31 Oct 2014


Every year, Halloween sparks sickening amounts of The Monster Mash over and over, and we think it's time for a change. Well, actually, we don't - once I tweeted into the radio asking them to play The Monster Mash and they did, but the point is, we're going to change it anyway. Together, myself and Poppy made ourselves a Halloween Mixtape, for all to hear

HOUSE OF MIRRORS - The Wytches The Brighton-based band are as Halloweeny as it gets, and this is a pretty terrifying song. It's title sounds like it could be an old horror, and it's psychotic stop-start mentality is just brilliant. 

RELEASE THE BATS - The Birthday Party Nick Cave's first band are the best and the original goths. This is a frightening track, and the chorus of 'Release the bats!' is perfectly fitting for the 31st.

JACK THE RIPPER - The Horrors The Horrors' first album, Strange House, is full of neo-gothic psychobilly tracks that sound like a one-band soundtrack to some serial killings. This is a Screaming Lord Such cover that sounds 100 times more frightening than the original, which is a feat in itself.

BELA LUGOSI'S DEAD - Bauhaus Bauhaus are the arguably one of the most iconic bands ever. They singlehandedly invented goth as a genre of music, so a Bauhaus song is a must for the mixtape. Bela Lugosi's Dead is about the original star of Dracula, and tops 9 minutes of darkness.

ZERO - Smashing Pumpkins The pun here is that Pumpkins are halloweeny and this band has said vegetable in it's name. But all that aside, the deity-challenging Zero is a song is absolutely flawless. And let's all just talk about that riff a second.

HOLLOW VISIONS - Eagulls Eagulls sounds frightening, don't they? Although they've released songs called Coffin and Possessed, this is the coldest, frightening-est. And the video looks like a scene from SS Experimentation Camp.

HALLOWEEN - Sonic Youth Duh, what's a halloween playlist without Halloween? This is a track from before Sonic Youth became genius indie-rock gods, and they were just angry hardcore-adoring art students. 

THE WITCH - The Sonics Garage rock GODS the Sonics released a number of frightening sounding songs in the sixties, to compliment their albums that were mainly made up of cover versions. The Witch is genius, and its murky sound is beautifully grave-yardy. 

HUMAN FLY - The Cramps This band invented the genre psychobilly, and that is something that can't be omitted from a Halloween mixtape. Psychobilly. Brilliant.

THE HAPPENING - Pixies Cosmic alien influence haunted the Pixies on their last couple of long players - bar Indie Cindy but we don't count that one - and what is halloween without aliens? 

WAKING THE WITCH - Kate Bush I think this track asks more questions than it answers. Witch? Which witch? The same witch as the witch which is on the song 3 tracks before this one? I don't know what I'm talking about, let's just appreciate Kate Bush.

LULLABY - The Cure This is the quintessential halloween track. It's about a dream, a nightmare, Smith had as a kid, and it tells the tale of The Spiderman...

THE CURSE OF MILLHAVEN - Nick Cave A modern day horror story, this features the triumphant singer-songwriter adopting the persona of a 15 year old schoolgirl, Lottie. But a serial killer schoolgirl. it's very morbid, and very dark, and very Nick Cave.

30 Oct 2014

Superfood / Don't Say That (album review)

When this Birmingham four piece announced their debut album, the screams of 'YESSSS' or 'FINALLLY' echoed round the indie community, myself not discluded from the cries of happiness. Building up and onwards from the singles which promise greatness, the announcement of a debut album sparked a massive hype, one that which they certainly lived up to. This 14-track debut album shows off everything that Superfood have to offer. Their catchy, rhythmic guitar driven tracks scream individuality and for me, it's one of the greatest debut albums of 2014; a year which has given us debuts from some phenomenal bands. So, on with the review...

The album opens with funk-anthem Lily For Your Pad To Rest On which gives you a gradual 25 second intro before entering into the grooviest melody I've heard in a long time. "a penny for your thoughts/a lily for your pad/I like to sing about the things I never had" is almost rapped over the opening track which although lacks any real structure, is made up for in the sheer neoteric sound.Following this comes one of my favourite songs. You Can Believe is just brilliant. Dom Ganderton wails "Wanna believe / wanna get out yeah" over a singular strum of a guitar before that ever-so-funky beat kicks in again, throwing you back into a haze of poppy hooks and the boosting the sheer urge to dance. 

Track 3 takes it back to the song that started it all, Superfood. The creatively named debut song was released way back last year, and echoes their talent for writing totally unique tracks while still showing off their main influences. Their debut song doesn't sound out of place in the slightest with all the new album tracks, only backing up the fact that this band have kept their individuality intact perfectly. Even though the newly recorded version doesn't have the raw energy of the original, what is does have is a new sense of slickness, while still channelling the messy and unpolished vibes of this band.

TV follows, and with this track being my favourite single release, I'm insanely glad it was put on the album. Summing up the partying styles of Superfood while showing off the rockier 90's side to them, it's one hell of a track. With a solid beat and screeching guitars backing up Dom's wailing of "and then we go out/and then we go home/but i can never sleep without the TV on," the chorus is a catchy as the plague and don't even get me started on the bridge. Some lyrics which you can't actually make out shouted over a killer jam is one of the strongest sounds this band have produced. One of the best tracks overall.

Pallasades comes next, and the 90's sound continues. With verses sounding like The Stone Roses circa Fools Gold wacked either side of a modern sounding chorus, this track is not only diverse, but totally individual. Alas it is of the more album-filler-y tracks on the album and definitely not one of the strongest, but still a good ol' song. Superfood's newest single is track 6, and it's a special one. Mood Bomb just about sums up this band and what they're about. It sounds like youth, it sounds like summer and it sounds like a funking good time. 

Next comes the first interlude which is a 50 second intrumental piece laced in memories of dreamy summers before continuing the good vibes along to the next song, It's Good To See You. Definitely feeling a Peace-circa-Bloodshake-sort-of-sound, it's nothing more than a typical indie feel-good track. Not their best, not their worst, but perfect for an album filler. 

The title track comes next, and it's up their with the favourites. Although slower and seemingly more 'hip-hop influenced,' it's a stunning combination of teenage angst and indie. If you listen to it, you'll know what I mean. It's the sort of song you could imagine a moody group of teens nonchalantly nodding their heads along to, and even though the vocals sound almost dull, it's the kind of musically dull which works in every way. 

The second interlude comes next before the much loved song Melting. One of the very first songs I ever heard by Superfood, Melting combines all the elements that this band do best, and throw it all together. There's grungey/rocky sides to it, indier sides to it, and strung around a surreal and dreamy bridge shoved bang in the middle. It has all the essential ingredients of a perfect pop song, and I couldn't be happier it's on the album.

Right On Satellite opens with an almost Oasis' sounding melody, and although it's not their best, it's still a good track. Dom's vocals and lyrics are strong, the guitar, the bass and the drums all come together for this stunningly unique sound they continue to develop so well. 

Like A Daisy is the closing song, and it's my favourite song off this album. Everything about it screams summer, including the chorus. "Passed out baby in the afternoon / get your shit together cuz we're leaving soon" is the sort of chorus which, if you give it a week, will be being sung at full volume by the ever-growing crowds attending Superfood's tour (myself included.) Pretty much the perfect way to end this album.

Overall, Don't Say That is full of could-be-singles, funky rhythms and a plethora of just great songs. For a debut album, it's incredibly strong, and up there with the best of this year. I for one cannot wait to see them live again, and I urge you all to do the same if you have the chance. Big things are coming for Superfood, and this brilliant album is just the start. 

Rating: 16/20

(written by Poppy Marriott)

29 Oct 2014

Is The Mercury Music Prize Still Relevant?

The Mercury Music Prize is something that has happened every year since, like, forever. It was set up in 1992 as a means of combatting the oh-so-predictable Brit Awards, and at the time it was pretty groundbreaking stuff. For example, the first prize in '92 went to Primal Scream for Screamadelica, an album which is an unprecedented bona fide work of genius, but one that the Brits would have snubbed their noses at. And it was the same case in 1995 when Portishead won it. It was quite a cool accolade in the nineties.

But in the present day, is it still relevant in 2014, or is a pointless, toxic award that really means nothing? On the surface, there isn't much point to it. What's to make this more credible than an NME album of the year award, or the topper of a Pitchfork End Of Year list? Well, I don't think there is anything, it's just someone being rewarded for being more favourable to a panel of judges, right? It's not like The Mercury is a genuine barometer of how good an album is. Like hey, how often is the line "how dare you even compare OK Computer to the alt-J debut... how many Mercury Prizes did OK Computer win?" cracked out during any rational conversation about music? It's not very often.

On the surface, what the Mercury Prize is for is increasing sales, and fattening up wallets. The main appeal of it is the 20K cash prize for the winner, nothing more. Which is fair enough, I guess, I can understand why artists would enter with that kind of prize money. It makes a lot of sense, but at the same time I think if anything it detracts from the credibility of it as a prize which rewards artistic merit. And the fact that there's a £200+ (£170 + VAT) entrance fee just emphasises this; it's all about the money, and not the art.

No Mercury nomination? Why? It makes no sense.
And to me, it looks like the Mercury has a type it awards it's prize to, which kind of emphasises the fact that it's just awarded to the record that caters best to the tastes of the judges. It always favours music you'd associate with the middle-classes, inoffensive kinda university-educated pseudo-intellectual indie bands or singer-songwriters. You can't imagine anyone working class (WHY THE FUCK WEREN'T EAGULLS NOMINATED?) or anyone whose music wouldn't be at home soundtracking an advert for cider. Throughout the prize's entire existence, no metal band has ever been nominated, even though it is a genre that huge numbers of people listen to - despite the fact that the prize is so open about allowing every kinda genre the chance to win.

On the subject of how in-your-face the Mercury is about allowing all genres some kind of equal chance, it's kind of weird how it always has a token jazz record and a token folk record. No matter how 'good' every release that year is, there will always be one jazz LP and one folk LP. The 100th 'best' album could be the best jazz album of the year, whilst at the the same the 'best' two albums of the year could be jazz albums and only one would make the list. It's kinda weird.

But overall, the Mercury Music Prize is flawed, almost elitist and for me, it's pretty irrelevant; irrelevant being that it used to be pretty cutting edge and it's defunct. It's not like I can't understand why bands enter it, but it's so far removed from being an actual prize rewarding the best musical album of the past year, that I don't understand why it should have any credibility at all.

(written by calum cashin)

28 Oct 2014

The Wands / The Dawn (album review)

Sounding simultaneously like the future and a 60's garage psych band lost in the mists of time, Danish band The Wands are one of the most exciting bands to surface in 2014. Formed around the songwriting duo Christian Skibdal and Mads Gräs, the Danes' love of sixties has allowed them to forge a sound that's both fresh and reminiscent of the great bands of the 60's.

The Dawn is the band's debut album, and it comes from the label Fuzz Club Records, who are also home to The Lucid Dream. Clocking in at 40 minutes, The Dawn is almost like an acid-drenched odyssey of Nuggets style psychedelia, but with a more modern slant. "Nothing's really as it seems" Skibdal sings on the title track, and it almost acts as a manifesto for the rest of the record's perfect, but possibly disjointed sound.

The instrumentation is what ploughs it into the realm of neo-psychedelia; the organ sounds are more advanced, sounding cosmic and futuristic, as opposed to retrospective like they do on 80's albums like the Spacemen 3's Sound Of Confusion. The organ sounds are dystopian and unnerving on Get It Out of Your System, and almost mythical on War.

Skidbal's wandering guitar is distinctive and gorgeous to listen to. Throughout album opener Sound Of The Machine it leads the listener off the beaten path and into a hypnotic sonic cathedral, and during She's Electric (not an Oasis cover) it churns out a fantastic 13th Floor Elevators-esque riff.

Whilst Gräs' lyrics aren't life-changing - there are a fair few clumsy rhymes and nonsensical verses - they're certainly in-keeping with psychedelic atmosphere on the record. But this is compensated for, easily, by the Danishman's wonderful acid-wash voice. It's a mixture, almost, between Ty Segall on the Fuzz albums and Charlie Boyer of The Voyeurs, and it's just brilliant to listen to.

The whole of The Dawn has a distinctive individual atmosphere. It's sun-drenched, but mesmeric. It draws you in. Once you've listened to The Sound Of The Machine it's hard not to see the record out, right til it's end. It's hypnotic, like a Mazzy Star record, but nonchalant like The Stooges and it draws influence from all the right places. This is a more than accomplished debut from a band that will go on to great things.

Released: 3rd November on Fuzz Club Records
For fans of: Velvet Underground, Stooges, The Beatles during 1966, The Voyeurs
Hear the title track HERE and preorder it HERE

The Wands are touring the UK in November; they'll play London (7th), Hartlepool (8th), Glasgow (9th), Nottingham (9th), Bristol (11th), Manchester (12th), Liverpool (13th), Lincoln (14th) and Southampton (15th) (I'll be going to that one)

26 Oct 2014

Beady Eye Splitting Up Is The Best Thing To Happen Since Oasis Split Up

Band splits are normally heartbreaking affairs, to be honest. One NME headline, and snap; that's a band you're never going to see live ever again. Ever. It normally fills my twitter timeline with people mourning such losses. I can remember the Death Grips breakup making a lot of people sad. Really sad. And before that, Tribes tore a load of people in two. Band splits generally suck, they generally really fucking suck.

But low and behold, yesterday a band split up and it was a joyous occasion. The news that Beady Eye had split up was some of the most exciting, heart-warming news...

For one, Beady Eye - solo project-type-thing of LG x - are one of the single most uninspiring, mediocre unoriginal pop groups ever to grace the charts. For me, Beady Eye were just a continuation of the crap post-1998 Oasis, but even worse. Their output consists of one "okay" album, and an album that can only be described as offensively banal lad-rock shite.

But there's more to the Beady Eye split than just a crap band discontinuing crap music. And I'm not talking about an Oasis reunion; whether you like Oasis or not, there's no denying that they haven't put out an exciting record since 1995. If Oasis reformed what's the best thing that could happen? I mean, Liam Gallagher's lost any talent that might have been there, and you're lying to yourself if you think Noel Gallagher's solo stuff is anything other than 'alriiiight'. Oasis probably should have split up in 1996 and never done anything else.

But hey, Beady Eye wasn't just about Liam Gallagher. Well, it was, but he wasn't the only member of Beady Eye... (It feels good being able to talk about their existence in the past tense)

In 199- whenever, some kinda time after Oasis had already lost it, they appointed enigmatic former Ride and Hurricane #1 guitarist Andy Bell to play some basslines here and there. And Andy stayed by Gallagher's side right until Beady Eye split. So... could this free up Andy Bell to reform Ride with Mark Gardener and Loz Colbert, two people who've stayed in music doing interesting and exciting bits and bobs since Ride split up.

And unlike the members of Oasis, since the Ride split, the individual members have still been in music and still making interesting, exciting music. As well as that, shoegazers Slowdive's reformation being so acclaimed opens that door for Ride to reform, and you'd just know that everyone would be made up by some Ride shows. Slowdive have been met with such a great newfound following, and fellow shoegazers Ride are even better. They are the best. Imagine it. Ride. Reuniting. Wow.

But yes, the point is that the split of Beady Eye (and celebrating it too) isn't such a destructive thing after all.

(written by calum cashin)

21 Oct 2014

Peel tribute; our Top 10 Peel Sessions

Of all the people who've changed music unmeasurable amounts, John Peel is quite possibly the one who changed it the most without actually being a musician. Throughout the early 70's, the punk era, and right through to his death in 2004, Peely championed upcoming bands that no one else championed. He brought bands like The Smiths, Joy Division, The Banshees, The Fall, The Delgados and Echo & The Bunnymen to the fore when no other radio DJ would, and he brought unique bands to the world. His greatest legacy is probably the millions of legendary sessions bands recorded for him; so this week, we remember ten years since his passing by compiling our favourite ten Peel Sessions.

10. The Fifth and Final Pixies session, 1991

There's no denying Pixies' fourth album, the dark horse that is Trompe Le Monde, is one hell of an album. People will tell you you're wrong, but fuck 'em. It's absolutely out of this world, harder, faster and much more dynamic than their other albums, and this session showcases why. They recorded a load of sessions, but this one is definitely the best. Subbaculcha is bombastic, and Palace on the Brine is explosive. Pixies' last Peel session before their breakup showed the world just how flawless their body of work was.
Tracklisting: Palace on the Brine, Subbaculcha, Motorway to Roswell, Letter To Memphis

9. The acoustic Jesus & Mary Chain session, 1986

Shamanic noise merchants the Jesus and Mary Chain rarely played without 'too much' feedback, so a stripped down Peel Session of pretty acoustic versions is just the bee's knees. The centrepiece is of course the gorgeous Some Candy Talking; a track that sounds heavenly as a single (or on reissues of Psychocandy) made even better with the feedback taken away. You Trip Me Up is just as wonderful, feeling like it was always meant to be an acoustic track. This session proves the Mary Chain have written some great, great songs underneath all the noise.
Tracklisting: Some Candy Talkin', Psychocandy, The Fall, You Trip Me Up

8. The Birthday Party's second Peel Session, 1981

The Birthday Party; one of the single most important, underrated bands ever; the first band ever to see the enigmatic pairing of Nick Cave and Mick Harvey. (who's still a Bad Seed) Like any straight thinking individual, John Peel thought The Birthday Party were something fresh, and exciting. So he invited the Aussies in for 4 sessions during their short career. The second is possibly the most overtly-psychotic session, and it features an all-conquering version of my favourite; Release the Bats. Cave screams down the mic "Release the bats! Release the bats!", and anyone who left Radio 1 on by accident in 1981 was in for a nice treat.
Tracklisting: Rowland Around in That Stuff, Release the Bats, Loose, Pleasure Heads Must Burn.

7. The final Joy Division session, 1979

Arguably the greatest band of all time, according to me and according to Peely, Joy Division recorded two Peel sessions - one at around the time of Unknown Pleasures and one around the time of Closer. The second one is, for me, the greatest. An amazing, energetic version of Love Will Tear Us Apart that is far better than the single version kicks it off. The session also features a great version of the best track off of Closer: 24 Hours, as well as album track Colony. Joy Division's final Peel performance is mind blowing.
Tracklisting: Love Will Tear Us Apart, Exercise One, 24 Hours, Colony

6. The Sonic Youth session consisting only of four Fall covers, 1988

The Fall were John Peel's favourite band, so when NYC's finest took to Radio 1's airwaves, they blasted through a set of covers by The Fall. Victoria, The Kinks song that propelled The Fall to the UK top 40, was also included, and with Thurston Moore's snarl it sounds so different to the original, but in a great way. They also played a menacing, screeching version of Rowche Rumble, and an amazing version of Psycho Mafia.
Tracklisting: Rowche Rumble, My New House, Psycho Mafia, Victoria

5. The Smiths' second Peel Session, 1983

Although their first album is pretty damn ropey, the sessions The Smtihs recorded for Peel in the run-up to it were stunning; some of them make up bits of Hatful Of Hollow which is rightfully seen as The Smiths' true debut album. The second Peel Session is the one people talk about the most; the harmonica driven Still Ill divides opinions, and if This Charming Man wasn't the most upbeat song ever anyway, the 1983 Peel version improves it tenfold. The best moment however, comes from Back To The Old House, sung with much more passion than the studio recording. This is one of the best bands of the eighties (or ever?) at their best.
Tracklisting: Still Ill, This Charming Man, Back To The Old House, This Night Has Opened My Eyes

4. The debut session from Delta 5, 1979

The Delta 5 are one of a handful of post-punk bands driven by a strong punchy bassline, and they just don't get enough attention. Their entire discography amounts to an okay album and a handful of singles, but dammit they were amazing. Their first Peel Session features the amazing You, and it sounds brilliant; more scintillating than on record. It also features the mighty fine Colour and the self-titled song Delta 5. And the frontwoman has a great voice too.
Tracklisting: You, Triangle, Delta 5, Make Up, Colour

Exactly 11 years after the Delta 5 session, the greatest band of the nineties took to Maida Vale to unleash some shoegaze on the nation.John Peel championed Slowdive, MBV and Ride in their early days, and this is the first time he got some 'gazing going in the studio - bar a noisey pre-shoegazing MBV session in 1988. The session's noted by Ride fans for featuring a cover version of Sight Of You, by fellow soft-voice shoegazers Pale Saints. Arguably the most bona fide single from their output, Like A Daydream (which was Creation Records' first top 40 hit as lead track on the Play EP) sounds faster and better here. It was also the first time anyone heard Dreams Burn Down, an amazing track from their perfect debut Nowhere. The whole Peel Session was perfect, and Dreams Burn Down and Like A Daydream both made their way into Peel's top 4 songs for the year.
Tracklisting: Like A Daydream, Dreams Burn Down, Perfect Time, Sight Of You

In 1989, Nirvana had a bit of US college radio underground success, but nothing major; they weren't known at all in the UK. But they were known by John Peel, the man who was most responsible for giving them their original UK airplay. Whilst a mellow-but-acoustic version of Polly was a beautiful, maybe even commercial touch, the rest of their set was full of the grimey furore of their debut record Bleach. The version of Love Buzz is great (mind you; could a song that great ever sound bad?) and About A Girl sounds much better than the famous MTV acoustic version. It set the stage for Nirvana to be the huge force they were, and Peel never went off them either.
Tracklisitng: Love Buzz, Spank Thru, About A Girl, Polly

1. The final session by The Fall

Manchester band The Fall are famous for being John Peel's favourite band; "always different, always the same" he said of them. Over a 26 year period, they recorded 24 sessions for John Peel, with a different line up each time. Their 24, and final is arguably their greatest, and arguably the greatest. It was a selection of tracks from their 27th studio album Fall Heads Roll (a personal favourite) which Peel tragically never got to hear. But luckily, each one is absolutely perfect, and anybody would be lucky to hear it. The track Blindness is surely one of the greatest ever released, the bassline is absolutely superb. You can't fault it. And What About Us? is a great, catchy number about the most notorious serial killer ever, Harold Shipman; and god is it catchy. The medley of late eighties hit Right Place, Wrong Time and I Can Hear The Grass Grow is something else altogether though - they go together perfectly and round of the session amazingly. One listen, and it's so obvious why this band were the great man's favourite, and why everyone reveres both Peel and Mark E. Smith as influential geniuses. You have to hear it below.

R.I.P John Peel

(written by calum cashin)

20 Oct 2014

Iceage / Plowing Into The Field of Love (album review)

Iceage's newest album, Plowing Into The Field Of  Love is seen as a move away from the loud punk rock roots of You're Nothing, which was arguably the greatest album of last year. But whilst some people see it as a move away, a total rejig, to me it seems more like an album that's built on the great bits of You're Nothing to make it better.

Elias Bender Rønnenfelt's caustic, dark lyrics are still there; that's more than apparent from the first rasps of "the world was once seen burning in my eyes/the same way it was seen burning in yours" on Glassy Eyed, Dormant and Veiled. The frontman's lyrics are almost spat out of his dry throat, as if he had his last drink a week ago and these are his dying words.

Although it's just as menacing, just as intimidating and just as ferocious as You're Nothing, it's more refined, and more mature. The songs have all pretty much doubled in length; the drummer's post-punk influence seems to have gone down under; the calculated motoriks of Steven Morris are swapped for a more stand-off-ish Phil Calvert (The Birthday Party) approach. The whole album, in fact, seems to sound a bit more Nick Cave and a bit more Birthday Party across the board, but obviously this is no bad thing. 
But you'd be doing Elias Rønnenfelt and co. a disservice to say they're not wholly original artists. Their sound is unsettling, angry, and quite unlike anything else. It's almost as if the Danes are broadcasting their stranded thoughts from a dystopian parallel. The Lord's Favourite has a kind of psychobilly feel to it, whilst the piano motifs of How Many make it unnervingly ballad-like.

But throughout, Rønnenfelt's lyrics remain powerful, self-examinating lyrics remain central; "You're the only one; though it's hard to admit/That can save me" off of the otherwise upbeat Lord's Favourite  is powerful, but the tenth track Against The Moon is even more heart-wrenching. "Whatever I do/I don't repent/I keep hissing against the moon" he almost squalls over a minor repetitive piano motif. The young Dane sounds almost a broken man on it; you can almost picture him in a Copenhagen apartment, drowning alone in whiskey and Joy Division records. Or maybe that's just my take.

Although it's 49 minutes long, and throughout the record it's hard not to be conscious of how long it is, the album doesn't drag at all. There are no weak, skippable tracks, like the ones that tend to plague unusually long records. Almost every song could be a single, and although 'thrills' probably isn't the right word, it intruiges and positively delights(???) right from go (the rasping claustrophobia of On My Fingers) to the final note of the title track.

Out: Now (6th October)
Buy it: HERE
For fans of: Joy Division, Nick Cave, Eagulls, Savages

19 Oct 2014

The Wytches/Piano Wire/Otis Elliott / live at The Joiners, Southampton

The Wytches are very much the band of the moment; you need just one look around this blog to see just how much we think of them. Their latest tour, the one in support of their debut LP Annabel Dream Reader is their longest, biggest to date, seeing the Brighton-based surf goths tour with the likes of Telegram, God Damn, Otis Elliot and Piano Wire. This Thursday (16/10) they took to The Joiners to their unique brand of neo-psychedelia, alongside singer-songwriter Otis Elliott and Piano Wire, one of the most exciting new bands in the world.
Embedded image permalink
Otis Elliott with Kristian Bell
before the show.

The first artist to take to the stage was London-based singer-songwriter Otis Elliott; the calm before the storm. His half an hour acoustic set saw the floppy haired singer-songwriter trundle through a series of Elliott Smith-esque songs. He was subdued throughout, but his soothing voice and forlorn lyrics sounded just like they could have been old-Elliott Smith demos. His set wasn't awash with originality, and the lyrics of lost love were verging on cliché, but it was more than enjoyable to watch his short but sweet set. (15/20)

After that, the acoustic stylings of Elliott were left behind immediately; Velouria by Pixies played over the speaker system, and Piano Wire took to the stage. They've only been together as a band for less than a year, and although the four-piece consist of two ex-members of the legendary Eighties Matchbox B-Line Disaster, Sym Gharial and Andy Huxley, they've already put that behind them; they've already written albums worth of new songs together.

Their set started off with the viceral Fossils. (one of two tracks they've put up online, hear it here) Immediately, they seemed tight, together, and incredibly energetic, as they stormed through Fossils confidently; ex-Eighties Matchbox Huxley taking the majority of vocal duties.
 Through the set, their revamped sound was mesmeric. The songs followed a more classic verse-chorus song format ("I've been listening to a lot of Elliott Smith") than Eighties Matchbox, but the attitude and pace was there still.

Society, the first song they put online, might have been the set's highlight; a catchy chorus barked by drummer Lenny Verralis fused perfectly with the hard riffs of the band. The band were very well recieved, but crowd reaction was a bit piss poor; if ever there was a support set that deserved some kinda moshpit it was this support set.

The band's set closer, Crushing Violet was the set's undoubted highlight; it built up and up, like a psychobilly Leave Them All Behind. The band leaped around the stage until the set reached it's hectic conclusion, and the guitars were left dropped against the amps in a Holocaust Section kinda manner. Piano Wire are going to be every bit as big as The Wytches, in the not so distant future. (18/20)

Piano Wire soundchecking
They Wytches took to the stage in an inconspicuous fashion; only to be mobbed by the cheers of the crowd. I almost think they're like an upcoming cult band; they seem to have a fanbase consisting only of people who really think thus; The Wytches are something special. The three-piece boldly opened their set with an all-new song; loud, with a heavier chorus than verse, it was textbook Wytches. It was promising, but nothing special; what I think was special was what followed; the fuzzed out outro morphed into a whammy bar powered wah wah sound, coming from Kristian Bell's guitar.

The band kicked into the subsuming grunge of Digsaw, the opening track off Annabel Dream Reader. The more Bleach-era angst-fuelled material continued with new single Burn Out The Bruise (our review's here) and it's two-stepping tiptoeing bassline sending the full 150 capacity crowd into a bit of a frenzy. Throughout The Wytches' long set, the middle of The Joiners was one huge moshpit; about 50% male, 50% female, which is slightly less discomforting than when a moshpit is six tattooed guys gunning for each other.

Gravedweller was spectacular live, matched only in spectacle by sheer volume. Robe For Juda showed just how aggressive Kristian Bell's vocals are when they need to be, and Wide At Midnight packed a surprising amount of punch, considering how much of a buzzkill it is on Annabel Dream Reader.

Throughout, the temperature increased gradually, until it was just too hot to comprehend. The cries of "Kristian! Kristian! Can I have a sip of your water?" were graciously met by the wytch handing his water out to the crowd. (God bless u Kristian) "Fuck it's hot in here... Pretend this song's a big fan to cool you down" he said, before the band played the waltzing Weights and Ties off of the album. Audience interactivity was a big part of The Wytches' set, and the atmosphere was nice for all the chaos.

But it wasn't the album tracks that made the gig fantastic. Darker, the B-side to Burn Out The Bruise is pretty much the perfect pop song, and it really got a stunning crowd reaction. A surprising amount of people managed to belt out the chorus of "I know it's not a game but I'm in it to win it", which begs the question as to why it wasn't on the LP. Wire Frame Mattress' other side, The Holy Tightrope's apocalyptic wails and frenzied choruses made The Joiners erupt like the world was about to end.

Crying Clown's almost iconic "Like a pendulum" has closed their sets throughout the tour, so when it came to it's glorious end, the venue went quiet; an air of admiration wafted in The Wytches direction. But it didn't end there; the set closed with the most manic most psychotic number in their discography; EP track She's So Far Out. It's crazy stop-start mentality brought the hour-long set to its hectic conclusion in the most unbelievable way.

It shouldn't come as a surprise that The Wytches were absolutely amazing, but they blew away even my high expectations. Their stunning debut and it's supplementing b-sides were perfect at The Joiners, and combined with support from Piano Wire - the next huge thing - The Wytches look to be a band that can do no wrong. There is one worry, however; it's sad to think they might not play 150-capacity venues like The Joiners again.


(written by calum cashin)


Having seen Telegram two times in the past three weeks, I decided that you guys need to hear about how good they are. If you haven't already listened to them, then I can't recommend a band more. So lets start from the beginning. 

Telegram were formed in Wales, and consist of four members. Matt Saunders, Matt Wood, Oli Paget-Moon and Jordan Cook. Their debut single Follow was released in 2012/13 (???) and since then, it's been non-stop touring. Support slots galore, with bands like Palma Violets, The Horrors and most recently, The Wytches, nabbing them as their opening act. The glam tinged rockers draw on a cacophony of influences to create their mind-numbingly unique sound. With a strong case of skinny leg syndrome, this band's image catches up with their music, and you've probably not seen a cooler band for a long time. Having seen them live, and having had the chance to actually sit and chat with them, they are the most geniune, humble guys who deserve every scrap of success thrown at them. The last time we met them, we begged them to release a debut album, or even an EP, just so the world can start seeing this incredible plethora of indie/psych krautrock they have just waiting to be heard.

The debut single Follow is not the only song to come from the genius musical minds that lurk beneath skinny jeans and great hair. Rule Number One and newest addition Regatta are their three singles on display to the world. However, if you have been lucky enough to see them live, then you would have heard a taste of what's to come when the album/EP is finally dropped. Songs like It Ain't Easy, 'Ave It and Folly are no exception to the fantastic Telegram sound. Just because they haven't been released anywhere, doesn't mean they aren't there, waiting, ready to take over the indie community. 

Their popularity is already growing amongst the indie community (mostly on twitter I might add) and here's what they had to say about Telegram.

"They make totally original music and they're the loveliest guys (and they're gorgeous)"

"they make totally rad tunes and are one of the best new bands out there" 

"their music is probably the best new music around and they're all very talented musicians as well as lovely people" 
- @FloatForev3r

"they r so handsome like real honeys and also the music is top notch" 
- @strxngehouse

I honestly can't recommend this band enough. The talent in this gorgeous foursome is bursting at the seams, and I for one cannot wait for the chance to see them again. I wish them all the luck in the world, and hope that sooner rather than later, the debut album/EP gets out, and shows the world just how phenomenal they are.

Check out Telegram here:



17 Oct 2014

Eagulls / live at Lennon's, Southampton

Being singlehandedly responsible for the greatest album of the past year or two, Eagulls are a band rising meteorically. As part of the Club Psychedelia birthday celebrations, the Leeds-based post-punks headlined a night at the nightclub and luckily it was 16+, as opposded to 18+.

Kicking off proceedings was a DJ set from a member of Southampton's greatest musical alumni, Band Of Skulls' bassist Emma Richardson. Upbeat and bursting with fantastic songs from the sixties until the present day, it was interesting to say the least. One minute The Seeds' Can't Seem To Make You Mine was blaring, the next it was New Dorp New York by SBTRKT.

The only support band was the hectic punks known as Bad Breeding; a four piece hailing from Stevenage. They had an air of Crass or Black Flag about them, but they also reminded me a bit of Iceage; the solo guitarist and the bassist created a huge amount of sound that just roared on and on, not stopping til it was time for the band to come off. The lead singer marauded around the venues floor, screaming the band's violent lyrics right in the faces of anyone unlucky enough to stand too close. Bad Breeding were tight, but out of control and pretty unsettling; which is probably how they set out to come across. Their sound was repetitive, but the way that the band really went for it meant their 30 minute support slot was interesting right until the end, when all the members collapsed in the middle of the stage.

The delay between Bad Breeding and Eagulls was painful; it was a good 45 minutes before the white noise Eagulls walked onto sounded and the five-piece band marched onto the small stage. With abstract projections blaring in the background, the band launched into their set without crowd interaction; the first song was unrecognisable, dissonant, and noisy. It wasn't bad, but it took a second to gauge what was going on. Through the dissonance of track 1, and it's loud trail of feedback emerged their second song, the new-waving Tough Luck, instantly redeeming the mediocrity of the set opener. Mitchell's northern howls of 'ter-flook, ter-flook, ter-flook' sounding every bit as great in a live setting as they do on record.

From there the set motored itself onwards. George Mitchell, being arguably the most enigmatic frontman of recent years adopted his trademark stance pretty sharpish; his tall thin figure jerkily belted out the lyrics to the early part of their set; the frightening Footsteps and the tortured Yellow Eyes. The band's cold sound and Mitchell's tetchy stage presence was incredibly reminiscent of a late Joy Division sound.

The set's first real peak came with the swarming Nerve Endings. Its menacing wall of sound and Mitchell's delivery created an unnerving atmosphere, but that's just the point in Eagulls' music. They, like Joy Div and Bauhaus before them make music to unnerve, and music to make the audience uncomfortable.

Unlike at End of the Road festival, they also unearthed material from 2012's EP. First Coffin showcased Eagulls ability to write a great pop song, then Moulting immediately followed it up with it's warped pre-Loveless MBV guitar tones. Although Eagulls' earlier self-titled LP was a huge step up from their debut EP, those two songs perfectly showcased how great the complete output of this band is.

The middle of the set saw the band thrash through all of their other album tracks; Opaque was surprisingly uplifting and Fester/Blister was tentative. The grizzly Hollow Visions; the newest single was the set's peak. It was when the band seemed the most together, and it was improved by an added middle sector, where George Mitchell's jerky stage presence muttered 'So cold, so cold' over the feedback, before Eagulls launched themselves back into Hollow Visions.

Penultimate Soulless Youth was glorious, but almost off-sounding. It's glorious on record production wasn't quite replicated in the nightclub setting, but the anthemic chorus carried it to it's rasping, vicious end.

To cap the set, Eagulls finished on a high. They couldn't leave the tiny stage to come back on for an encore, so some feedback hit hard after Soulless Youth and Eagulls broke into their usual set closer, Possessed. A fantastic set closer, Eagulls' bona fide pop song is certainly a the most danceable number on their set list, and probably the most upbeat. It's woozy guitars subsided and as the attacking final verse hit frantically, the Leeds' based band's set came to a timely, perfect end.

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A lot has been said about this band on this blog; they're pretty dead certs for our album of the year, and they can't do wrong. Catching them in a live setting just served as a means of enforcing the prowess of both the band and it's enigmatic frontman, and even though they sounded off in places, they certainly put on a fantastic show; maybe not quite as great as some of the bands that sound that great on record are capable of, but Eagulls were stunning.


(written by calum cashin)

14 Oct 2014

Thud / Lime (single review)

Not so long ago, a collective of Japanese bands released a covers album called Yellow Loveless, where each band would cover a song or two from My Bloody Valentine's classic album Loveless. Then, from Korea came Blue Loveless. Which was the same thing but from another country. They're both absolutely stunning covers albums, and it's rare that something like these would be essential. Now, another great Southeast Asian band of shoegazers has emerged, ready to conquer all; they're self-confessed self-confessed weirdos called Thud, and Lime is their debut release.

Atmospheric and vibrant, the band are upbeat from the outset. Oscillating synthesisers give the immediate lie that their musical influence isn't confined to shoegaze; the shoegazing tones and the dreampop hypnosis are there, but they're joined by a synth line that sounds like it could have been taken straight from Sumday by Grandaddy, or even from the Horrors' new album.

The vocals of Kimberly Ho blend gorgeously into the track, and the choruses take a woozy Slowdive kind of feel to it. However, whilst the undistinguished vocals give it style, they're also it's major pitfall. The dreamy textures mask the lyrics too much, and it all sounds a bit abstract.

Despite this, it remains interesting through the use of synths. Just as the track begins to feel a little bit of a shoegazing cliché, the oscillating I See You synths lift it right back up again. It keeps hinting at a euphoric feel in places, but it doesn't quite go as blissfully far as Slowdive or DIIV do. It's uplifting and it's very, very good, but it doesn't get the pulse racing.

It's not the most amazing thing in the world, but it's a debut single that could certainly lead to bigger things for this band. It's quite forgettable and the band are yet to find their own sound, but it's shoegazing-Grandaddy sound teases at greatness, and Thud are certainly a band to watch out for. If they can build on Lime, it wouldn't surprise me if these Hong Kong shoegazers snapped up by Captured Tracks or Sonic Cathedral in the near future.

Out: 27th October
For fans of: DIIV, Slowdive
Hear it: HERE

(written by calum cashin)

13 Oct 2014

David Bowie / Sue (single review)

Nothing Has Changed, the front cover of David Bowie's new compilation announces. And that kind of makes sense. Bowie unveiled his new single yesterday, Sue (In A Season Of Crime), and it feels as if nothing has changed, whilst everything has changed. It's all changed because Dame Dave has turned his back on the conservative pop-come-rock stylings of last year's comeback album, The Next Day, and emerged with a whole new sound. This time round David Bowie is giving it all, in an 8 minute jazz odyssey. But of course, with David Bowie this means nothing has changed. Even at his age now, he's still unafraid to push boundaries, and plough into uncharted territory, and here's our verdict on Sue (In A Season Of Crime), his first material from his latest incarnation as David Bowie, jazz extraordinaire.

David Bowie unveils Nothing Has Changed new album artwork
Sue has a lot of the qualities you love about David Bowie's past material. It's as ambitious as Low, as unnerving as Station To Station, and it's every bit as interesting as everything he's ever done everything.
The song starts frantic and finicky, a scuttling bassline with some dramatic big band orchestration. It's jazzy, and done brilliantly; brass and wind competing against each other to make an almost dissonant, claustrophobic sound; the instrumentals seem kind of 50's-America-Meets-JG Ballard. And when Bowie vocals hit, they really hit, the first bout is almost optimistic as he cries for Sue. Bowie's vocals sound aged but not like on the next day, where they seem kind of withered in places. Through this track his voice sounds old, yet mature, like Scott Walker with even more bravado.

Between verses there's a large amount of instrumentation which makes it sound unsettling; it adds so much to the atmosphere. Bowie's voice sounds big, and the subject matter; the murder of Sue, from what I can make out.(NME call it a 'murder ballad', but it's not as explicit as that) is dark and unsettling. Whilst it's all new Bowie, it sounds like it could soundtrack a silent film. A really creepy silent film. Maybe a David Lynch meets Salvador Dali meets Wall Street Crash silent film. You know what I mean?
Over seven minutes, Sue doesn't sound too long at all, it's just right. It's a perfect mix between the latest Bowie-volution and a really early Scott Walker track. I was cynical at first, but David Bowie can honestly turn his hand to everything.
When legends like Bowie bring out new material there's always a risk of there being a bit of an Emperor's New Clothes feel to it. Poppy's going to hit me for this, but like when Morrissey brought out his first album since 2009 earlier this year, (please don't hit me Poppy) everyone said how great it was, and how it was a return to form and all the clichés you can shake a stick at, when really it wasn't all that. "Amazing!" they all said to his face, whilst laughing behind his back because the once enigmatic Moz had actually released an album with the lyrics "Kiss me a lot/Kiss me a lot/Kiss me all over my face... Kiss me all over the place" on it. Oh dear. Sorry Moz.
Luckily, the genius that is David Bowie has not misfired by bringing out a jazz single. Unlike The Next Day, it sounds brilliant after a couple of listens, and there's more to it than meets the ears. It'll obviously divide opinions, but I think this is so great, and it deserves and Bowie deserves all the praise there is.
Here it; HERE
Out: Now, physically on November 28th, as a 10' single (backed by a track called Tis Pity She's A Whore)
For fans of: Scott Walker, Miles Davis, 50's musicals, jazz bars, David Bowie

11 Oct 2014

Black Delta Movement / The Trip (single review)

Although they're from Hull, neo-psychedelic garage rockers Black Delta Movement sound more like they were dragged to the year from the late sixties Detroit scene. As one of the main artists on the brilliant Irish Ruby Music label, they're part of a wave of bands that are reviving garage-psych. They're one of the better bands hailing from North Yorkshire, and with the current crop of NY bands, that's no mean feat.

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Their latest offering landed yesterday; a single called The Trip, and it's already a new personal favourite. Clocking in at just under four minutes, it's a brilliant amalgamation of their brilliant brand of psych, with an added dash of Spacemen 3. It's absolutely fantastic.

Fuzzed out guitars played blissfully lazily, with enough feedback and enough reverb to blow even the most expensive speakers. The bassline struts back and forth, like an early Seeds track, the wall of fuzz hits hard. Although it's repetitive, it's got a hypnotic shoegazing quality to it, and it's easy to listen to and headbang, alone, in your room, over and over.

"Let's take a trip" the singer repeats, and with a vast cannon of psychedelic influences, I don't think he's talking about a weekend break in the lake district. Although the lyrics are full of lazy rhymes, that adds to the song. The vocals play the second fiddle to the guitar part, and you probably wouldn't notice the lyrics if they weren't so brash and sing-along-able.

But the guitar part of The Trip is probably the main focal point. Although it's Spacemen 3-like through the verses, the wall of fuzz recedes through the middle 8, so a Jack White-esque solo can  blow the listener away. I've never been so inclined to use the term 'facemelting' to describe a guitar solo before, but this one might just be a 'facemelter'. Then, to close the track in brilliant fashion, everything builds up faster. The messy rhymes of the singer's Iggy Pop-like cries get faster, and the bass becomes stomach churningly powerful.

But despite how frantic it is, they've also got a bit of a slacker sound to them. Lazy fuzzed out sounds make them sound like Pavement-On-Acid in places; lyrics that don't really mean much more than "let's take a trip", combined with the Methodrone-era BJM style 'melodies' make sure this track forges itself 'slacker-psychedelia' as a genre.

Although it's hard to pinpoint just one genre to it, the Black Delta Movement's formula is certainly a winning one.

Out: Now (9th October)
For Fans Of: Spacemen 3, BJM, Velvet Underground, The Sonics
Listen to it: HERE
Buy it: HERE

(written by calum cashin)

10 Oct 2014

Wytches/Telegram / live at Norwich Arts Centre

Honestly, we might as well turn this blog into a Wytches fansite with the amount that we post about them. 
I was lucky enough to see them last night (9/10/14) and this gig was made even better by the fact that my favourite new band Telegram were supporting. God Damn also supported but I must admit that we missed a large part of their set because we were sat outside the venue chatting to Matt from Telegram. However, on with the gig review.

Telegram took to the stage at about 8pm,  The crowd wasn't overly large, the venue itself only fits 290 and Telegram played two hours before The Wytches were due to come on stage. I was front and centre, (because when am I ever anywhere else?) and in prime position to sing out the lyrics as loud as I could, with absolutely no shame. They opened with my favourite song, Rule Number One, before playing a high speed glam tinged set full of tracks they need to compile into an album, or at least an EP soon. Way more people need to hear about this band, they are truly unique and special, and it is only a matter of time before they are huge. I would recommend going to see them live to absolutely anyone, the display of talent on show is incredible, and they truly are the loveliest guys ever. We got to chat to them after about the other times we have seen them live, and what it was like touring with Palma Violets and The Horrors, as well as pestering them to sneak us into the DIY all-dayer. Really genuine guys who deserve every single bit of success they have coming their way.

Check out Telegram here:

After God Damn finished their set, there was time for a drink and a chat before getting into place for what I expected to be the best small gig I have ever been to. I certainly wasn't wrong. Opening with a song I didn't actually recognise before going straight into album opener Digsaw, the chaos followed suit. With every crash of the drums and thrash of the guitars came more moshing, more head-banging and more carnage. The setlist was composed of mostly album tracks, including the new single Burn Out The Bruise and possibly the most known Wytches track, Gravedweller. The quartet of songs that brought the set to a close was possibly the greatest ending ever. B-side The Holy Tightrope, followed by the A-side of the same record, Wire Frame Mattress came as a stunning duo, made only the better by Beehive Queen coming next, before my all time favourite Wytches track to finish it all off. Crying Clown is one of those rare songs that makes you sit up and listen. And then listen again. And Again, because you can't quite believe what you're hearing. At first, it's just a regular Wytches song, dark grungey melodies and whining over it all by Kristian, but as he finishes uttering the words, "Graveyard girls/swinging a bag like a pendulum" a riff kicks in that is almost indescribable. It's the sort of riff that makes you want to walk over your enemies corpses wearing leather stilettos and a floor length cape. Don't question it, just listen to the song and you'll feel it. Trust me.

Overall, it was the best small gig I have been to since probably Palma Violets last year. It's definitely my all time favourite gig I have been to at Norwich Arts Centre. You can tell that this time next year, The Wytches certainly won't be playing 290-capacity venues, they'll be absolutely massive. And my god do they deserve it. 

Rating: 20/20

(written by Poppy Marriott)

8 Oct 2014

A Look Back At Glastonbury

With Glastonbury tickets selling out in a record breaking time of 26 minutes for the 2015 festival, I thought I'd do a post looking back at some of the most iconic Glasto performances. Also, I was lucky enough to bag myself a ticket to next years event and in all honestly, I'm too excited to really write about anything else. 

Ride '94
Playing a very short set and sounding decidedly brit-poppy, this is up there with Ride's best ever sets. Pipped to the post by their Reading set, it's a close second. Despite sounding less shoegazey that you would expect. The five songs they did play were Birdman, Let's Get Lost, 1000 Miles (which is the best live version you will find anywhere, magical) Magical Spring and Mouse Trap. Although they chose to ignore all the songs from Nowhere (which I think is pretty much the greatest album ever) the set is still very very good. And those glasses. Wow.

The Smiths '84
With a set list spanning a mere 10 songs due to a monumental crowd invasion which forced Morrissey and his band of misfits off the stage early, this has been hailed as the performance which truly restarted Glastonbury for indie bands. Not only was it in The Smiths first year of actually being an official band, but it is one of their best ever live performance. Opening with Nowhere Fast and making their way through some of their best songs like This Charming Man, Heaven Knows I'm Miserable Now and Still Ill before closing with the mammoth anthem that is Hand In Glove, it paved the way for new indie bands to play this legendary festival. Probably my favourite glasto performance ever. Reunion in 2015 boys? No? Ok. 

Bowie '00
Not only was 2000 Bowie's long hair era, it was one of the single most remembered performances ever. He took to the Pyramid Stage to play a set full of some of his most known and loved songs, a few of which he hadn't played in over 20 years. Opening with a cover of Wild Is The Wind (originally by Johnny Mathis) before really getting the crowd going with hit after hit after hit. Changes, Life On Mars?, Ashes To Ashes, Rebel Rebel and Golden Years were all belted out in the first ten songs. Following this came another cover of All The Young Dudes by Mott The Hoople, before going back to his greatest hits set. Man Who Sold The World, Station to Station and Starman all came before possibly one of his best decisions ever. He played Under Pressure, as in the version he did with Queen. I have watched it online a thousand times, but being there in that moment must have been one of the most magical moments in musical history. When he returned to the stage for the encore, the hits kept flowing. A trio of Ziggy Stardust, Heroes and Lets Dance just about prepared the audiences for his departure. Finishing the whole set with the phenomenal, I'm Afraid of Americans, this has to go down in history as one of - if not the - best headline slots ever.

Arctic Monkeys '13
Playing this set before everything went a bit wrong with the famous Sheffield quartet, they were no strangers to the Pyramid Stage, having headlined it way back in 2007. This set however, was probably the best set this band have ever played. They were slick as slick can be, but without the cocky americanisms which Turner has sadly acquired since the birth of AM two months after this triumphant headline slot. The set contained the perfect mix of new and old, with it being the first time they ever opened at set with Do I Wanna Know. Highlights include Arctics playing A Certain Romance, 505 and that stunning version of Mardy Bum which is yet to be replicated. And of course, the intro to I Bet You Look Good On The Dancefloor will never be forgotten.

"To all you fellas out there who were just too cool to wave their arms during the Pretty Visitors chorus, this one's for your girlfriends. LAAAAADIEEEEESSSSSS!"

Oasis '95
The Oasis show in '95 was special, purely because it was the first live showing of a lot of the songs from what is possibly their greatest album, What's The Story, Morning Glory? The Swamp Song, Hello, Roll With It and Morning Glory all had their live debuts on the Pyramid Stage back in 1995. The setlist also held some of the greats with a trio of Don't Look Back In Anger, Live Forever and Rock n Roll Star being how the set came to a close. This set was of course, played long before the split of the band, so the Liam/Noel chemistry is on full form, and the band have never sounded better. One for the history books. 

Jack White '14
Jack White's glasto performance from this year was probably the best one I saw. Other bands came close but the sheer innovative-ness of Mr Jack White alongside the mass of blue strobe lights, a gorgeous bunch of weirdos also known as his band, and probably quite a lot of drugs, this performance pulled together to be nothing short of phenomenal. He played a ton of White Stripes songs including the opener Icky Thump and the closer Seven Nation Army as well as a couple new tracks off of his new album Lazaretto. The title track brought the house down, as did the instrumental work of genius that is High Ball Stepper. Jack White is no stranger to Glastonbury, having played with The White Stripes multiple times, and you could tell. Never has an artist looked so comfortable gracing the Pyramid Stage. Absolutely jaw-dropping. 

(written and chosen by Poppy Marriott)