2017 has been a funny year. Here in the UK we dealt with sickening revelations and political turmoil. Our so-called 'special relationship' with the US seems more laughable than ever.
Back to music... I think it's fair to say that it's been a pretty mixed bag. On the one hand, we were presented with beautiful albums from the likes of LCD Soundsystem, Enter Shikari and The National.
On the other hand, many of my favourite bands have been irrecoverably condemned to the 'do not listen to' pile. What will it take to stop those in power from abusing it so?
While I struggled to understand the upsetting news stories, I did get to attend over 20 gigs this year and discover some great new artists.
I'm happy I stumbled across October Drift, Japandroids, and The Smith Street Band. I definitely rank the latter in my top 5 favourite artists, and am planning a trip to Australia to see the group out there.
My most memorable gig of 2017 has to be Los Campesinos! at London's KOKO in May. The group has such an infectious energy, and it was great to be a part of it.
I also finally got to see The Killers and Future Islands, two bands I've loved for a long time.
I have high hopes for 2018. I have my fingers crossed for a UK Courtney Barnett & Kurt Vile tour, and cannot wait to see The Front Bottoms and The Smith Street Band in London in February.
Wherever you celebrate the new year, I hope you have a good one. Here's to 2018!
Leeds based quintet Autobahn released their second LP on 3rd November. Short but perfectly formed, The Moral Crossing takes the listener on an angry post-punk journey.
Bought from Drift record shop, Totnes
With cheerily named tracks such as 'Obituary' and 'Torment', the band are a perfect soundtrack for the disillusioned youth (or simply population) of today.
The first track, 'Prologue', sets the scene with angry guitar riffs, but it is only in 'Obituary' that we get the first taste of Craig Johnson's vocals. 'Take it from me, you'll all be forgotten / So I sacrifice myself'. A haunting chant ensues. Welcome to Autobahn's second album.
As the record develops, you find yourself noticing influences ranging from Joy Division (with 'Future' and the title track) to Animal Collective.
A particular favourite song would be 'Torment' with its female-spoken French lyrics and immersive, almost choral supporting noises. The song doesn't get quite as intense as the others, so provides a brief moment of respite.
'Execution/Rise' is certainly intense, however. With a duration of 3:43, it is one of the shorter tracks, but its repetitive chorus works you up into a trance-like state.
While the album does remind the listener of other artists, this is certainly not a negative point. For a band with just two albums under their belt to be likened to heavy weights such as Joy Division and The Cure, they must be doing something right.
Ohio indie rockers, The National, are taking over London's Eventim Apollo this week with a series of four sold out shows.
For a band with seven albums in their back catalogue and over fifteen years of touring history, it was perhaps a brave decision to start the concert with four songs from their latest release, Sleep Well Beast.
The group clearly know their fans, however, because each song was received like an old friend.
This trend continued as frontman Matt Berninger moved on to old classics such as Sea of Love and Bloodbuzz Ohio. Without (memorable) exception, the audience applauded and cheered for an extended period after each song, which is something I'd never seen before.
When a band has such a strong range of albums to choose from, clearly each song on the setlist resonated with a different member of the audience. I met two women who have been fans of The National for ten years and have been to the same number of concerts, and one of the pair was so overcome with emotion when Graceless was performed for the first time this tour.
Matt's interaction with the crowd was second to none. On multiple occasions throughout the evening he descended into the standing area, and sometimes the audience lost sight of him for what felt like a depression-fueled eternity.
Irish singer Lisa Hannigan, who provided backing vocals on Sleep Well Beast, joined The National at multiple points during the night. Her enchanting vocals were sadly lost at first, but after a few adjustments she provided a haunting accompaniment to Matt's iconic baritone voice.
Matt's voice also reached new levels of emotion when it transcended into a guttural scream on certain songs.
As the night drew to a close, Matt announced that they were to sing 'the most depressing song we've ever written' - About Today. Hailing from their 2004 EP Cherry Tree, this was a particularly special moment. The crowd fell silent and eyes were drawn once again to the incredible light show behind the musicians.
The National's lighting was attention grabbing, switching from vintage-style live footage of the band to bright lights that at moments reminded me of Aphex Twin's set at Field Day festival.
Having performed a cover of Talking Heads' Heaven, support act This Is the Kit and Lisa Hannigan joined the stage for a beautiful, bittersweet rendition of Born to Beg.
The icing on the cake of a beautiful two hour concert was the final song choice - Terrible Love. Matt walked through the crowd as we all sang in unison 'it takes an ocean not to break'.
My only regret is that we didn't get to hear Mr November, my favourite song.
The National can be depressing, and there's no denying I felt slightly melancholy this morning, but in today's world it is simply impossible - at least for me at least - to pretend that everything is going swimmingly.
We need music that examines our deepest emotions to prevent us from burying our heads in the sand. And with that being said, we need The National.
Hailing from Melbourne, Australia, The Smith Street Band formed in 2010, originally under the name Wil Wagner and The Smith Street Band, in a nod to Bruce Springsteen and the E Street Band. In 2011 the rock band changed its name to signify a whole-band songwriting style.
The band is currently made up of four members; Wil Wagner, Lee Hartney, Michael "Fitzy" Fitzgerald and Chris Cowburn. To celebrate the release of their 4th studio album, More Scared of You Than You Are of Me, The Smith Street Band have been touring in Europe.
I first discovered The Smith Street Band through the magic of Spotify. While stalking the band on Facebook, I came across a picture of a fan's tattoo which made reference to Ducks Fly Together, my favourite single, and realised just how much of an impact this band has on its fans.
As seems to be a trend with musicians I admire, The Smith Street Band's lyrics focus heavily on depression and heartbreak, and the intensity of the music both heightens and alleviates the sadness. There's something incredibly addictive about the band's style, and also I'm a sucker for an Australian accent.
Seeing The Smith Street Band live was an incredible experience, simultaneously exactly what I expected and 100 times more. Firstly, the venue (The Garage, Highbury Islington) was intimate, while providing enough space for dancing. They sold cider/beer in two pint glasses which certainly set the scene for the night.
Support came from Shit Present (who I unfortunately missed) and The Bennies, another Australian rock band who are slightly more punky than Smith Street. They were so energetic and got everyone ready for the evening. While waiting for The Smith Street Band to start, I noticed someone wearing a Los Campesinos! t-shirt and another with a Modern Baseball jumper. I was clearly in the right place.
The Smith Street Band!
Each song the Smithies (I'm getting more casual now) played got me more and more excited. I love loud rock music, when the crowd starts jumping and screaming together, and this is exactly what I experienced. It was beautiful.
Being conscious that I don't want to fangirl too much, I'll list some of my favourite songs for those who haven't had a chance to experience this band yet.
Calgary Girls, Forrest, Ducks Fly Together, Shine, Song For You, Passiona
I'm even more in love with The Smith Street Band than I was before, so much so that I'm considering a (permanent) trip to Australia to see them more regularly... Until then, I'll content myself with the great t-shirt I got from the show and the music.
It feels like I've had a crazy month or so and I feel sorry for neglecting this blog. I have been lucky enough to see The Jesus and Mary Chain, Los Campesinos! and Kate Tempest while I've been 'away'.
Before I continue, I must address the atrocities that took place in Manchester last Monday. As a huge fan of live music, and having lived in Paris when the Bataclan attack took place, it really affected me. To deliberately kill young children during what should have been the best night of their lives is both cowardly and sickening. I'm very grateful to my parents for allowing me to attend concerts on my own since I turned 14, and believe it is essential to keep living and enjoying the things that make life worthwhile.
I saw Kate Tempest on Saturday and would like to thank the staff at Brixton for making us feel completely safe. It was incredible to see such a diverse mix of people enjoying her politically and emotionally charged performance.
I've added a few more gigs to my calendar for this year including The Smith Street Band in July. I'm also considering getting The National tickets for September and Future Islands for November, and while I definitely want to see them I'm also finding it hard to think ahead to those cold winter days right now. That being said, I have bought tickets to see Enter Shikari at the end of the year.
During my seemingly constant train journeys recently I've stumbled across a band that I like, so thought I'd take a moment to enthuse about them. (I stress that, while they are new to me, they are almost certainly known to others).
Car Seat Headrest
My dad recently bought Car Seat Headrest's twelfth album, Teens of Denial, which was my first taste of this American indie rock band. I instantly identified with the music style, lead singer Will Toledo often shouts on the songs which reminds me of The Front Bottoms or Modern Baseball.
I'd recommend listening to Car Seat Headrest loudly on your headphones, it made a big impact on my commute to work.
As is often the case with me, I've discovered this band far into their career... Now it's time for me to go through their back catalogue!
Songs: Not What I Needed, Drunk Drivers/Killer Whales
Stay safe, keep doing what makes your heart race and stick together. As Kate Tempest eloquently put it: the point of life is live, love if you can, then pass it on.
Following its release last Friday, I've had Los Campesinos!' sixth album on constant repeat. It has followed me on a ten-hour return trip to Devon, daily commute to work and baking cheese scones. I guess you could say it's an adaptable album.
LC! are a band very close to my heart. They accompanied a large part of my adolescence and then followed me through my uni years. I found the 'Romance is Boring' album really helped my essay writing. Sadly I've had to grow up and now I listen to them as the 'business woman' I've accidentally ended up badly becoming (help).
This seven-piece band have a talent at producing catchy and (for the most part) upbeat songs which give an illusion of happiness while you're aimlessly walking along, but Gareth's intelligent lyrics mean that when you decipher the true message you're left as anything but elate. And I really, really enjoy it.
After a three year break, the first hint at new LC! music came in November with the release of 'I Broke Up In Amarante.' I'd just come back to live at home after three years in Paris, felt I'd reverted back to pre-uni depression and the lyrics 'It seems unfair to try your best but feel the worst' really resonated with me.
As we finally waved goodbye to the terrible year that was 2016, Los Campesinos! released the second track from the album: '5 Flucloxacillin.' An ode to our doomed generation who are struggling with medications just to feel something, but who are ultimately still judged by parents for not feeling enough.
'The Fall of Home' was the final track to be released before the album's release date. Ballad-esque in nature, it greatly differs to the previous singles. Gareth sings about those who, having left their home town, find themselves alienated from it when they return.
Enough of the previews, now I can get to the crux of the matter: the album itself. Visually speaking, it is a work of art. Musically speaking, it is beautifully self-deprecating and certainly worth the wait. The band recorded 'Sick Scenes' in Portugal in June during two important events: the UEFA 2016 tournament and the UK referendum. Both negative results are strikingly obvious in the album's sound.
The album opens with 'Renato Dall'Ara (2008)', which I actually first heard in December during a tiny gig at Hackney's Moth Club. With its chanting and catchy chorus, it's a great way to start the album. 'Sad Suppers' is next which sees Gareth claiming he's 'never a miser with the misery.' LC! made me realise it's OK not to be OK all the time, and there's something satisfying in allowing yourself to be miserable (listen to 'Miserabilia' for more on that.) In my humble opinion it is both impossible and uninteresting to be constantly happy.
Following on from 'I Broke Up In Amarante' is 'A Slow, Slow Death', one of my favourite songs on the album. I'm very tempted to get some initials inside a heart tattoo. Then we get 'The Fall of Home' and '5 Flucloxacillin' in quick succession before 'Here's To The Fourth Time!' - a song about that one person you keep going back to, despite knowing the relationship is ultimately doomed.
The album continues with the amusingly titled 'For Whom The Belly Tolls' and then 'Got Stendhal's', another of my favourite songs. In a great interview with The 405 that you can read here, Gareth explains: "I guess this is a love song; it's about being overwhelmed by somebody else, and by being overwhelmed that you find yourself in love. But also being aware that life and love is fickle and that although you may be experiencing happiness it always feels like sadness and disappointment is not very far away."
'Sick Scenes' approaches its conclusion with 'A Litany/Heart Swells'. Swelling hearts is a recurring theme in LC! songs, so it was nice to see it repeated in the new album. This is a song that manages to be beautiful while also referencing a chicken shop, something only Los Campesinos! could do.
LC! albums have a tendency to end on a pretty depressing note (see 'Light Leaves, Dark Sees pt. II' and 'Coda: A Burn Scar In The Shape Of The Sooner State' - which also happens to also be my favourite song.) 'Hung Empty' is somewhat an exception to this rule, it is fast paced and vaguely positive at points, yet the final lyric 'what if this is how we die?' brings us back to reality.
So to conclude this rambling blog post, if you haven't guessed I really enjoy 'Sick Scenes'. This came at no surprise to me, I knew I would. I am looking forward to 1st May, when I get to see some of these new songs played live at London's KOKO (I've had these tickets since mid November...). In the meantime, you should all watch the video for '5 Flucloxacillin', it made my day.
"If music be the food of love, play on." Now I've got your attention with a cheesy, over-used quotation, I can introduce myself. Hello, I'm Alice and I'll be using this blog to chronic my musical discoveries and concerts I attend.
I wish I could say that I've always had a finely tuned taste in music, but it would be incorrect. I'm unashamed to say that I go through phases. In the last ten years I've had a Twilight phase (the least said about that the better), grime phase, theme park phase and Lady Gaga phase, to name but a few.
My first live music experience was at the Cbeebies prom in the park in the early 2000s (deadly serious). The day was slightly tainted by losing my Dad halfway through which resulted in much panicking and tears, so I didn't make a lone venture into the world of concerts until I was a 'cool' (read: loser) teenager.
At 14 I dragged three friends to Shepherd's Bush's Empire to see Tinchy Stryder. I remember feeling very young compared to other attendees, but it definitely started a love affair with live music. In the years that followed I saw an eclectic mix of artists including Bullet for My Valentine, Ke$ha, Gorillaz and Lady Gaga.
When I finished sixth form, I moved to Paris for my degree. A few months after my arrival, I saw The 1975 play at a tiny venue (La Maroquinerie). This made me realise just how much I prefer intimate venues and since then I jump at the chance to see up-and-coming artists just for the experience itself
While 2016 was truly an awful year for a myriad of reasons, it also turned out to be 'the year of the gig' for me. I entered some competitions and was lucky enough to win tickets to a few concerts including Låpsley and a tiny Enter Shikari acoustic set at the Deezer HQ in Paris:
The night before the acoustic set, a friend and I saw Shikari at Le Trabendo. This was the polar opposite to the chilled out Deezer set, and probably the most fun gig I've ever been to (it also helped that we'd had quite a lot to drink beforehand).
While in Paris I also got the chance to see Hozier, The 1975 (again) and attend a UK grime night which was super fun. Shortly before I left in September, I went to Rock en Seine - a three day festival in the Bois de Boulogne (a huge park on the outskirts of Paris' bourgeois 16th arrondissement). Particular highlights of the festival included CHVRCHES, The Brian Jonestown Massacre, Anderson .Paak, Little Simz, Sigur Ros, Bring Me The Horizon, Birdy Nam Nam and Peaches (look her up if you don't know her, you won't regret it).
I'm lucky enough to live about 30 minutes from London, so once back in the UK I kept buying tickets for various concerts in the capital. I saw Jamie T and Jack Garratt which went well, and then I finished off 2016 with an 'epic' three day weekend consisting of The Cure, The Front Bottoms and Los Campesinos!
LC! are my favourite band (I talk about them far too much for them not to be). This was however the first time I'd seen them live and I wasn't disappointed. It took place in The Moth Club, Hackney, which was a great intimate venue. I got the chance to chat to lead singer Gareth at the merch stand and loved the fact we could talk so easily. I don't know many other bands who invest such time in their fan base.
So now you're a little more up to speed with my music tastes, I can start to get excited about what 2017 will bring. Tonight marks the first gig of the year for me, I'm heading up to London after work to see Two Door Cinema Club at Alexandra Palace. I've never been there for live music so looking forward to seeing how it goes.
I'll write up tonight's gig comments over the weekend. In the meantime you can check out the other events I'll be attending by clicking here.
