368: Little Arrow - Furious Finite

Album Review: Little Arrow - Furious Finite (2014)

This review was originally written for Shout4Music. Click the link above. to read in full.

#367: Turning Plates - The Shouting Cave

Album Review: Turning Plates - The Shouting Cave (2014)

This review was originally written for Shout4Music. Click the link above to read in full.

Friday, 10 October 2014

#366: Gorgon City - Sirens

Me and house music don’t get on. I’m too pale to wear a vest, too sensible to get an undercut and to be quite honest the thought of going to a club that plays it fills me with the kind dread experienced only on the few occasions I tried to navigate a student party whilst at uni. I even tried to see Disclosure at Leeds Festival, on the promise that they would be a highlight. Truth be told the crowd was horrible, the sound was horrible and no amount of intoxication would make me endure that again. Though this isn’t the fault of house music (or any of its more radio-friendly variations), you can’t blame a genre for the fact a vast majority of its fans fall somewhere between Jay from The Inbetweeners and Bernard Manning, and it’s for that reason that I went in to Gorgon City‘s debut with an open mind, if not somewhat low expectations.

#365: ETCHES - Ice Cream Dream Machine (single review)

Single Review: ETCHES - Ice Cream Dream Machine

This review was originally written for Shout4Music. Click the link above to read in full.

Thursday, 9 October 2014

Wednesday, 8 October 2014

#363: Catching Up With...ENSH

Catching Up With...ENSH

This feature was originally for Shout4Music. Click the link above to read in full

#362: Lupa-J - The Seed (EP review)

Lupa J

The Seed

September 18 2014 (Digital)


Having a background in more traditionalist or classical forms of music isn't really necessary in this day and age, especially when the loose and clattering garage rock of the likes of Royal Blood is viewed with the esteem it is. This matters not to Sydney's Lupa J however, who in 12 months has broken free of her orchestral chrysalis, spread her wings and emerged with a repertoire of icy, Grimes-inspired electronica; harbouring an inherent darkness which suggests a maturity beyond her years. Did we mention she was just 16?