Okay. I remember rave reviewing “Sam’s Town” in 2006, and being highly ecstatic at just conceiving the sounds, and influences behind their all-career important second album, and being even more thrilled that they’d cracked it. It’s hard to believe that it really is the same Nevada band two years down the line.
I must say that “Day and Age” was regarded by myself as looking to be one of the musical highlights of the year, for the end of 2008, and not only does it: shock, appall and utterly upset me to say it, but it truly is a poor attempt at keeping their indie rock ‘n’roll Americana dream alive.
And I wonder, is the reasoning behind it complacency? Or Arrogance? Who knows, but what is fact, is that it’s an absolute shame and disgrace to themselves, and I can’t help but feel sympathy and sorrow for them. The days were great when they were the Princes of Indie, and every Brit adopted them into their hearts as one of their own, they were our band, our saviours. But let’s focus on the tense there, that was then and this is now, and perhaps we should just pawn them back off to America. Harsh? Maybe…
Tracks such as “Joy Ride” and “I Can’t Stay” sound as if they belong to the Lion King OST, so Elton John may as well have sat down and put his feet up. “Day and Age” is as dull as dull gets, for saying that these were the masters that once opened up a whole world of twinkling lights, and provided us with the indie delights of “Bones” and “Somebody Told Me”. Just how did they lose their magic?
To hear this third installment in contrast to “Hot Fuss” and “Sam’s Town” is unbelievable, and absolutely soul-destroying for dedicated fans and that includes myself. I tried and tried, and tried to get into it but there was no give. I’ve only just got comfortable with listening to “Human”, but let’s not forget the whole controversy that the song’s lyrics sparked as well. The whole thing as a package just seems half-hearted. You can’t even call it background music.
Let’s also not forget that Razorlight and The Killers arrived on the scene at the same time, and have since released albums at coincidentally similar times, they both released superb first and second records, seeing Razorlight storm on with the third “Slipway Fires”, but what happened to Mr. Flowers? The only thing the album does for you is make your mind boggle as to what happened to this once epic four piece.
I’ll grant that perhaps they’re aspiring to be newer Bob Dylans, continuing to tell stories within the songs, but they’ve been there and done that, and they have proven they can do it right, i.e. “Jenny Was a Friend of Mine”, but at least make some music to accompany it, which is what they’ve failed to do in this case. It also comes across that whatever their intentions, or desired effect was, is just lost in translation.
Having seen The Killers at V’07, just before they set off to make album 3, their show-stopping performance held so many promises and expectations as to what they were capable of next as they were banging out the hits, that at a glance, “Day and Age” makes them unrecognizable. I mean, “Spaceman”? Come on…!? It’s just not a patch on the early stuff.
Oh well…there’s always Razorlight, but Mr. Flowers et. al better redeem themselves 4th time round, and until then we need some serious reassurance that there are greater things ahead.
Monday, 8 December 2008
KIWI LOVIN'
26 year old Pip Brown, AKA: Ladyhawke is BIG, and radical. If you haven’t heard of her by now, you soon will; exploding onto the scene just like her music. Just thinking of her whole concept, the sound, the dress, and the feel just makes me giddy. Brilliance is here!
Dubbed as a take on “Peaches”, and ironically also friends with her, take this on board along with a bit of Goldfrapp glamour, and the fresh sound of the YYY’s and you’re there. Her newly released self-titled album is 62 minutes of funk, and is so rock ‘n’ roll that even Noel Fielding may be quaking in his platinum platforms.
Undoubtedly being played in NME hot houses everywhere, she IS one of the cool kids, apparent both in sound and look. Full of spunk and freshness, Miss Ladyhawke even plays all instruments, especially noted on the rather synthed up, and exquisite “Back of the Van”. Here, her influences of Stevie Nicks also come to life, as the echoes of such former female rockstars are reminisced during the verses. And with musical family roots, it seems she was always destined to be superb, and that she sure is.
This album IS a must-buy, and not just for the fashionable look on your shelf, but for the dancing, the innovative sounds as heard on the likes of “Love don’t Live Here” and “Paris is Burning”, and the addictive factor. Even I’ve reached 219 plays according to the good old last.fm scrobbler.
Now residing in London, it’s awesome that we’ve got a claim on her, it’s almost as if an ET set down and unleashed this array of infectious and mighty rock’n’roll upon us, totally indoctrinating us all, just as her recent single “My Delirium” portrays. This song in particular, is an example of her stimulating and catchy cascades of music, which will wash all over you, and I’m not the only one to say so. Critics have suggested listening to her re-mixes just to keep it all alive, as they too keep putting her on replay.
So, she’s electro-pop, yes, electro-punk, yes, new-rave, yes and indie; all rolled into one glorious package. Reaching many genres and across many mediums, it appears that she may just be the new Queen of Rock we’ve been looking for, and as we reach the end of the year, it also looks as though it’ll be an intense and vastly promising 2009 for Pip Brown.
Dubbed as a take on “Peaches”, and ironically also friends with her, take this on board along with a bit of Goldfrapp glamour, and the fresh sound of the YYY’s and you’re there. Her newly released self-titled album is 62 minutes of funk, and is so rock ‘n’ roll that even Noel Fielding may be quaking in his platinum platforms.
Undoubtedly being played in NME hot houses everywhere, she IS one of the cool kids, apparent both in sound and look. Full of spunk and freshness, Miss Ladyhawke even plays all instruments, especially noted on the rather synthed up, and exquisite “Back of the Van”. Here, her influences of Stevie Nicks also come to life, as the echoes of such former female rockstars are reminisced during the verses. And with musical family roots, it seems she was always destined to be superb, and that she sure is.
This album IS a must-buy, and not just for the fashionable look on your shelf, but for the dancing, the innovative sounds as heard on the likes of “Love don’t Live Here” and “Paris is Burning”, and the addictive factor. Even I’ve reached 219 plays according to the good old last.fm scrobbler.
Now residing in London, it’s awesome that we’ve got a claim on her, it’s almost as if an ET set down and unleashed this array of infectious and mighty rock’n’roll upon us, totally indoctrinating us all, just as her recent single “My Delirium” portrays. This song in particular, is an example of her stimulating and catchy cascades of music, which will wash all over you, and I’m not the only one to say so. Critics have suggested listening to her re-mixes just to keep it all alive, as they too keep putting her on replay.
So, she’s electro-pop, yes, electro-punk, yes, new-rave, yes and indie; all rolled into one glorious package. Reaching many genres and across many mediums, it appears that she may just be the new Queen of Rock we’ve been looking for, and as we reach the end of the year, it also looks as though it’ll be an intense and vastly promising 2009 for Pip Brown.
Sunday, 14 September 2008
It's the Sex!
There’s no doubt about it, Kings of Leon’s new amorous download single: “Sex on Fire” is the hottest thing to hit the musical airwaves of late. The band are huge in themselves, coming a long way since their major breakthrough in 2003, they’re now one of the biggest headliners you could wish to have on any festival line-up, and there’s no stopping them. Continuously touring and finding time to produce their fabulous fourth album: “Only by the Night” later this month, the world is definitely their oyster.
This super, sexy single is more than just about lust. It’s about more than sex; it’s actually about love as you will completely fall for this hit. In all honesty, according to last.fm, I’ve listened to :Sex on Fire” more than 60 times in one week, more or less looped and I’m still lusting to hear it again, more so than the first time. So it’s tried and tested than you can’t tire of it. From the screaming vocals of Caleb to the rhythmic heartbeat of the drums, and to the yearning guitars, it certainly gets right into your system. It is stylish, it is sexy and puts you in the mood for some serious flirting (if not just with the music), reminding you of the typical scenario of boy-meets-girl at a gig, with this little stunner playing in the background of course. This song makes you want to go out there and find this feeling; astonishing.
“Sex on Fire” is already highly popular, frequently appearing on MTV, Kerrang, and is a regular on Zane Lowe’s Radio One Show backed by his own rave reviews, and you just know it’s going to be played across all the major venues and clubs, and as for being played live, it’ll be HUGE what with those riffs! We really ought to take the time out to applaud KOL’s captivating genius on this one. It’s commanding, entrancing and beautiful and all of the elements and structure of the song are synched superbly, from “All the commotion” down to the simple, yet impressionistic “Your sex is on fire!” you can’t help but repeatedly listen to this 3.23 minutes of pure sex. The song is also reminiscent from the sexual undertones of the bass to the lyrics, of Joy Division’s “Transmission”: “make love to the beat of the song” which you envisage as you dance away. The lyrics are as passionate as the music, from the blunt, bold statement of the chorus to the alluring and tuneful “Yoooooooooouuuuuu!” belted from Followill, communicating directly with the listener and gaining their full attention.
The Followill clan have created yet another wonderful array of music and meaning to add to the collection of theirs, ready to leaving you craving more…music that is, not sex!
This super, sexy single is more than just about lust. It’s about more than sex; it’s actually about love as you will completely fall for this hit. In all honesty, according to last.fm, I’ve listened to :Sex on Fire” more than 60 times in one week, more or less looped and I’m still lusting to hear it again, more so than the first time. So it’s tried and tested than you can’t tire of it. From the screaming vocals of Caleb to the rhythmic heartbeat of the drums, and to the yearning guitars, it certainly gets right into your system. It is stylish, it is sexy and puts you in the mood for some serious flirting (if not just with the music), reminding you of the typical scenario of boy-meets-girl at a gig, with this little stunner playing in the background of course. This song makes you want to go out there and find this feeling; astonishing.
“Sex on Fire” is already highly popular, frequently appearing on MTV, Kerrang, and is a regular on Zane Lowe’s Radio One Show backed by his own rave reviews, and you just know it’s going to be played across all the major venues and clubs, and as for being played live, it’ll be HUGE what with those riffs! We really ought to take the time out to applaud KOL’s captivating genius on this one. It’s commanding, entrancing and beautiful and all of the elements and structure of the song are synched superbly, from “All the commotion” down to the simple, yet impressionistic “Your sex is on fire!” you can’t help but repeatedly listen to this 3.23 minutes of pure sex. The song is also reminiscent from the sexual undertones of the bass to the lyrics, of Joy Division’s “Transmission”: “make love to the beat of the song” which you envisage as you dance away. The lyrics are as passionate as the music, from the blunt, bold statement of the chorus to the alluring and tuneful “Yoooooooooouuuuuu!” belted from Followill, communicating directly with the listener and gaining their full attention.
The Followill clan have created yet another wonderful array of music and meaning to add to the collection of theirs, ready to leaving you craving more…music that is, not sex!
Friday, 5 September 2008
Set for HOLLYWOOD Stardom
So, I was lent this 4-track demo CD of a local band called “Hollywood Tease” who I’d already heard of, but was slightly worried at the prospect of them being just another whiney Stoke band. But, taking it in good faith, I gave ‘em a whirl and was genuinely and pleasantly surprised.
Over the past two years, all of a sudden came this whole new cultural way of life, by means of “Emo”, which has certainly affected and somewhat tainted and tarnished the music industry, seeing everyone cashing in on it (Lord knows why), but luckily, “Hollywood Tease” aren’t following the herd. Our faith can be restored at last! This is a band with local talent giving us local hope.
The CD cover to their mini-EP resembles QOTSA’s “Songs for the Deaf” album artwork but this is no insight into the music, compared to Queens, they’re more clean and polished, but this is no bad thing. HT are quite glam rock; definitely in terms of their get-up, I think I’d go as far to say they’re our very own (Potteries) Darkness. The band very much adopts the good old rock way of life; believing in the sanctity of sex; drugs and rock ‘n’roll (of course!). Their ethos highlights possible inspirations such as KISS and G ‘n’R, also coming across in their music. It’s imperative nowadays for every band to have a MySpace site to establish themselves, and even their profile states that they’re all for: “SOCO, JD, glam metal, sex, porn, sleeping all day and partying all night”. Another great thing about this band is that they’re neither overly arrogant nor ambitious, they have just the right balance and are truly dedicated to their Stoke fan base, playing frequently in the area and have already repeatedly headlined at The Sugarmill. Hot stuff.
Their self-titled demo really is produced to the highest of standards and beyond, for the expectations of a local act. But that’s part of the shine to this five-some; they’re actually professional, aspiring to be bigger things; middle finger to the world of rock. They take it seriously, and it shows in the finished article.
From the first thirty seconds of “Sweet Dreams”, I was reminded of the band “Hundred Reasons” due to the well orchestrated guitar riffs, to the pronounced and powerful vocals. Then, you get this grittier, yet also melodic guitar playing to match the strength of singer Ashe, and thank God they’re not emo screamers for a change sounding like feedback. They’re refreshing and spunky.
Another wonderful thing about this 4 song sampler is that it has the head-nodding, feet tapping factor to it, which is only to be amplified when performing live shows. What with its raunchy bass, guitar clenching sounds and reeling drum pounds, and not forgetting the lyrics, they can’t help but be catchy whilst still having those balls of rock! However, the third track, “Dirty Days” featuring a similar intro to the classic “Wanted Dead or Alive” by Bon Jovi, is more of a rock ballad which is backed up by some well composed solos to help you envisage these guys up on the big stadiums of rock, with cannons, fireworks and the most almighty of light displays.
Any of these handful of songs would be fitting for a soundtrack such as Terminator 2, sitting next to “You Could be Mine” by Guns ‘n’ Roses, or as background music in some American biker bar, just to reinforce their edge. Screaming “I’ve got a trick up my sleeeeeeeeeeeeeeeve!” is to be believed. They sure have whatever that trick is, and it continues to set them apart from any regular Joe/ run-of-the-mill local band.
These fella’s are superb. Fact. They demand publicity and BIG stages, they’d fit the bill at Download perfectly. I have no doubt that these guys could go on to make some serious dollars, with some more big gigs and a lucky break here and there, they could land themselves a great record deal, seeing them “teasing” us to shows from the major cities all the way to the US and back.
Over the past two years, all of a sudden came this whole new cultural way of life, by means of “Emo”, which has certainly affected and somewhat tainted and tarnished the music industry, seeing everyone cashing in on it (Lord knows why), but luckily, “Hollywood Tease” aren’t following the herd. Our faith can be restored at last! This is a band with local talent giving us local hope.
The CD cover to their mini-EP resembles QOTSA’s “Songs for the Deaf” album artwork but this is no insight into the music, compared to Queens, they’re more clean and polished, but this is no bad thing. HT are quite glam rock; definitely in terms of their get-up, I think I’d go as far to say they’re our very own (Potteries) Darkness. The band very much adopts the good old rock way of life; believing in the sanctity of sex; drugs and rock ‘n’roll (of course!). Their ethos highlights possible inspirations such as KISS and G ‘n’R, also coming across in their music. It’s imperative nowadays for every band to have a MySpace site to establish themselves, and even their profile states that they’re all for: “SOCO, JD, glam metal, sex, porn, sleeping all day and partying all night”. Another great thing about this band is that they’re neither overly arrogant nor ambitious, they have just the right balance and are truly dedicated to their Stoke fan base, playing frequently in the area and have already repeatedly headlined at The Sugarmill. Hot stuff.
Their self-titled demo really is produced to the highest of standards and beyond, for the expectations of a local act. But that’s part of the shine to this five-some; they’re actually professional, aspiring to be bigger things; middle finger to the world of rock. They take it seriously, and it shows in the finished article.
From the first thirty seconds of “Sweet Dreams”, I was reminded of the band “Hundred Reasons” due to the well orchestrated guitar riffs, to the pronounced and powerful vocals. Then, you get this grittier, yet also melodic guitar playing to match the strength of singer Ashe, and thank God they’re not emo screamers for a change sounding like feedback. They’re refreshing and spunky.
Another wonderful thing about this 4 song sampler is that it has the head-nodding, feet tapping factor to it, which is only to be amplified when performing live shows. What with its raunchy bass, guitar clenching sounds and reeling drum pounds, and not forgetting the lyrics, they can’t help but be catchy whilst still having those balls of rock! However, the third track, “Dirty Days” featuring a similar intro to the classic “Wanted Dead or Alive” by Bon Jovi, is more of a rock ballad which is backed up by some well composed solos to help you envisage these guys up on the big stadiums of rock, with cannons, fireworks and the most almighty of light displays.
Any of these handful of songs would be fitting for a soundtrack such as Terminator 2, sitting next to “You Could be Mine” by Guns ‘n’ Roses, or as background music in some American biker bar, just to reinforce their edge. Screaming “I’ve got a trick up my sleeeeeeeeeeeeeeeve!” is to be believed. They sure have whatever that trick is, and it continues to set them apart from any regular Joe/ run-of-the-mill local band.
These fella’s are superb. Fact. They demand publicity and BIG stages, they’d fit the bill at Download perfectly. I have no doubt that these guys could go on to make some serious dollars, with some more big gigs and a lucky break here and there, they could land themselves a great record deal, seeing them “teasing” us to shows from the major cities all the way to the US and back.
Sunday, 20 July 2008
24 Hour Party People - Wish I'd Had an Invite!
Only over the past 12 months have I become acquainted with the romantic image of the legends that were Joy Division; falling in love with the music, the film “Control” and their story. Of course I took a keen interest in all connections surrounding the band, of which Tony Wilson fell into that category; the main man behind it all.
I have to say, I’m glad I found this. Tony Wilson simply has to be one of my biggest inspirations. Journalist, music lover and embracer, finding music to simply be a way of life, and achieving his dream of opening his own music venue, the infamous “Haçienda”, I’m already singing off the same hymn sheet. I almost feel cheated that I wasn’t around for such inspiring, influential and invigorating times in music. Scrap that. I am cheated. So much so I feel sick with envy. But Tony Wilson was there building the dream, living the dream, as noted in this very book: 24 Hour Party People.
From reading this prestigious and captivating read, it leaves one question: “If he was still around what truly great things would he be up to now?” Wilson, truly changed the face of music and is in fact THE face of music, as illustrated by these fine words of his tale. Now the book is very blunt, very real, very “Manc” and I almost lost count of the times I saw “C*nt” printed before my eyes, but it’s no off-putter; it’s part of the Wilson charm. This book is all about the music and keeping it real, both of which go hand in hand. After all, that’s what it’s all about, isn’t it? The very beauty and essence of music is in its authenticity and truth.
The general message relayed in the book is that of: “Thank f*uck for the North” (to mimic the style of the text). These days of the late 70’s and early 80’s were THE DAYS of music; a new dawn, a new generation; new birth and hope of music for years to come and it was all going down in Manchester. Why can’t it be like that now; why have we lost such electrifying and innovative ways within our music scene? Not that I’m suggesting that there’s need for, or ever should be another Tony Wilson, because there never ever will be. But one thing is for sure; he wouldn’t stand for all this emo rubbish. Wilson was a voice of the music, and the fans, speaking out and forever leaving an imprint on music’s colourful and impacting history, and it’s his phenomenon that brought life to the city, producing projects such as The Hacienda, and nights of live music entertainment for the starved “kids” of Manchester.
Joy Division, New Order and The Happy Mondays live on because of him. Yes, the bands are fantastic, but it was the man with a vision, the man with a belief, who is the true genius behind such bands. That man being Tony Wilson. He wanted to put his beloved Manchester on the map and boy did he succeed, more so than he could have ever imagined, The Hacienda, knocked down and replaced by apartments still keeps the nightclub’s name in honour of him. The true patriot only continues to remain in our memories and the music from the drumbeats down to the synth of “Blue Monday”.
Even though “Control” was later released than the book, co-written by Debbie Curtis and Wilson; it’s the perfect back drop to 24 Hour Party People (despite its own film). Like me, you can completely fall in love with it all; the scene, the epic story, the music.
With absolute disregard for all the Stephen Kings and Tolkeins out there, no-one and I mean no-one, could write such a compelling, humorous, entertaining, picturesque, romantic, edgy, traumatic and astounding tale. Not enough words, (evidently) can do it justice, and it’s from the man himself, the man of dreams.
I guarantee you’ll be digging your copy of “Unknown Pleasures” out before you even turn the last page of this stunning account of his epic journey. Purely stunning.
I have to say, I’m glad I found this. Tony Wilson simply has to be one of my biggest inspirations. Journalist, music lover and embracer, finding music to simply be a way of life, and achieving his dream of opening his own music venue, the infamous “Haçienda”, I’m already singing off the same hymn sheet. I almost feel cheated that I wasn’t around for such inspiring, influential and invigorating times in music. Scrap that. I am cheated. So much so I feel sick with envy. But Tony Wilson was there building the dream, living the dream, as noted in this very book: 24 Hour Party People.
From reading this prestigious and captivating read, it leaves one question: “If he was still around what truly great things would he be up to now?” Wilson, truly changed the face of music and is in fact THE face of music, as illustrated by these fine words of his tale. Now the book is very blunt, very real, very “Manc” and I almost lost count of the times I saw “C*nt” printed before my eyes, but it’s no off-putter; it’s part of the Wilson charm. This book is all about the music and keeping it real, both of which go hand in hand. After all, that’s what it’s all about, isn’t it? The very beauty and essence of music is in its authenticity and truth.
The general message relayed in the book is that of: “Thank f*uck for the North” (to mimic the style of the text). These days of the late 70’s and early 80’s were THE DAYS of music; a new dawn, a new generation; new birth and hope of music for years to come and it was all going down in Manchester. Why can’t it be like that now; why have we lost such electrifying and innovative ways within our music scene? Not that I’m suggesting that there’s need for, or ever should be another Tony Wilson, because there never ever will be. But one thing is for sure; he wouldn’t stand for all this emo rubbish. Wilson was a voice of the music, and the fans, speaking out and forever leaving an imprint on music’s colourful and impacting history, and it’s his phenomenon that brought life to the city, producing projects such as The Hacienda, and nights of live music entertainment for the starved “kids” of Manchester.
Joy Division, New Order and The Happy Mondays live on because of him. Yes, the bands are fantastic, but it was the man with a vision, the man with a belief, who is the true genius behind such bands. That man being Tony Wilson. He wanted to put his beloved Manchester on the map and boy did he succeed, more so than he could have ever imagined, The Hacienda, knocked down and replaced by apartments still keeps the nightclub’s name in honour of him. The true patriot only continues to remain in our memories and the music from the drumbeats down to the synth of “Blue Monday”.
Even though “Control” was later released than the book, co-written by Debbie Curtis and Wilson; it’s the perfect back drop to 24 Hour Party People (despite its own film). Like me, you can completely fall in love with it all; the scene, the epic story, the music.
With absolute disregard for all the Stephen Kings and Tolkeins out there, no-one and I mean no-one, could write such a compelling, humorous, entertaining, picturesque, romantic, edgy, traumatic and astounding tale. Not enough words, (evidently) can do it justice, and it’s from the man himself, the man of dreams.
I guarantee you’ll be digging your copy of “Unknown Pleasures” out before you even turn the last page of this stunning account of his epic journey. Purely stunning.
Thursday, 26 June 2008
And End Has a Start - A Year On...
25th June 2007, possibly one of the most British and most innovative, transfixing and astounding albums of the 21st century hit the shelves. Yes, it was “An End Has a Start” by Midlands group, Editors. Their follow-up to debut album “The Back Room”, the second release is often regarded as making or breaking a band’s career, but there were no worries here.
The past year has been a true journey, for me and the band alike. The Band have now conquered the US and a good majority of Europe, topped the album chart and the top 40 chart, as well as seeing lead vocalist Tom Smith become a father to Rudy Brae, with long-term radio one presenter girlfriend, Edith Bowman; phenomenal. In comparison, the past 12 months for myself has seen me fall victim to temptation, love, loss, and the perils of a taste for the night life and city lights. You could say that innocent part of me has slipped away, much like “And End Has a Start”; with death, and passing being an integral part of the album’s focus and surrounding.
When it came out last summer, many criticized this theme of death as being too foreboding, and having smothering overtones within the music, but as with any piece of art, it’s always down to interpretation. From the first time I pressed play, I found “An End Has a Start” to not be depressing and centering on mortality, but in fact, I found it to be a true celebration of life, hearing life in the beat of the songs, and the charisma coming through Smith’s wistful words. Looking back now, it is quite ironic. The concept of death/life came to be after a personal loss of the band, and that end, saw a new start with the band progressing professionally and within their family lives.
For me, this record has been there through the romances, the break ups, making love, heartaches, the low times, the fights, and the day-to-day stress and confusion, that life holds. The album remains pristine, and never tarnished and represents life in its pure essence; what they successfully capture. “Look up, through the trees to feel as small as you can”, and other lyrics, “Can I start this again?” are all lyrical concepts that we can all relate to, making the band and their material so accessible and so genuine. For a long time, I think “An Has a Start” will remain a very exclusive and individual record for me, reminding me of summers, love and making me feel alive, amplified by Chris Urbanowicz’s unbelievable and breath-taking riffs.
I remember seeing them for the first time in 3 years last May, hearing previews of “The Racing Rats” and “Escape the Nest”, and being spell-bound, having it on CD only made it worse, being able to hear that power again and again for my own entertainment, and these tracks still remain as fresh as on that tour. This album, as well as the band as a whole, remains cutting edge, compelling and outstanding. I truly love it. With the risk of sounding cheesy, this band is a real favourite of mine and I owe a lot to them for the making of this album. Since its release, I’ve literally listened to it every day and I can guarantee it’ll remain a frequently played album within my music collection. 10, 20, 30 Years from now, it’ll mean just as much to me as it did then and now; still sounding utterly epic and remarkable. If you haven’t managed to even get a glimpse of “And End Has a Start” over the past 12 months, where have you been? Do it. Now!
The past year has been a true journey, for me and the band alike. The Band have now conquered the US and a good majority of Europe, topped the album chart and the top 40 chart, as well as seeing lead vocalist Tom Smith become a father to Rudy Brae, with long-term radio one presenter girlfriend, Edith Bowman; phenomenal. In comparison, the past 12 months for myself has seen me fall victim to temptation, love, loss, and the perils of a taste for the night life and city lights. You could say that innocent part of me has slipped away, much like “And End Has a Start”; with death, and passing being an integral part of the album’s focus and surrounding.
When it came out last summer, many criticized this theme of death as being too foreboding, and having smothering overtones within the music, but as with any piece of art, it’s always down to interpretation. From the first time I pressed play, I found “An End Has a Start” to not be depressing and centering on mortality, but in fact, I found it to be a true celebration of life, hearing life in the beat of the songs, and the charisma coming through Smith’s wistful words. Looking back now, it is quite ironic. The concept of death/life came to be after a personal loss of the band, and that end, saw a new start with the band progressing professionally and within their family lives.
For me, this record has been there through the romances, the break ups, making love, heartaches, the low times, the fights, and the day-to-day stress and confusion, that life holds. The album remains pristine, and never tarnished and represents life in its pure essence; what they successfully capture. “Look up, through the trees to feel as small as you can”, and other lyrics, “Can I start this again?” are all lyrical concepts that we can all relate to, making the band and their material so accessible and so genuine. For a long time, I think “An Has a Start” will remain a very exclusive and individual record for me, reminding me of summers, love and making me feel alive, amplified by Chris Urbanowicz’s unbelievable and breath-taking riffs.
I remember seeing them for the first time in 3 years last May, hearing previews of “The Racing Rats” and “Escape the Nest”, and being spell-bound, having it on CD only made it worse, being able to hear that power again and again for my own entertainment, and these tracks still remain as fresh as on that tour. This album, as well as the band as a whole, remains cutting edge, compelling and outstanding. I truly love it. With the risk of sounding cheesy, this band is a real favourite of mine and I owe a lot to them for the making of this album. Since its release, I’ve literally listened to it every day and I can guarantee it’ll remain a frequently played album within my music collection. 10, 20, 30 Years from now, it’ll mean just as much to me as it did then and now; still sounding utterly epic and remarkable. If you haven’t managed to even get a glimpse of “And End Has a Start” over the past 12 months, where have you been? Do it. Now!
Wednesday, 25 June 2008
DOWNLOAD '08
The world-famous “Download” Festival was back for its fifth year at Donnington. Carrying on its intense reputation of it’s previous sister festival: “Monsters of Rock”, Download ’08 looked to pull out all the stops to make it memorable and fucking insane.
Knowing a fair bit about the festival, since following its growth from starting in 2003, and with its major commercialism associated with Kerrang!, yet not making it to Donnington until this year, I was eagerly anticipating the whole package, though only even going for the opening Friday. I’m relieved to say it didn’t disappoint.
Having prepared for the day with a Tesco supreme breakfast, and a battalion supply of drinks; mainly vodka, it was time to hit the road. Expecting never-ending queues on the motorway, it was plain sailing all the way at excessive speeds to the tune of S.O.A.D’s BYOB, or in our case; Bring Your Own Jägermeister. Nearly reaching the site, we tuned into Download.fm; slightly strange, even when pissed. Bonkers presenters (who had also obviously had a tipple) talking about shenanigans in tents and making bizarre animal noises in between belting out Disturbed tracks, got us geared up for the days festivities.
Despite an extortionate £15 to park the damn car, the Download destruction began. Having waited for an hour to enter the site and being fairly merry, and despite it being grey and grim, a whole world of wonder opened up. Stalls selling: staffs, posters, flags, shirts and the slightly more unusual vodka jellies, bongs and “safe” and “legal” drugs, amongst a variety of other goods, and numerous cuisine stalls and drink tents (Jäger!), stood alongside skateboard demonstrations, Guitar Hero challenges and a whole lot more within this rock community.
From experiencing other festivals such as V, in comparison, Download certainly outdoes them. It has a superb setting in the middle of rolling fields (which when you go past any field after this event, you can only think of the memories), and yes it may be more orientated around a specific music genre, but the whole festival is so well focused and organized that it has to be applauded.
Unfortunately missing Seether for wandering around the site in awe, things just continued to get better and better. From what seemed like an inevitably rainy and miserable day, as soon as Disturbed stepped on the stage, not only was there a sonic explosion, but an explosion of sun beamed down onto the crowd. Not good for those in the pit perhaps, but the whole thing was fucking glorious. “Liberate”, “Prayer”, and playing tracks from their latest album: “Indestructable” it was immense, but on a personal level, seeing Dave Draiman and co. perform “Down With the Sickness” was my Download highlight, as it was for pretty much everyone else. It was possibly a good thing that Kid Rock was a no-show (as he’d been admitted to Nottingham Hospital), as disappointed fans were treated to extra long sets from Chicago’s Disturbed and Judas Priest.
Up next, Motorhead. Legendary. Well…in context that that you can say you’ve seen Lemmy, but I think we could have all benefited from subtitles when he was talking to the audience, but hey it’s Lemmy, he was probably more in the festival spirits (quite literally) than anyone else. It was a bit of a samey set, but, needless to say and yes I’ll be damned for saying it; “Ace of Spades” was downright awesome.
Didn’t’ stick around for Judas Priest (heard them from afar); they seemed to lacking serious amounts of energy which was essential to get the masses ready for the night’s headliners: Kiss. So, it was off to the Gibson stage, which I had kept popping back to throughout the day, and apart from those you were desperate to see on the main stage, this is where it was at. Showcasing some very promising talent, there was more life in this tent than over on the other side of the filed at times, exciting stuff.
And then, it was time. Time to “Rock n Roll all Night” with Kiss! Again, not a mega fan, but there certainly were legions of dedicated fans of all ages who had waited a lifetime for this moment, to add up to an ultimately brilliant atmosphere. It has to be said that these guys really are the professionals of all rock mayhem. As a matter of fact, as I stood there with my fellow music comrades, it led me to think no-one does a rock show like the Americans. Think Metallica and their Summer Sanitarium, think Linkin Park, Guns ‘n’ Roses, Kiss is right up there with them if not pissing all over them and it’s marvellous to watch. Their set must have cost an absolute fortune (but I hadn’t forgotten that £15 car parking ticket-and the rest!), what with: pyrotechnics, fireworks and casting Paul Stanley out into the crowd on a harness, to play on his own podium of rock in the middle of the audience. It was insane! And oh yes, Gene Simmons, (THE) legend, sure did outdo seeing Lemmy earlier on in the day. They played a near-enough 2 hour long massive set; after all they did say “We’ll play for as long as we can” and they can only be saluted for their efforts, and was to their own and to their fan’s advantage. Everyone embraced the moment, and though not playing “Crazy Nights” which I had secretly waited for all day, seeing a performance of “Rock n Roll All Night” was as spectacular as the array of lights and fireworks which created a complete bonanza; awesome, awesome, awesome.
So…first Download. First taste of meaty rock in a field of the weird and wonderful. I’ll be at Donnington next Summer (but hopefully having less grief getting of the darn car park!).
Knowing a fair bit about the festival, since following its growth from starting in 2003, and with its major commercialism associated with Kerrang!, yet not making it to Donnington until this year, I was eagerly anticipating the whole package, though only even going for the opening Friday. I’m relieved to say it didn’t disappoint.
Having prepared for the day with a Tesco supreme breakfast, and a battalion supply of drinks; mainly vodka, it was time to hit the road. Expecting never-ending queues on the motorway, it was plain sailing all the way at excessive speeds to the tune of S.O.A.D’s BYOB, or in our case; Bring Your Own Jägermeister. Nearly reaching the site, we tuned into Download.fm; slightly strange, even when pissed. Bonkers presenters (who had also obviously had a tipple) talking about shenanigans in tents and making bizarre animal noises in between belting out Disturbed tracks, got us geared up for the days festivities.
Despite an extortionate £15 to park the damn car, the Download destruction began. Having waited for an hour to enter the site and being fairly merry, and despite it being grey and grim, a whole world of wonder opened up. Stalls selling: staffs, posters, flags, shirts and the slightly more unusual vodka jellies, bongs and “safe” and “legal” drugs, amongst a variety of other goods, and numerous cuisine stalls and drink tents (Jäger!), stood alongside skateboard demonstrations, Guitar Hero challenges and a whole lot more within this rock community.
From experiencing other festivals such as V, in comparison, Download certainly outdoes them. It has a superb setting in the middle of rolling fields (which when you go past any field after this event, you can only think of the memories), and yes it may be more orientated around a specific music genre, but the whole festival is so well focused and organized that it has to be applauded.
Unfortunately missing Seether for wandering around the site in awe, things just continued to get better and better. From what seemed like an inevitably rainy and miserable day, as soon as Disturbed stepped on the stage, not only was there a sonic explosion, but an explosion of sun beamed down onto the crowd. Not good for those in the pit perhaps, but the whole thing was fucking glorious. “Liberate”, “Prayer”, and playing tracks from their latest album: “Indestructable” it was immense, but on a personal level, seeing Dave Draiman and co. perform “Down With the Sickness” was my Download highlight, as it was for pretty much everyone else. It was possibly a good thing that Kid Rock was a no-show (as he’d been admitted to Nottingham Hospital), as disappointed fans were treated to extra long sets from Chicago’s Disturbed and Judas Priest.
Up next, Motorhead. Legendary. Well…in context that that you can say you’ve seen Lemmy, but I think we could have all benefited from subtitles when he was talking to the audience, but hey it’s Lemmy, he was probably more in the festival spirits (quite literally) than anyone else. It was a bit of a samey set, but, needless to say and yes I’ll be damned for saying it; “Ace of Spades” was downright awesome.
Didn’t’ stick around for Judas Priest (heard them from afar); they seemed to lacking serious amounts of energy which was essential to get the masses ready for the night’s headliners: Kiss. So, it was off to the Gibson stage, which I had kept popping back to throughout the day, and apart from those you were desperate to see on the main stage, this is where it was at. Showcasing some very promising talent, there was more life in this tent than over on the other side of the filed at times, exciting stuff.
And then, it was time. Time to “Rock n Roll all Night” with Kiss! Again, not a mega fan, but there certainly were legions of dedicated fans of all ages who had waited a lifetime for this moment, to add up to an ultimately brilliant atmosphere. It has to be said that these guys really are the professionals of all rock mayhem. As a matter of fact, as I stood there with my fellow music comrades, it led me to think no-one does a rock show like the Americans. Think Metallica and their Summer Sanitarium, think Linkin Park, Guns ‘n’ Roses, Kiss is right up there with them if not pissing all over them and it’s marvellous to watch. Their set must have cost an absolute fortune (but I hadn’t forgotten that £15 car parking ticket-and the rest!), what with: pyrotechnics, fireworks and casting Paul Stanley out into the crowd on a harness, to play on his own podium of rock in the middle of the audience. It was insane! And oh yes, Gene Simmons, (THE) legend, sure did outdo seeing Lemmy earlier on in the day. They played a near-enough 2 hour long massive set; after all they did say “We’ll play for as long as we can” and they can only be saluted for their efforts, and was to their own and to their fan’s advantage. Everyone embraced the moment, and though not playing “Crazy Nights” which I had secretly waited for all day, seeing a performance of “Rock n Roll All Night” was as spectacular as the array of lights and fireworks which created a complete bonanza; awesome, awesome, awesome.
So…first Download. First taste of meaty rock in a field of the weird and wonderful. I’ll be at Donnington next Summer (but hopefully having less grief getting of the darn car park!).
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