The new Latitude announcement is here! This time, there's names for the Dance tent, The Theatre stage and The Film
+ Music Arena, as well as acts on the BBC 6 Music Stage and The Alcove. The full announcement is as follows, and brace yourself, there's a lot!:
25 Apr 2016
Emo slacker bands don’t come more notorious than Philadelphia, USA’s Modern Baseball, who tonight bring a storm of sweat and booze to The Owl Sanctuary with a little help from their pals.
24 Apr 2016
The second annual Record Store Day release by London record label Trashmouth was actually the only RSD release I actually picked up last week, but I can assure you it was almost certainly the best thing on offer. Over 7 tracks by 7 different artists, the 12` compilation showcases and introduces some of the most amazing artists making music in the world today.
22 Apr 2016
Black Honey are one of the UK’s most exciting acts. Known for their anarchic stage performances and Instagram feed to die for, they are the ones to watch. We climbed into the tour van before their set at Flying Vinyl Festival to talk touring, their new EP and Wes Anderson.
20 Apr 2016
Few indie bands come as sugary sweet as newcomers Beach Baby. The quartet’s delicious retro sound has already seen them play shows for DIY, BBC Introducing and more, as well as get attention from a string of equally ear catching singles. On their support tour with Sundara Karma, they stopped off at Norwich Waterfront where we grabbed guitarist Ollie and drummer Josh for a natter about the future.
Meilyr Jones is an artist; he hails from the valleys of Wales and creates some of the most instantly classic music in the world today. In creating the rich tapestry that is his debut record 2013, Meilyr's looked back to look forward - not like in the way that your ten-a-penny MBV ripoffs and dense commodities of Nirvana wannabes look back, but in a much more refined, broad way that takes influence from both the recent and distant past of human art - Meilyr Jones brings retro to its logical conclusion.
The crashing drums at the start of How To Recognise A Work Of Art, the album's glorious opening gambit, are just a red herring. It starts off sounding like a sauntering version of Rocks by Primal Scream, before a deadpan art criticesque voice sounds: "how to recognise a work of art, by adrian meilyr jones" and you're plunged into a beautiful, bright microcosm soundtracked by horns and strings and the gorgeous voice of Meilyr Jones. There's so much brightness on the album opener, Jones' voices is a ray of sunshine kinda like Paul Heaton (The Housemartins) or Julian Cope, whilst the end of almost every line is puncutated by a trumpet trill or a violin squall.
18 Apr 2016
Saint God are a shoegazey noise bringing duo from Tel Aviv who pack a pretty impressive punch, and their new track shows just that. Narasvette begins softly, a literal whisper of a start, with a delicate strumming of guitar before the fuzz kicks in. The reverb fuelled track swells, moving in droves with clever jolts in pace and movement.
16 Apr 2016
Causing raucous drunken sonic ruckus on a Tuesday night on Holloway Road, three bands from far and wide clashed to play a show that turned out to be the best night out you'll have this April. After K.I.D Vicious' ferocious spoken word set crammed with wry northern wit, the stage was filled noise from all over the country.
15 Apr 2016
Record Store Day releases have a general feel that just oozes with a lack of essential-ness. Instead, most the things you see on the big long list of releases are only essential to beardy collectors that seemingly look down on all young people buying vinyl, you know? But fear not droogs, I've trawled through list to find 3 records you really should think about getting your grubby mitts on tomorrow at RSD.
14 Apr 2016
Normally, Flying Vinyl spend their time manufacturing exclusive 7” singles for their growing audience of wax enthusiasts. But today, they turn their attention to the performance side of music, bringing ten of the hottest bands on the indie scene to a smoky warehouse in Hackney for twelve hours of beer, sweat and confetti.
When you hear the word ‘jazz’ what do you envision? A bunch of dandy three-piece suited men drinking gin alongside elegant, beautiful jazz-singing queens in a smoky, relatively unknown bar? Do you hear a bunch of jarring chords, impenetrable melodies, or even slight undertones of middle-aged snobbery?
To the naive, ‘Jazz’ may appear to be the ‘fine art’ of the music world; elevated to such a high status that it seems almost inaccessible to those (like me) who grew up chowing down to The Smiths, Pearl Jam, Nick Cave and the Bad Seeds, even Michael Jackson! An eclectic mix of artists, yet Jazz and artists and culture behind the music seemed either plain, pretentious, or just too abstract for my ears to handle.
12 Apr 2016
A couple of weeks ago I gave a ringing endorsement to a John Zorn album ("Radio"), and in it I referred to him as the second scariest saxophonist I know of. No doubt that put you ALL on tenterhooks, so here I bring to you (in my opinion) the single scariest saxophonist known to man.
11 Apr 2016
London “proto-punks” Telegram are an anomaly in the field of today’s young bands. This time three years ago, the four-piece sat unknowingly at the start of an upward trajectory, going on to attract hype from NME and the BBC off the back of support slots with Palma Violets and The Horrors. But when a major record deal fell through, they turned their backs on the debut album formula, opting for a more grassroots approach. The fruit of their labour is 2016’s Operator, a fiery twelve track product hand recorded, packaged and distributed by the band themselves. On their first major tour in support of their new brainchild, bassist Oli Moon, frontman Matt Saunders, guitarist Pip Stakem and drummer Jordan Cook let us know where they’ve been since 2013, why music fans are being robbed and that if you’re wise, you should never describe them as “psychedelic”.
8 Apr 2016
Parquet Courts are back with their fifth LP Human Performance, and it is a rickety, raucous riot of an album, that at points settles into more subdued moments of heartfelt emotion, but remains gut crunchingly punk all the way through.
7 Apr 2016
Last month, we brought you a review of the debut single by Portsmouth experimentalists Glaciers, the awe-striking Vivid. We're absolutely ecstatic then, to be here, bring you their second release - if you needed further proof that this band are destined for great things The Walls is it.
5 Apr 2016
If there's one soundbite to take away from this review, and let's be frank there probably is, we'll get to that straight away; Everything You've Come To Expect is everything that AM should have been and then a bit more. OK. Now we've got that clear, here's some background on this record and why that comparison feels like a necessary one to make in the first paragraph of a review.
3 Apr 2016
The debut single from Southampton's very own Howland arrives with the start of Spring, and aptly, it's like something really bright and exciting is blossoming. The four-piece are renowned for their bright sounds, bristling energy and instant melodies, and the double A-side Callout/Slow Down is a youthful symptom of just that. Bursting with energy, both songs are honed indie-pop songs that chirp with life and ping with energy, and are among the most catchy indie songs to land in my inbox over the past twelve songs.
On a rainy night in a small coastal city, three of the finest local talents converged to asphyxiate a little pub with psychotic, psychedelic and psychopathic sounds. Those bands came in the form of Portsmouth wall-of-noise shoegazers Is Bliss, aggressive psych warlords Melt Dunes, and noise rock outfit Weird Sex, each one loud and powered by numbers of effects pedals in the double figures, and the pub came in the form of the Alex, a small pub in Southampton decked out with impressive amounts of film merchandise.
1 Apr 2016
Frankie Cosmos’ aptly named new album Next Thing is the perfect progression from first album Zentropy which was followed closely by her four song EP Fit Me In. Frankie Cosmos, appears to, with all the melancholy gusto of her prior works, have arrived at a well-established second album that lulls the listener into a limitative state that Is neither sad nor happy. A juxtaposition of upbeat chorus’ with blue lyrics is a balance that remains excellently executed throughout Cosmos’ latest instalment.