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Great Danes and Nordic talent shine at Roskilde, Northern Europe’s biggest music festival

A festival review I wrote in summer 2017 for The Line of Best Fit. See it on their website here.

All photography by Kimberley Ross

The 47th edition of the non-profit festival showcased a host of Nordic acts alongside global big-hitters. We give you the lowdown on how we survived and who we caught this year.

Roskilde's lineup is typically very diverse, proven yet again this year with 183 acts of countless genres appearing across 9 stages all-in-all. Foo Fighters, Arcade Fire, Royal Blood and Father John Misty gave crowds at the iconic Orange Stage their fundamental arm-swaying mass festival sing-a-longs. Lorde, The Weeknd and Solange injected some polished pop into the weekend while Young M.A, Gucci Mane, Princess Nokia and Ice Cube represented intergenerational rap. As would be expected, Roskilde always has a strong showcase of Nordic acts (almost 40% of all acts, in fact), with Sigrid and Icona Pop drawing huge crowds, as well as home-grown Danish talent in the form of Emil Stabil and Trentemøller.

How does Roskilde Festival work?

Early every summer, the small harbour city of Roskilde plays host to a non-profit, carbon-conscious, community-focused festival. The population of the festival - 130,000 - would make it the fourth largest city in Denmark for the eight day event. The 'core' festival events take place across the latter part of the week from Wednesday evening to Saturday night, with the first half of the festival showcasing rising stars, newcomers and DJ sets across three of its smaller stages. Acts start from midday and last until past 3am.

Getting around at Roskilde

The festival site is a huge 80 hectares - think a slightly smaller Glastonbury - so don your wellies and get ready for a fair bit of walking. It's just south of the centre of the harbour city of Roskilde, so shops, museums, public transport and general civilisation are close by. Not that you'll need to leave the festival site: it's essentially a small city with a pharmacy, library, supermarket, laundromat and pretty much everything else you'll need. The official Roskilde Festival app means you'll always have a map and showtimes at hand, and notifies you of any last-minute stage or time changes.
Being a tourist in Denmark

You'll no doubt be travelling through Copenhagen on your route to and from Roskilde, which offers the perfect opportunity to explore the city's world-renowned new Nordic cuisine, stunning royal palaces, Lego-esque Nyhavn port, freetown Christiania and Danish design boutiques. If you're in a fragile post-festival haze and just need some good hygge, you can still low-key immerse yourself in Copenhagen's culture by weighing in on various smørrebrød toppings and some innovative hair-of-the-dog Mikkeller beers. Oh, and the Little Mermaid statue is possibly one of the most overrated tourist attractions in Europe.

The food at Roskilde

This year, the 145 food stalls on site used over 90% organic produce. While this is quite amazing to us Brits, Copenhageners are slightly more accustomed to organic food as the norm, as it makes up three quarters of the food served in the city's public institutions. The buzz of the festival's food scene this year was the Crick'it stand: the brainchild of Danish food entrepreneurs who see high-protein, near-carbon-neutral bugs as the future of eco-friendly nutrition. Cricket pesto, moth larvae mayo and 15 cricket lemonade (does what it says on the tin) were on the menu for the festival's notoriously open-minded punters. Gorm's freshly baked gourmet pizza, burritos, Thai street food, falafel plates and so many other world cuisines were on offer for those who prefer their food fly-free.

Our tips for surviving at Roskilde in 2018

The campsites are the best places to find a party after the live music stops (or any time really!), and Dream City encapsulates the festival's renowned 'orange feeling'. It's where festival-goers create themed camp communities and neighbourhoods with unique activities such as Quidditch tournaments at Camp Harry Potter, glitter wrestling at the LGBTQ Unicorny Camp, and a hog roast at the Amish camp. There's also the hugely popular annual naked race around Dream City on Saturday every year which is absolutely worth a watch. Elsewhere, the Art Zone is where international artists create and display their work, Rising City hosts engaging talks and events, the new KlubRÅ area holds secret DJ sets, and you can watch or partake in some basketball, skateboarding or BMXing at Street City. Oh, and the Danish are among the tallest people in the world, so if you're vertically challenged, make sure you make it early to your favourite sets to secure a good spot.

Is Denmark expensive?

There's no beating about the bush - Denmark is pricey. It isn't on the euro, but the krone (crown). Roskilde Festival was cashless this year, with all stalls instead accepting plastic or the festival's cash card system, where cash is loaded onto a contactless card and topped up when needed. This is an absolute blessing if you get a fee every time you use your bank card in a foreign country, and means no waiting in ATM queues or coins weighing you down for the whole festival. It's possible to eat for cheap at Roskilde too: some food stands offer filling meals for 50 krone (about £6), but if you're on a tight budget it's a good idea to bring some of your own snacks and booze. Volunteering at Roskilde is a sociable and cost-effective way to go on a shoestring. The 32,000 volunteers each year are hugely valued and are at the heart of the whole festival's operation, and get a free ticket in return for a few shifts.

How do I get to Roskilde Festival?

Roskilde is handily just 20 miles west of Copenhagen, which is unsurprisingly really easy and quite cheap to fly to from many cities around the UK and around the world. From the airport it's just a quick train to the centre of Copenhagen, another to the city of Roskilde, then you have a choice of either the frequent shuttlebuses or a train to take you straight to the site. There'll be plenty of orange-clad volunteers around at Roskilde station to ask for help. In general, if you get lost or you're unsure, the festival and its location is really well-known around Copenhagen. Pretty much everyone in Denmark speaks incredibly good English and typically are really nice people, so ask away.

Where can I stay at Roskilde Festival?

The festival has a lot of space for campers, and camping is included in the full ticket. You can choose where you lay your tent depending on the vibe you want: from 'silent and clean' camping for a good night's sleep, to the party epicentre of Dream City. Roskilde also offers pre-pitched tents for an extra fee if you're travelling far and don't want the faff of bringing a tent.

Who we saw this year...

Angel Olsen

Topping everyone's list of must-sees at Roskilde, Olsen brought her sarcastic wit and Dolly Parton vibrato to a huge crowd at Roskilde. Her stunning warbling vocals have been lent to Bonnie "Prince" Billy records - but with two solo albums under her belt released through Jagjaguwar and with her suited-up band and chic mini-dress, her festival sets this year are proving how much she's settling into her distinct style and persona.

Alex Cameron

If you heard that Alex Cameron's high-concept stage persona is that of a failing entertainer, it's hard not to think up some sort of Alan Partridge-esque character. When you see that the whole band is sporting high-waisted '90s jeans, it's even more of a stubborn preconception to bust. But his aesthetic and awkward dance moves work in a symbiotic way with his effortless breathy vocals and endearing conversation between songs ("It's important to keep hydrated. Make sure you drink lots of water, guys"). Signed to Secretly Canadian, the Australian's live set is steeped in dejection and defeat with a vein of facetiousness running throughout ('there's this woman on the internet/even if she's just some Nigerian guy'). The dark and arty Gloria stage suited his set perfectly, and his performance of the gloomy, minimal "She Takes Care of Business" was goosebump-inducing.

Jagwar Ma

It was a seriously tough set time for Jagwar Ma, clashing with both Foo Fighters and Lorde, but the rag-tag bunch who showed up at the intimate Avalon tent were treated to the Aussie trio's woozy vibes, synth loops and jangly guitars. The Brian Wilson-esque vocals of "Come Save Me" brought the sing-a-long that was made for uplifting the moods of a tent full of damp, cold Danes. The set delved through their contemporary psychedelia and Madchester-influenced electro, at one point morphing into a beat that was so Underworld, I thought singer Gabriel Winterfield would burst into 'lager lager lager.'

Princess Nokia

“I’m a shape-shifting bitch,” Princess Nokia snarls in "Brujas", proving this as she bounced between rapping and singing skilfully: rap-goddess one moment and rock star stage presence the next as she crowdsurfed and spurred an unexpected mosh pit at the Apollo stage. 25-year-old Destiny Frasqueri, AKA Princess Nokia is establishing herself as a champion of the NYC underground rap scene, independently self-releasing her EP and mixtapes.

Solange

Without doubt the slickest set to materialise in Roskilde, Solange and her band were placed there on a velvet cushion by the same angelic being that created the celestial four-part harmonies in "Cranes in the Sky". The sleek yet subtle full-band dance routines, matching pillar-box red outfits and minimal, polished pop tunes soothed away any delicate heads from the night before.

Sigrid

Despite her early set time, Sigrid drew the crowds for her sprightly Scandi-pop ditties, and wins the title of looking the most genuinely chuffed to play Roskilde. At the tender age of 20, the Norwegian has already had huge success with "Don’t Kill My Vibe", and with her endearingly youthful pop and pure voice, there’s a lot more to come from Sigrid.

Icona Pop

Roskilde has seen them through since the beginning, hosting the peppy Swedish twosome on the up-and-coming talent stage back in 2012 before their huge breakthrough hit with Charli XCX on "I Love It", and support slots with pop giants such as Katy Perry and One Direction. Icona Pop injected the perfect amount of energy into a tricky 2am slot, with the crowds singing along to what was basically the story of a lot of their Roskilde experiences (treating weekdays like the weekend, drunken nights, blurred memories and cracked phone screens, likely from the one million litres of beer consumed at the festival).

Mammút

The Icelandic five-piece’s chilling art-rock soundscape suited the Danish weather on Friday at the Pavilion stage. They were showcasing a change in pace with their first English-speaking album, Kinder Versions. With her strong-yet-breathy vocals, it’s no surprise that Mammút's lead singer Kata is the daughter of a former Björk-bandmate, but she took surprising turns to more animalistic and guttural sounds on songs like "Walls".

Priests

Walking onto the Pavilion stage looking like Dolly Parton in an all-white ensemble involving cowboy boots and a fringed jacket doesn’t seem very DC punk, but as soon as lead singer Katie Alice Greer shouted the politically-charged opening bars alongside prickly rockabilly guitar riffs, it became clear the playful all-American aesthetic has much darker and more topical undertones. Priests are true to their DIY ethic, having released their debut LP Nothing Feels Natural on their self-run label Sister Polygon Records.

Roskilde 2018 will take place from 30 June - 7 July 2018 and tickets will be on sale in the Autumn from roskilde-festival.dk

Ten acts you can’t miss at Roskilde 2017

Written in summer 2017 for The Line of Best Fit - view it on their website here.

Just west of Copenhagen, the Danish city of Roskilde hosts its eponymous 47th festival this weekend

The 130,000 punters in attendance will be treated to a truly global pick of 180 music acts from 32 countries at the entirely non-profit event. Big-hitters including Foo Fighters, Arcade Fire, Justice and The XX head up the weekend's bill, and they're just the tip of the multi-genre iceberg.

Among the Nordic talents and established acts joining international giants across nine stages, here are our tips for the best sets to catch this year.

aYia

The dark wave electro trio native to Reykjavik is signed to Iceland's prominent Bedroom Community label. Fronted by poet Ásta Fanney Sigurðardóttir and her haunting vocals, their set is bound to be filled with mysterious synths and hushed tones. Catch them on Thursday at 8pm on the Gloria stage.

Icona Pop

Since Roskilde showcased the Swedish pop duo back in 2012 on their up-and-coming talent stage, Icona Pop's major breakthrough came with their collaboration with Charli XCX on 'I Love It'. The chart-topping single catapulted them into pop's elite echelons, having held support slots for Katy Perry, One Direction and Miley Cyrus. They can also cite Barack Obama as a fan. Head to the Arena stage on Friday at 2am and you never know, you might see him there.

Young M.A

The 24-year-old Brooklyn MC is taking over the US rap scene with her brash bars. An independent artist since self-funding her own recording studio with local record producers, her RIAA two times Multi-Platinum Award record 'OOOUUU' has been remixed by Nicki Minaj, The Game and ASAP Ferg. Keep your fingers crossed you'll catch her freestyling or rapping a cappella at the Apollo stage on Wednesday at 5:15pm.

Jagwar Ma

Bringing their contemporary take on psychedelia to Roskilde, we can't wait to catch the Australian trio's woozy vocals, jangly guitars and synth pop loops. Whatever the Danish weather brings, Jagwar Ma will deliver a glimpse of Aussie sunshine to their set on Friday at 11pm on the Avalon stage.

Mammút

The Icelandic five-piece recently released their third album, Kinder Versions, although it was their debut in English language after signing with Bella Union. With their shimmering, shapeshifting rock numbers, it isn't a surprise to learn that Mammút's singer Katat is the daughter of a Birgir Mogensen, a former bandmate of Björk in her pre-Sugarcubes incarnation KUKL - See them on Friday at 8:15pm at the Pavilion stage.

Lorde

The Grammy-winning New Zealander just released her second album, Melodrama, which she co-produced and co-wrote, four years after her debut. Taylor Swift's new best pal puts a darker spin on traditional pop with her lyrics often critiquing mainstream culture. Her festival season included huge stages at Glastonbury and Coachella, so snap up the chance to see her on Friday night at 11:30pm on the Arena stage.

Emil Stabil

A stand-out of Roskilde's showcase of the Nordic countries' vibrant hip hop and rap scene is platinum-selling Danish rapper Emil Stabil. He launched into SoundCloud fame in 2014 and has since started up his own hip hop label, Lil Label, as part of a collective. Emil is becoming renowned for his charisma on stage, and joining him on Saturday at 2pm on the Arena stage will be an array of guests including Norwegian trap duo $ushi x Kobe, Estonian rapper Tommy Cash and Dutch rap sensation Lil’ Kleine.

Angel Olsen

Olsen has lent her mesmerising vocals to Bonnie "Prince" Billy records before releasing two solo albums through Jagjaguwar. Her love of "very dingy sounding things" and sarcastic wit perfectly balances out her ethereal tone and Dolly Parton-esque controlled vibrato warble. Her full-band show is on Friday on the Avalon stage at 5pm.

Princess Nokia

Taking over Europe's festival circuit by way of the NYC underground, Princess Nokia is 25-year-old Destiny Frasqueri. The multifaceted DIY rapper and singer has two mixtapes and an EP under her belt, as well as hosting a podcast, Smart Girl Radio, which she calls a 'safe space for wonderful women'. See her on Thursday at 2:15am at the Pavilion stage.

Alex Cameron

Signed to Secretly Canadian, the high-concept Australian explores underachievement through layering his artistic 'failing entertainer' persona with vintage synth and electronic drum beats. After witnessing his stage shows and aesthetic, it should come as no surprise that he was discovered in a club owned by David Lynch. Catch his unmissable 80s Bowie-era moves on Friday at 6:30pm on the Gloria stage.

Find out more at roskilde.de

Top 10 Record Store Day 2015 Releases for Amazing Radio

http://amazingradio.com/home/must-have-purchases

Record Store Day – Must Have Purchases

Thursday, April 16th, 2015

Saturday 18th April marks the 8th annual Record Store Day, when independently owned record stores up and down the country come together with artists and labels to celebrate music. Exclusive vinyl releases and rarities will be released on the day, and we asked Olivia Swash to pick out 10 essential purchases.

1. SENSIBLE RECORD LABELS (Compilation) by Various Artists

This corker of a compilation is a ten-part collaborative effort from the UK’s best indie labels. From FatCat to Bella Union and Alcopop!, ten labels at the forefront of new music have offered up never-before-heard exclusives from their rosters to create this extra special limited release. The likes of Alvvays, Joanna Gruesome and Menace Beach grace each of the 500 unique colour-splattered LPs, along with a download card featuring hundreds more songs. At just a tenner, this is an unmissable RSD bargain!

2. HONEYBLOOD – No Big Deal/The Black Cloud

This double A-side 7″ from the Glaswegian duo is brimming with jangly riffs with a fuzzy, grungy sound. Both songs have a more energetic buzz than their debut album,  was released last summer. Watch Honeyblood in session for Amazing Afternoons

3. COURTNEY BARNETT – Sometimes I Sit and Think, and Sometimes I Just Sit

A new addition to the RSD list, Courtney Barnett’s fantastically witty, debut album, perfectly showcases her introspective story-telling and observational humour. You’ll no doubt recognise her Aussie drawl and distorted guitars from Pedestrian at Best along with ten other tracks all packaged neatly into a double LP on orange heavyweight vinyl.

4. SHURA – Indecision (Jungle Remix)

One of Amazing Radio’s tips for 2015, Shura has handed over her breathy synth-pop singleIndecision to funk giants Jungle. The product of such a pairing could only create something brilliant. The catchy melody is enhanced by touches of Jungle’s signature bass and riffs thatNile Rodgers would be proud of. This heavyweight 12″ also has Shura’s original version on the B side.

5. DENAI MOORE – Blame

After we tipped her for 2014, Denai has spent the past year making a name for herself having played our stage at The Great Escape and releasing her Saudade EP. Blame is a heart-wrenching track with stunning harmonies showing Moore’s maturity beyond her young age. The release is a blue coloured 12″ with a Mr Mitch Remix on the flip side.

6. THE WYTCHES & HOOTON TENNIS CLUB – Wastybois/Barstool Blues

Heavenly Recordings bring us this gem of a split double A side, with Amazing Radiofavourites The Wytches putting their dark surf-psych to 7″. Label-mates Hooton Tennis Club’s slack-rock cover of Neil Young’s Barstool Blues is on the flip side.

7. RUN THE JEWELS - Bust No Moves E.P.

Also known as El-P and Killer Mike, the US hip hop duo release a four track picture disk featuring the unreleased Bust No Moves featuring SL Jones,Pew Pew Pew (European edition of their self-titled debut album), Love Again (second album) andBlockbuster Night Pt. 2: a bonus track from Run the Jewels 2 Feat. Despot and Wiki.

8. FIELD MUSIC – Music For Drifters

Mercury Prize nominated brothers Peter and David Brewis bring to the table a cinematic score composed to accompany Scottish filmmaker John Grierson’s pioneering 1929 silent film Drifters, which followed fishermen in the harsh conditions of the North Sea. The concept was originally commissioned by Berwick Film & Media Arts Festival a couple of years back, and audiences can soon experience the accompaniment to the documentary live in cinemas around the UK. Alternatively just pop on this silver coloured LP and let Field Music’s two sides of rhythmic instrumental wash over you.

9. JAGAARA – In The Dark

London based Jagaara offer up this brand new track on black 7″, with the haunting vocals of sisters Ruth, Jane and Cat echoing Kate Bush. The B side is a remix of the stunningHeartbeats by Edwin from Foals.

10. SLOW CLUB – I Swam Out To Greet You

We’ve supported Slow Club since the very beginning, and following the success of their album Complete Surrender last summer, we’re eager to hear that Sheffield duo Rebecca Taylor and Charles Watson are releasing a collection of exclusive covers put to 12″ black vinyl. We’re most excited for their interpretations of Pulp’s Disco 2000; The Eagles Desperado and Future Islands Seasons (Waiting on You).

Let us know your Record Store Day finds on Twitter or Facebook

Words: Olivia Swash

Interviewed: J Mascis

http://narcmagazine.com/interview-j-mascis/

NARC. magazine December '14
The lead singer of Dinosaur Jr., renowned as being one of the most difficult interviewees in the music industry, speaks surprisingly openly to Olivia Swash about spiritual tourism, punk and embarking upon another solo album

He reunited The Stooges, turned down Kurt Cobain's offer to join Nirvana and has topped countless 'best guitarist of all time' lists - but J Mascis' notoriously indifferent interview etiquette had my expectations set low for any elaborate rock anecdotes. Hearing his signature passive drawl down the phone from Arizona describing the weather as he clinks a spoon in his teacup, I can't help but warm to him. With some of the most influential alternative output of the late 80s and early 90s, Dinosaur Jr.'s effortlessly melodic noise-rock is what J Mascis has been best known for throughout his three decades creating music. "We captured something at the right moment in time, when it was right for all of us," he says of the band's ability to stand the test of time. "We made a good record, which is the main thing." Why he's talking in the singular is a mystery, as this modestly indicated "good record" could be referring to any one of the band's ten studio albums.

Despite his prodigious regard as a guitarist, J's preferred instrument is the noble drum kit. Like Iggy Pop (J names The Stooges as one of the best bands of all time), he cut his teeth as a drummer and meandered over to guitar and vocals later in his musical career. "I used to play along to records I liked and wanted to try and sound like, but I started out in a jazz orchestra in high school," he says, explaining that it helps to learn different drumming styles aside from his beloved punk. "I saw Buddy Rich when I was 12. I know a lot of [drumming techniques] have been taken from jazz." His competitive side ekes out slightly when I ask him about whether he sees it as meditative or cathartic: "I guess it can be, but I've always thought of it as more like a sport - I always want to go faster!"

J grew up engrossed in the surge of hardcore punk bands thrashing their way out of Washington, D.C. in the 80s, with seminal independent labels giving rise to a generation of aggressive, chaotic punk with a DIY ethic. "That was my youth," he says of the roster of Dischord Records, co-founded by members of Minor Threat, as well as SST Records whom later released some of Dinosaur Jr.'s earlier albums and singles. As a voracious collector of hardcore records as well as having been label buddies with Black Flag, Sonic Youth and Husker Du on SST, J recently contributed to the new crowd-funded D.C.-orientated documentary 'Salad Days: The Birth of Punk in the Nation's Capital'. "It was cool," he says of his involvement, and sees crowd-funding as an inevitable direction for music and film-making. "It works pretty well. You're doing it with the help of other people - I think we'll have to get used to that."

J found inspiration to reunite Dinosaur Jr. in 2005 after observing the consistent post-punk triumphs of Mission of Burma: a band who've persisted with their sound and improved with age. After all, growing older doesn't necessarily mean getting rusty at the hinges. With his back-catalogue forays ranging from doom metal to psychedelic instrumental, I wondered whether J saw experimenting with sounds and styles as a vital way of evolving as a musician, or if it's fine to stick to your strengths. "Whatever seems to be good in the moment," he says, evoking Dinosaur Jr.'s 'Whatever's Cool With Me' bulldog EP cover in my head, "so either way, as long as it's not just playing something for the sake of sounding different," - something which he then admits he has, at times, been prone to doing. He puts this down to luck: his particular musical experimentations have worked well with what he was creating at the time. "Everything lined up right," he assures.

On the contrary, there seems to be a naturally-occurring mellowing process transforming leading figures from the 80s post-punk and noise scene into seasoned, sensitive artists in recent years compared to their respectively vigorous adolescent careers. Take Thurston Moore's haunting solo records, Henry Rollins' wizened spoken-word tours and Nick Cave's stunningly revealing 20,000 Days documentary as prime examples. With a softer, dulcet vibe on J Mascis' new solo album 'Tied to a Star' as well as on his 2011 effort 'Several Shades of Why', J sees himself heading the same way both in his music and otherwise. "Yeah I've definitely mellowed out," he tells me, epitomising his statement in his trademark chilled intonation. Does he prefer it that way? "Well other people like it better for sure - people I know!" With 9-year-old Rory back home in Amherst, Massachusetts, he also sees becoming a father as a contributing factor in changes he's gone through as a musician, "I'm not sure how exactly. It's probably just the sleep deprivation!"

With minimal percussion and twinkly acoustic guitars, 'Tied to a Star' is a doe-eyed baby Diplodocus to the ferocious T-Rex of Dinosaur Jr.'s early output. 'Every Morning' is a fresh-faced ditty comparable to Karen O and The Kids' soundtrack to Where The Wild Things Are. Chan Marshall of Cat Power appears on 'Wide Awake', which has lullaby-gentle melodies with a tinge of J's trademark guitar feedback. "I looked at the songs and the parts separately and thought about who specifically would be good to get on board," J says on choosing album collaborators - but was there anyone he approached who turned him down? "Um, Sharon Van Etten... She was just busy."

J is an avid TV aficionado, having popped up on screen in weird and wonderful roles with bit-parts in a 'Battle of the Gentle Bands' sketch in hipster-mocking comedy Portlandia and as a janitor in Richard Ayoade's film The Double. I wondered if he had any more cameos on the cards. "Nothing's certain but I'm always happy to do TV, so maybe," he says. On tips for boxsets to watch on chilly winter evenings, he tells me, "I watch so much TV! At the moment I'm into Nashville, Sons of Anarchy, and Veronica Mars - which I'd never seen until recently."

As a practising Hindu, meditation and spirituality have long been a part of J Mascis' life. "It's not that easy to choose and I didn't know from the start," he says on deciding upon a faith to follow. "Some people know right away, and some like to try out everything. I guess it's a matter of settling on whatever you choose rather than shopping around and being a spiritual tourist!" His integrity is endearing, and he seems to have a staunch sense of identity despite his life choices not necessarily being considered very rock n roll. Having been heavily inspired by the straight edge ethos of hardcore bands such as Minor Threat in the 80s, J Mascis chose a drug-and-drink-free lifestyle from a young age. "Peer pressure is always around," he tells me, "I wasn't gonna succumb to it... I think just do whatever you want." Pure wisdom.

'Tied to a Star' is out now on Sub Pop Records
J Mascis plays The Cluny, Newcastle on 18th January 2015

Review: Glass Animals for Amazing Radio

Live Review: Glass Animals

http://amazingradio.com/home/live-review-glass-animals

Amazing Radio favourites Glass Animals swung by Newcastle last week on the Northern leg of their headline tour, but not before popping into Amazing Towers to speak to Amazing Afternoons with Greg Porter. As one of the first bands to be signed to Grammy award-winning producer Paul Epworth’s Wolf Tone label, we’ll go out on a limb and pre-empt that Glass Animals‘ debut album Zaba will reap the benefits of Epworth’s midas touch before festival season is up. He’s previously cast his spell on records by Adele, Florence and The Machine and Paul McCartney to name a few.

The album’s primitive sounds are delicately translated onstage by Glass Animals‘ four members: the warming ripples of clunky synth and chilling lilt of Dave Bayley‘s breathy vocals paint a tropical forest ambience. Dave’s leafy t-shirt even subtly echoed Zaba‘s Henri Rousseau like artwork. The jungle-esque sound bites and ultrasonic whistles during Exxus could have the potential to be gimmicky, but whether it’s the result of Epworth’s production or the evident creativity of the band, the other-worldly sound is perfect for live performances.

Andy Sheppard – Getty Images

The band’s stage presence is without fuss: there are no charming anecdotes or insincere compliments about the city. Dave transforms from his polite and unassuming interview manner a few hours previous to a self-possessed and utterly pitch-perfect frontman, with a voice I’d wrongly assumed was the result of layers of production. Drummer Joe’s use of the loop pedal to create the tribal multi-layered percussion on the Amazing Radio playlisted track Pools was stunning, an upbeat contrast to the hypnotic harmonies of the chilling Psylla, leading into the nonsensical ditties and groovy squeaks of this year’s earlier single Gooey.

Glass Animals have drawn fairly universal comparisons to Wild Beasts, Alt-J and earlyRadiohead, (they played their first gig at The Jericho Tavern in Oxford, the same place asRadiohead did in ’86) presumably owing to their inventive synth-backed arrangements. It’s the enticing early noughties RnB sound of Black Mambo which unveils yet more diverse influence, weaving a seductive undertone throughout.

The only disappointment was that the setlist didn’t include their Kanye West cover of Love Lockdown, which they treated the BBC Introducing stage to at Glastonbury Festival last week. With Zaba under their belts and some incredibly strong singles and EPs, they’ll be creeping up towards the main stages by this time next year. Catch them at Bestival,Latitude, Beacons and Knee Deep as well as on an extensive North American tour. Full details can be found on their website.

Review: Communion New Faces Tour

Communion New Faces Tour: Luke Sital-Singh, Eliza and The Bear, Farewell J.R, Annie Eve

03/03/14 @ Cluny 2, Newcastle
NARC. May 2014

The fresh-faced offerings from the London-based Communion label graced the Cluny 2 as part of their national tour as four fledgling beacons for new music. The evening peaked early with Annie Eve's silky smooth tones and Farewell J.R's weave of ethereal layers and folky vocals before the commercially-friendly Eliza and The Bear hopped, skipped and jumped into Lumineers-esque fist-pumping choruses fated for festival singalongs. The sprightly fivesome will undoubtedly be appearing on the soundtrack of every festival montage VT this summer.

Having been longlisted for BBC's Sound of 2014 accolade, my expectations of Luke Sital-Singh as headliner were high. His faultless vocal ability seemed almost mismatched to the predictable, repetitive lyrics of his self-penned anthems. I couldn't help but compare the overly sentimental choruses of 'Greatest Lovers' and 'Nothing Stays The Same' to something which could easily be scattered in gold confetti and revealed as the American Idol winner's song. The well-spoken young singer-songwriter had perfected the inter-song audience patter, and with his closed-eyed catchy ballads I have no doubt he'll be the next Ben Howard or Benjamin Francis Leftwich, but his candid tunes are bordering on cheesy pop which needs to make like a cheddar and mature.

Interviewed: Television

Tom Verlaine, frontman of 70s New York punk heroes Television speaks to Olivia Swash in a rare interview speaking about Marquee Moon, the CBGB days and their long-awaited new album

In the mid seventies, the UK's punk scene was brimming with leather-clad three-chord punk bands: boys with PVA'd mohicans grasping the opportunity to vent their teen angst. What resulted was the unrefined, stripped-back sound of Sex Pistols, X-Ray Spex and The Clash. Meanwhile, across the pond in New York City, the DIY ethic was trickling into the underground clubs and Ramones, Blondie, Talking Heads and the Patti Smith Group were establishing a punk scene circulating around the then-little-known CBGB club in Lower Manhattan.

A fresh-faced Tom Verlaine, having changed his name to echo his love of French symbolist poetry, along with teen friend and bassist Richard Hell, drummer Billy Ficca and guitarist/co-songwriter Richard Lloyd, was giving rise to an altogether more grown-up breed of punk. Despite the perceived golden age of the New York punk scene, with various homage-paying souvenir shop spin-offs, photographic exhibitions and emotive documentaries about all things CBGB, Tom doesn't recall it with the same rose-tinted nostalgia. "To be honest there's not a lot of memories about that spot," he says of the club. "I don't run into any of the people that played there, but I do still see Patti Smith now and then." Verlaine and Smith dated in the seventies, and have collaborated on many singles, albums and performances since. "A few weeks ago I did a mostly poetry show with her. No drums, just guitar and her daughter on keyboards. Very fun!"

Television used their vast musical proficiency to create one of the most universally critically acclaimed New Wave records of all time. Since its release in 1977, Marquee Moon has seemed to teeter in the shadow of the "mainstream" punk albums, if that isn't too much of an oxymoron. Television linger in an ever-so-slightly subterranean pocket of bands that don't make it onto anarchistic TV montages and market stall T-shirt stands alongside their safety-pinned peers. Dee Dee Ramone famously failed in an audition for Television, and whilst the punk scene was oozing with fast-paced and simplistic rock, Television were set apart with their accomplished interweaving guitars. The lingering and convoluted yet incredibly catchy ditties of 'See No Evil', 'Venus' and 'Marquee Moon' set against Verlaine's distinctive warble almost seem to occupy countless 'Best Album of All Time' lists, including my own. "It seems to get rediscovered by a new generation every ten years or so," Tom tells me. "That's kinda cool."

The band's sporadic worldwide comebacks are perhaps one of the factors that keep new audiences educated: this year's tour is one of a few for Television since their split in 1978. Most notably the band reunited in 1992, sticking to a pact they made upon their initial disbandment to do just that. With it came their self-titled third album, the first since Adventure in 1978. This time around is set to be perhaps the most exciting resurgence yet, with the band performing Marquee Moon in full at the last ever ATP weekender. The Sage in Gateshead is one of just three other of their UK tour dates, where Verlaine and co. are set to perform a career-spanning set along with new guitarist Jimmy Rip. "He's the same fellow who did all my solo tours since 1981, so it was real easy to get Television shows going," says Tom. "We'd done quite a few [Television songs] on the solo tours." Television may not have been a constant presence in the industry, but the members of the band have, in between the resurgences, devoted their careers to music. "I also did a duet tour with Jimmy of Japan in 2011. Small seated venues - very non-'rock' you might say," Tom says modestly. "I could actually hear my voice on stage! Shocking!" Having played Japan with the full band already this year, he tells me that it's one of his favourite places to play. "No one videos the shows on their phones. They just like listening so it is a very good audience to play to, to improvise to."

Perhaps we can expect to hear a rare preview of their anticipated new album, which has been suspended in an enigmatic state of "in the pipeline" for years, almost on the scale of Guns N' Roses' Chinese Democracy. So what's the latest? "We've got about 12 tracks recorded for the new release. I'm not sure when they will be finished..." Tom tells me uncertainly. Although it seems their upcoming album and previously released material is just the tip of their surprisingly prolific iceberg. "Over the years a great many songs got rehearsed and maybe played twice, but never recorded," he says. "Once in a while we pull one out and play it live - that's fun." He assures me, unnecessarily, that "they sound better now!"

Although Verlaine's memories of the New York New Wave don't evoke the emotive, closely-knit heyday that punk fans, documentary makers and music journalists idealise, this perhaps reflects the music of Television. They weren't preoccupied with looking the part or stirring up mainstream culture with anti-establishment stunts, instead they had plenty of substance: accessible yet encompassing the DIY values of punk. Even if it was onlyMarquee Moon that filtered through to the (almost) mainstream, that's one almighty stamp on one of the biggest genres of the 20th century.

Review: NME Awards Tour 2013

NARC. Issue #82, March 2013

NME Awards Tour: Django Django, Miles Kane, Palma Violets, Peace
@ O2 Academy, Newcastle (07.02.13)

With a mixed offering of the hyped, the blogged and Miles Kane, the good folk at NME kicked off their annual showcase in Newcastle once more back in early February. In previous years the tour has helped to launch artists such as Coldplay, Florence and The Machine and Arctic Monkeys to (arguably) legendary status, and with guitar bands taking the forefront this year without a token dash of Magnetic Man or Azealia Banks of yore, perhaps we'll be seeing 2013 as a year for the indie rock set-up.

Opening the tour was Peace, a Birmingham four-piece with vivacious summery anthems undoubtedly set to become a vital soundtrack for any dreamy montage this festival season. South London's Palma Violets followed, making up with their energy and catchy riffs what they lacked in originality, taking more than a hint of inspiration from The Clash and The Libertines in their sound and stage presence.

A sea of primarily Paul Weller haircuts muscled their way to the front for Miles Kane: Last Shadow Puppet and lad-rock hero. Resembling a double-leather-wearing excitable baby monkey, he sailed through crowd-pleasing hits 'Inhaler' and 'Rearrange' with more of an endearing charm than his usual likenesses of the Gallaghers and pal Alex Turner.

The anticipated act of the night was the Mercury Prize-nominated headliners Django Django, emerging to a Kraftwerk-reminiscent stage set-up in self-designed matching shirts. Their stunningly tight dweeb-barbershop harmonies complemented beachy guitar riffs and dramatic African inspired synth effects, 'Default' stepping up as the song of the night.

Review: We Are Augustines

We Are Augustines @ O2 Academy 2, Newcastle (05.10.12)

“Join a band, it’s the best fucking thing in the world,” bellows Billy McCarthy, lead singer of Brookyln-based We Are Augustines and leading contender for the most considerate frontman of the decade. In between his endearing deluge of thanks, he wins over the crowd with small talk about Newcy Brown (“wow so it actually comes from here?!”). As an audience, we seem all too accustomed to shelling out with the expectation of diva-ish, unappreciative bands, and it’s a heartening change to witness a group of guys doing something they evidently love, and with it expressing genuine gratitude to every single sweat-drenched, devoted ticket-payer in the packed full venue.

They’ve experienced their fair share of lows: following Billy’s schizophrenic brother tragically committing suicide came the demise of previous band Pela. After McCarthy reunited with Pela bassist Eric Sanderson, We Are Augustines rose from the ashes, earning themselves a rapidly flourishing following fuelled by their rocky road. With the highly emotive anthems of debut album Rise Ye Sunken Ships under their belt, their live show brims with impassioned sing-alongs led by McCarthy’s grainy roar, ‘Book of James’ prompting crowd-wide accompaniments. The small, elongated venue was an odd match for these ballads, which seem fated to be met with pints in the air and teary eyes in stadium proportions. As the piano-led ‘Philadelphia (The City of Brotherly Love)’ started the encore, the audience were brought together in a state of optimistic bromance before the awaited ‘Chapel Song’, a mesmerising ditty with heaps of emotional baggage chronicled openly by Billy beforehand. With a refreshingly grateful outlook on their music, We Are Augustines are a thoroughly rewarding and inspiring band to catch live. As David Letterman put it when they performed on the Late Show, “life is an ocean and we are all ships, if your ship has sunk, don't despair, don't lose hope, rise ye sunken ships.”

Album Review: Pet Shop Boys

Living North: Issue 125

LISTEN UP: Pet Shop Boys - Elysium

One of the most successful duos in UK music history, Pet Shop Boys Neil Tennant and Chris Lowe present their eleventh album, marking over a quarter of a century since their debut, ‘Please’. Having sold over 100 million records since, the synth-pop pair continue with their unmistakably electronic sound in ‘Elysium’. A woozy, ethereal production is the crux of the record, matching its nomenclature of a mythical Greek paradise, whilst a mix of optimistic anthems and unambiguously bitter lyrics form clear-cut peaks and troughs in the mood. Elysium’s debut single ‘Winner’ was released in July to coincide with Olympic fever, their own anthem of positivity and cheer in anticipation of a successful closing ceremony performance of 1984 hit ‘West End Girls’.

With almost saccharine lyrics, ‘Winner’ is remarkably contrasted by the cynical assertions on ‘Ego Music’, a sardonic caricature of celebrity culture, whilst the self-deprecating ‘Your Early Stuff’ is a satirical observation of Pet Shop Boys’ persistence in the music industry. The album seems age-conscious throughout: ‘Invisible’ describes the anxieties of being forgotten after years as the ‘life and soul of the party’, whilst ‘Requiem in Denim and Leopard Skin’ brims with nostalgic flashbacks of a hedonistic heyday. North Shields-born Tennant met bandmate Lowe in a hi-fi shop in London before discovering their shared love of dance music, and four number one singles, 22 top ten hits and three Ivor Novello Awards later, the pair enter the UK top ten album charts once more. With sleek production from Kanye West producer Andrew Dawson, Elysium is set to become a classic.

Out now (Parlophone)

Review: St Vincent & David Byrne - Love This Giant

Living North: Issue 124

LOVE THIS GIANT - David Byrne & St. Vincent

It’s said that opposites attract, but the partnership of Talking Heads ex-frontman David Byrne and critically acclaimed singer songwriter Annie Clark, AKA St. Vincent, marries together their creative similarities and fortes. As the culmination of more than two years in the making, Clark’s dreamy, alluring vocals complement the gutsy tones of Byrne, his sound still unmistakeable from the huge new-wave hits Road to Nowhere and Once In A Lifetime of the early eighties. Offering inventive arrangements centered around a brass band rather than a typical rock ensemble, the record has a carnivalistic vibe with a vivacious afrobeat vein running throughout, exemplified by the vibrant Dinner For Two and The One Who Broke Your Heart.

Byrne offers stunning harmonisation with an unexpectedly grimy afrobeat on I Should Watch TV, whilst St. Vincent’s vocals are goosebump-inducing on Ice Age, a tranquil number contrasted by the buildup of a lo-fi rhythm. Since the culmination of Talking Heads in 1991, Scottish-born Byrne has been inducted into the prestigious Rock and Roll Hall of Fame and reveled in solo, theatrical, art and film projects, achieving an Oscar, a Golden Globe and a Grammy for his film compositions. Whilst 30 years his junior, Manhattan-based Clark has firmly established herself as a significant artist, working with Bon Iver, touring with Sufjan Stevens and releasing three solo albums, her most recent in 2011 - the particularly celebrated Strange Mercy. Filled with fluctuating narratives with moods of both zest and enigma, Love This Giant is anything but predictable, yet perfectly showcases the pair’s likeminded creativity. The opening track and lead single, Who, is currently available to download for free.

TheLineOfBestFit.com Review: Kate Bush - 50 Words For Snow

Kate Bush – 50 Words For Snow

by Olivia Swash on December 22, 2011 in Record Reviews

To deem the second installation of Kate Bush‘s 2011 comeback  a “Christmas album” would be more than a little off-target. Perhaps it’s Scrooge-like to deny its festive merit, but the seven-track collection is far from the novelty ‘I Wish It Could Be A Wombling Merry Christmas Every Day’ approach to a Christmas release. After all, there isn’t a jingle bell nor a flashing Santa hat in sight.

After Bush’s release of re-recordings earlier this year, 50 Words For Snow marks her tenth studio album after a six year hiatus. Whilst clearly standing its ground as a winter-influenced album, any of the more jovially twee aspects of the chilly months are firmly wrapped away. Every song, whether overtly or subtly, seems to tell a solemn tale with a lonely and melancholic ambiance running throughout. Nevertheless the record is anything but frigid; and drifts effortlessly in and out of a twinkly piano-based backdrop, its delicate vocals complemented by jazz-flecked drums.

Supporting vocals come from Kate’s son Albert “Bertie” on ‘Snowflake’, his celestially clear The Snowman-esque vocals contrasting with his mother’s breathy tones. Elton John and Stephen Fry also make foolproof cameos in ‘Snowed In at Wheeler Street’ and ’50 Words for Snow’ respectively; although the latter does come across as a little too predictable. Although comfortable on a bed of tribal beats, the track simply does what it says on the tin and little more. Ranging from the ordinary (“white-out”) to the graceful (“Wenceslas air”), the count-down of increasingly surreal terms seems to exist principally for the sake of justifying the album’s title.

The highlight of the album, ‘Lake Tahoe’ opens with a luscious operatic duet and sails off into beautiful lulling waves of warm, soft piano and sustained strings. This spacious tranquility contrasts with the song’s tale of a ghostly woman rising from the depths of the Californian lake “wearing Victorian dress”. Myth has it that Tahoe’s depths are lined with illicitly dumped bodies, perfectly preserved due to its extreme temperature.

A yellow spot in the more-or-less unblemished whole picture rears its head in the 13 minute long ‘Misty’. Whilst Bush’s vocal is refreshingly raw and gritty, a distinct awkwardness meets these slightly-too-literal depictions of a night of passion with a snowman. She leaves us no clues as to the reasoning behind the surreal fantasy, describing his mouth as “full of dead leaves / and bits of twisted branches / and frozen garden”. Prudishness aside, Bush doesn’t leave much to the imagination with this bizarre narrative, concluding with the universally-dismal lines of ”Sunday morning / I can’t find him / the sheets are soaking”… It could almost be the subject of a French & Saunders Christmas Special spoof, perhaps accompanied by a censored music video.

While the rest of the album fails to rise to the complexities of ‘Lake Tahoe’, 50 Words For Snow is another stepping stone away from the interpretive-dancing-in-a-field Kate Bush of yore. It proves her credentials of distinct maturity as well as exhibiting her ability to experiment successfully with deep-set and sombre but thoroughly captivating music.