Best Albums Of 2013

Hello there, apologies once again for the lack of posts and the somewhat false promises I tend to make along the lines of 'I will return with something spectacular!'. I'm afraid not this time, I've got a pretty standard music related post that by the title I'm sure you're already tutting at my dull as heck transparency. Yep, its best albums of the year! Seeing as its a couple days before the very end, I thought I may as well mock a quick one up whilst I try and forget about the annoying food poisoning I've picked up this past week (damn buffets!), I've decided to spend my time worrying about music instead of my cruel desire for cake (wah) so enjoy the below list of albums I believe to have made a cracking 2013.

10/ Drenge - Drenge

Yes the Derbyshire duo of brothers Eoin and Rory Loveless seemed to spring out of nowhere this year after a reputation for rambunctious live shows. Whilst perhaps not as staggering as their concerts tend to be (seen them twice myself, good fun both times), the record is a charming affair with plenty of mean riffs ala Gun Crazy and I Don't Want To Make Love To You and equally as impressive yet bitter lyrical displays from Eoin, in the form of People In Love Make Me Feel Yuck and I Want To Break You In Half (sample lyric "If you had a soul I'd like to meet it"). Of course monster singles Dogmeat and Bloodsports proved to get the fiercest of crowd reactions and will probably be the signature tracks for most listeners, but the rest is definitely worth a look in.

9/ Arctic Monkeys - AM

This album actually wasn't an instant love of mine this year (shock horror/don't kill me). Though I still think the full marked review made by a certain popular music publication was hilariously cringeworthy, I actually came to rather like AM, the Sheffield band's fifth album that waved goodbye to shaggy hair and jangly guitars and said hello to Sabbathy riffs and teddy boy quiffs. Opening tracks Do I Wanna Know? and R U Mine?, possibly the band's strongest start since FWN, made sure everybody got their rock'n'roll fix whilst subtle numbers Fireside, No.1 Party Anthem and I Wanna Be Yours showed Alex Turner hadn't lost his penchant for eery ballads supplying a wonderful croon as always. Whatever you think about the band, you've got to give them credit for consistently pushing the envelope.

Wanna know more? 
Have a look at Kayleigh over at Electragrrl's review on Renowned For Sound here

8/ Unknown Mortal Orchestra - II

After their incredibly adored self titled debut, New Zealander Ruben Nielson's latest project Unknown Mortal Orchestra felt the need to impress. By no means a drastic change, II was further exploration into Nielson's psychedelic tendencies but perhaps with a poppier refined edge as showcased on From The Sun and The Opposite Of Afternoon. Ever dabblers of Lo-fi, the band bought fuzzy guitar, groovy bass and crackly drums create a sound that loses itself somewhere between this century and the last with Nielson's soulful vocals, as seen on So Good At Being In Trouble, adding to this timeless hubbub. The swirling glory of Faded In The Morning and the Beatles influenced stylings of Swim And Sleep (Like A Shark) show the diversity of the group proving Nielson to be New Zealand's equivalent to Australian neighbour Kevin Parker. A tour together please?

7/ Kurt Vile - Wakin' On A Pretty Daze

A somewhat unlikely star of recent years, Kurt Vile finds himself once again, looking rather awkward, in the indie spotlight. Not to say it isn't deserved, after 2011's Smoke Ring For My Halo won over thousands, this year's Wakin' On A Pretty Daze was a suitably fresh record that saw Vile taking more risks than ever before. Opening with the somewhat daunting nine and a half minute Wakin On A Pretty Day, the record gives instant good vibes as we sway along on a trip of Vile's day-to-day. Many of the songs' lyrical content saw  a rather revealing side of Vile with Shame Chamber a description of the singers dissatisfaction with his mirror image whilst Never Run Away serves as an ode to the comfort found when with his wife. However the lasting line comes from Was All Talk as Vile professes "There was a time in my life when they thought I was all talk, now I got the upper hand". The underdog turned out to be prize pooch.

6/ Phoenix - Bankrupt!

Wolfgang, Amadeus, Phoenix was a stomper of an album. Easily one of the greatest albums of the noughts, serving as quite the swan song to the decade in 2009. French wonders Phoenix knew their return would have to be delivered with a bang and Bankrupt! was a downright explosion. Singles Entertainment and Trying To Be Cool owned the year with poppier and more electronic decorations than the band had not previously dared to try. The catchiness of songs like S.O.S In Bel Air, Drakkar Noir and the super cheery Oblique City stick in your head for days with melodies so rich with hooks they'll have you humming along in no time. Elsewhere the band gave us wonderfully textured songs such as Bourgeois and title track Bankrupt! that deserve countless listens to get lost within. A triumph where many have fallen, Phoenix soar once more.

5/ Haim - Days Are Gone

The buzz surrounding Los Angeles sisterly trio Haim this time last year was at its ultimate peak, with a much anticipated debut album promised for release in Spring. The album actually didn't arrive until September and by then the buzz had only grown larger with fans lapping up available singles. Worth the wait, Days Are Gone featured some of the years best crossover music pleasing fans of rock, pop, dance and R&B. The super singles Falling, Forever and The Wire served as the opening tracks of the album, creating a definite feel of never ending hits. We weren't let down either as the record supplies the kind of never-ending hooks it puts most bands' greatest hit collections. Don't Save Me, the ultimate break-up song for an inattentive partner steals the show with its neighbours Days Are Gone and My Song 5, which both prove the sisters' diversity as they embrace the R&B stylings of heroines Destiny's Child. The debut album all pop artists dream to have.

Wanna know more? Read my review on Renowned For Sound here

4/ My Bloody Valentine - mbv

Twenty two years is an awfully long gap between albums two and three isn't it? Ok, ok in that time My Bloody Valentine suffered a 12 year break up after the fall-out of guitar guru Kevin Shields and shy singer Belinda Butcher's relationship. Regardless, 1991's Loveless is a classic album that has topped many a music lover's top albums (ever!) list. Mbv was not the Loveless Pt. 2 that many fans had wished for but in many respects that is what made it more special. With shoegaze in the public eye once more (thanks to revivalists such as The Horrors) songs such as Only Tomorrow and Who Sees You the bands trademark scuzzy wall of sound is as popular as ever. Experimentation of course was still in good display as Wonder 2 with its drum'n'bass rhythms proved a strangely pleasant surprise while the gritty buzzing of Nothing Is made it clear the band haven't gone stale with age. Middle track New You however steals the show with a funky bassline and the murmured melodies of Belinda Butcher making you thankful this band decided to come back, however long it took.

3/ Peace - In Love

B-Town, B-Town, B-Town. Yeah, I know, its the lamest scene name ever, but for those of us living in the West Midlands its a siren call to some of the best music the UK has to offer. Leaders of the pack, Peace, became the first group of the family to release an album, but thats not the only reason they won the most adoration. Their debut album In Love proved to be one of the most vital records of the year by one of the most promising new groups for years. Blending influences of Grunge, Brit-Pop, Madchester and more into one polished mish-mash songs such as the Nirvana meets Stone Roses swing of Follow Baby to the Oasis soaked ballads of Float Forever and Sugarstone. The somewhat more tropical sounds of Wraith fit nicely with the lovelorn grit of Delicious and stomper Toxic. Whilst the ten track version of the album is indeed a treat, those looking for a masterpiece can find more on the deluxe edition featuring one of the years greatest and easily underrated songs, Drain, worth the extra pennies I guarantee.

2/ Parquet Courts - Light Up Gold

Stubborn, uncompromising and often rude, Parquet Courts are more or less an interviewers nightmare. Every article to feature them this year has been met with lines such as 'four sullen faces' and 'the band members sigh'. Indeed the New York quartet do not care for interviews, music videos or even publicity shots and have confirmed themselves as the grumpiest band of 2013, but they also turned out to be one of the best with their ferocious debut album Light Up Gold. Opening track Master Of My Craft is a pacey song that rumbles and rumbles into the thundering masterpiece it is with the yelped line "Socrates died in the fucking gutter" adding a great sense of hilarity. The song's finishing moments immediately launch into next song Borrowed Time, an equally brash affair that sees singer Andrew Savage violently rasp words along to a riff straight from US indie boys' wet dreams. Furthermore songs like Yr No Stoner and Careers In Combat offer Pavement style twangy guitars hit the nail in lo fi indie rock on the head. Not so charming as people perhaps, Light Up Gold more than makes up for it.

1/ Queens Of The Stone Age - ...Like Clockwork

Six years since their last effort with a hell of a lot drama in-between (Them Crooked Vultures and Josh Homme's operating table resurrection to name but two!), Queens Of The Stone Age finally returned and by gum did they mean business. A collection of ten tracks with guests that range from past members Dave Grohl and Mark Lanegan to new friends Alex Turner and er Elton John. Steeped in dark times, ...Like Clockwork is the bands broodiest record to date with Josh Homme laying his soul on the line. The delicate piano ballad The Vampyre Of Time And Memory and the twists and turns of epic tune I Appear Missing show Homme exploring new musical directions and detailing some of his recent struggles that seem to spawn from a certain heartbreak, becoming a father and of course the previously mentioned event where he died on the operating table during routine knee surgery. Left in a coma for days and unable to walk for months, it would scar any man. Of course the savage stoner rock that we all know and love from the band was not missing from the album with the rambunctious tracks If I Had A Tail and My God Is The Sun offering rollocking tunes whilst the funky Smooth Sailing continues last album Era Vulgaris' penchant for the strange and sexy. What makes ...Like Clockwork the album of the year however is how listenable it is from start to finish. Never a bore it is easily one of the most exciting albums of the decade as well as one of the band's finest in an already spotless back-catalogue. Turning his pain into others pleasure, Homme can be proud of a record that is truly part of him.

And Thats It!

There you have it, thats my top 10 I decided to talk about this year, I should mention my list was changing all year round and to avoid any regret from my own end, if theres something you think should be on the list that isn't, let me know!

Honourable Mentions:

AlunaGeorge - Body Music

Atoms For Peace - Amok

Charli XCX - True Romance

Daft Punk - Random Access Memories

David Bowie - The Next Day

Disclosure - Settle

Franz Ferdinand - Right Thoughts, Right Words, Right Action

James Blake - Overgrown

Kate Nash - Girl Talk

Savages - Silence Yourself

Sky Ferreira - Night Time, My Time

Smith Westerns - Soft Will

TOY - Join The Dots

Wavves - Afraid Of Heights

Yuck - Glow & Behold

Mind Vomit: Reading/Leeds & The Eternal Battle of Rock vs Dance...

Hello readers, sorry it has been a while, been a bit busy settling in to a new job and having a few little adventures, one of which being my first attendance of a music festival. Yes folks, this weekend just gone I travelled down to the infamous Reading Festival to run around fields full of tents great and small (the smallest of which having my girlfriend and I lying on hard ground, missing our beds). Of course the uncomfortable nights were a minor downer on what was actually quite a brilliant weekend of music, burgers and overpriced cider! We made sure to see as many bands as we could cram in (with tickets costing £200 this year, I don't see a weekend of getting up late to watch the headliner before spending the early hours getting wasted in a bush to be getting my money's worth) and thus enjoyed a great deal of artists of all genres and varieties. 

It was when hopping from heavier rock artists to indie bands to dance acts that I realised whilst the good job organisers had done this year in fitting in a good range of different acts was commendable, audiences were far greater for the dance/hip hop/electronic groups. Of course, these artists do come from a more mainstream standing in music culture at the moment but at a festival that used to be known as  a 'heavy rock weekend', I was a little surprised. Still, I wasn't complaining, I enjoyed the difference in acts and the shift in crowd dynamics the genre hopping entailed, very much so!

The NME however see things differently. A new article featured on the publications occasionally interesting blog section entitled "Note To Half-Arsed Indie Bands: Take A Leaf Out Of Skrillex's Book" in which the writer seems to firstly blame guitar bands for not making audiences endure fits of euphoria before then stating "people are sick of standing around watching half-arsed indie boys boshing through lumpen songs with no concern for whether the audience are enjoying themselves". 

Now I know, I know, its one writer, its one opinion, but honestly I don't understand how such a fallacious bit of nonsense could be promoted quite so much by the NME, especially when the bands attacked in the article are so often promoted by the magazine. I cant vouch for Leeds Fest but I can guarantee the majority of Reading festival-goers were neither there for much more than a handful of artists or a fair representation of the music loving public. Whilst me and my girlfriend would leave our tent by 11am to catch as many bands as possible, neighbouring groups seemed happy to sit around a campfire drinking to leave late afternoon/evening time to see the more popular 'top 40' artists.

Now don't get me wrong, I am not saying that these kind of festival goers aren't 'real fans'. Nor am I saying that theres anything wrong with getting drunk, or going to a festival to see mainstream artists. I was personally quite excited to sample a bit of every genre from System Of A Down to AlunaGeorge. Still, I do feel targeting a genre or attacking bands for the poor turnout is unnecessary and rather unfounded. 

Savages and Parquet Courts, two of the groups the blog claims were met with indifference, were two of the groups I actually found most entertaining in the weekend and the lack of manic crowds were probably more to do with several understandable factors:

• The bands were playing the Festival Republic Tent, roughly the size of a small-venue.
• The bands both have small followings with very little exposure coming from mainstream outlets.
• Many fans go to watch bands play, not to climb stage rigging/rip clothes off.
• Even the most passionate of indie fans tend to just jump around, which is what they did.
• I doubt either band intend to write a club stomper to take Ibiza by storm.

You get where I'm coming from, to compare either group to Skrillex or Chase & Status, two of the most popular electronic acts of the past few years playing on humungous capacity stages is both unfair and irrelevant. Club acts will draw club audiences, the kind that are not bothered about watching an act play but want to dance A fair portion of people who watched guitar bands were entertained and impressed, they clapped, cheered and had a good wiggle. Peace, Drenge, Tame Impala, Haim all received warm audiences as well as crossover artists like Chvrches and Phoenix. 

One of the most alarming moments of the festival for me was the rowdiness and atmosphere in the Dance tent during a DJ slot... nobody on stage. Then as Charli XCX came on, over half the crowd left. Now Charli XCX has a few stompers in her repertoire as you may know, however she has nowhere near the exposure or airplay given to acts such as the fantastic Major Lazer and Disclosure, hence nobody stuck around.

I dont want to say this writer is wrong as his point on crowds being less rowdy for indie/guitar bands is valid, but the argument that these bands are boring or need to 'up their game' is just silly. The fact is we live in a generation that currently favours a very limited number electronic pop artists and practically no big guitar bands in its charts, which is why your typical festival goer is drawn to an act like Skrillex whilst avoiding Drenge. If anyone is to blame for this its the media for its ignorance of many indie groups who never get the exposure needed to draw in a great crowd. Give the bands a break, if you want to get wasted and dance around to top 40 groups, by all means do! Who can blame you? But don't assume any band that hasn't got fleets of adoring followers aren't worthwhile. Like what you want!

RANT OVER

Have anything to say about this matter? Do you find modern guitar bands boring? Join the debate and give me a comment if you do :) See you soon readers.

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New Choons: Superfood - 'TV'

Hello! Its been a while since I posted hasn't it. In my defence I haven't been listening to much new music at the moment due to broken earphones/volume conscious housemates (well... family). Also I have been working on yet another new regular feature for this blog that I hope to share with you very soon, however it takes a certain amount of time to get through it. But anyway, Superfood! Its been just over a month since Superfood allowed us into their world with debut self-titled track "Superfood" (reviewed here) and they've been pretty busy. Announcing their first headline 'b-town' show at The Rainbow in July, revealing future supporting gigs with Splashh and of course touring across the UK in support of Peace (though they decided to miss the Birmingham and Coventry shows, the latter I attended... bitterness, thy name is Huw). And here we are, the buzz growing ever er... buzzier, today they gave us a new track.

A shortly strummed intro and we burst straight into the first verse with singer Dom Ganderton bawling "I can never sleep without the TV on waahhhh!". The band continue with the dynamic set by "Superfood" with quiet/loud verses and a swirling solo closing the song to a suitably zany end. The grunge meets brit-pop feel of "Superfood" is emulated but "TV" seems more akin to the latter with faux Albarn yelps and guitars pop discordantly making it a Blur-esque affair. Not necessarily a bad thing and definitely not a bad song, you're just not taken anywhere noticeably different to their previous outing, in fact it feels a bit of a disappointingly similar younger sibling to "Superfood" despite its good quality. I leave it wondering "ok this is good, but what else?". No doubt the band have a more diverse repertoire of songs that I've yet to here though and "TV" may grow on me after I've heard them. But for now I'm afraid I'm happy to go back to the debut single instead.



www.superfoodjunk.com
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www.twitter.com/superfoodjunk

Feature: Thank You For The Music...

FOREWORD: A slightly personal post, sorry if it drags/is badly written, just got thinking about this and thought it could be good fun to write about. Hope you enjoy, might do this kind of thing more in the future.

Like every dedicated music fan, I take a great deal of pride in my musical taste. Back in those MySpace days (2006-2008... y'know, the proper MySpace), when you had the little box on your profile you could fill with favourite bands and artists, I would literally compile an extensive (& alphabetical!) list of dozens, possibly hundreds, of my favourite's. It didn't matter that nobody would read the whole thing, at the time it felt as vital a part of my identity as my name. Not to mention the tireless hours I know we all spent searching for the right song to have playing on your profile. 

The same goes for real life. Over the years I've used band t-shirts, posters, even lyrics scrawled onto my bag to express my taste to others as well as lengthy chats with all my friends (well... the ones that listen) about a new band or song I'm digging/old bands I'm going back to or just discovering. When it comes to this, something funny happens. We all do it too. I adopt bands as my own possessions, often talking as if I am the sole and greatest fan when the truth is, I'm so obviously not. While I pride myself on keeping up to date with new music and studying the history of genre's I enjoy, the foundations of my musical taste don't really originate from me, but from the people in my life. I owe a great deal of my taste to so many people who have come and gone in my life, and I would hazard a guess that so do you! We often forget the fact that favourite band of ours didn't come though music blogs/magazines/tv/gigs, but from our family, friends and loved ones.

Imagine a cubby cheeked four year old boy with a colourful chunky sweater and hilarious blonde bowl cut, y'know the kind you can see those hip n fresh Dalston twenty-somethings wearing today (shudder). Cross legged on the brown carpet of his front room, the boy waits obediently still as his mother puts a strange black circular disc out of a blue sleeve. She places the disc on a flat service and a needle on a stick on top. "These are the songs I sing for you and your sister" she says whilst the boy fidgets impatiently from the toddler's greatest foe, boredom. "Mom, I wanna go in the gard.." the boy begins before being interrupted by the unfamiliarly hypnotic sound of an organ erupting from the speakers of his parents' hi-fi. "Let me take you down, 'cause I'm going to Strawberry Fields" an unknown voice chimes in before a group of instruments kick in and a little boy's life is changed forever.

OK, that story is partly (largely) fabricated, but is no doubt fairly accurate in my induction to the world of music. The Blue Album, a Beatles compilation of their later and last releases (1967-1970), was a staple in my life. It was my first real association with any kind of music and would have me begging my parents to play it on those once never-ending weekends. Before then I had assumed those songs came from the supposedly musical genius mind of my mom rather than John Lennon or Paul McCartney. Learning otherwise certainly changed that opinion, but nowadays I find myself looking back with pangs of gratefulness to my mom for letting me into this world and realising that it was the first in a series of moments where I was presented with the gift of great music from another person.

This came again from my mom and from many others. Many thanks to my Dad, a great compiler of greatest hits compilations (don't judge him, he's almost 60) and during my teenage years would have all sorts of music on in the car. "Have a listen to this Huw" he'd always say before educating me with fantastic collections of songs from bands that to this day I still love. The Cure, Daft Punk, REM, Weezer, Led Zeppelin, Blur, and the one that really changed my life, The Smiths were all introduced to me at the hands of my Dad who'd usually end a CD by grinning and saying "See? Not such a square dad after all am I?" before arguing with a McDonalds server over the price of sauce.

Cheers to my sister Beth who also provided a massive influence on my listening habits, particularly in my teens. Being the older sibling she knew more about what was cool within the more indie scene and had all the must have noughties band's records like The Strokes, Kings Of Leon (the first 3 albums were amazing and you know it) and Arctic Monkeys as well as much more obscure and challenging music that she had found from her own musical search such as Elliott Smith, Sufjan Stevens and more recently Jens Lekman. She often reminds me of this when I listen to any of these artists to which I always reply "I am thankful, gawd!"

Ta to friend's that bought interesting bands to the table with the obligatory metal, emo, hip-hop, scene and rave phases of teendom. I'm glad I went through phases of listening to bands like Tool, Metallica, My Chemical Romance, Jay Z, Klaxons, Enter Shikari, etc because I feel like it created a much broader realm of taste to my musical pallet without which I would probably dismiss too many good bands. Credit to my former Drum teacher Daryl (who sadly I haven't spoken to in 3 years) as he introduced me to some great music as he taught me to be a part of it. Rock giants like Nirvana, Foo Fighters, Smashing Pumpkins, QOTSA and Red Hot Chili Peppers were introduced to me as bands he thought I might enjoy.

Even today I owe so much. Without my friend Liam pestering me to listen to a certain Australian psychedelic band (Tame Impala), my 2012 may have been a totally different experience as one of the most important albums to me that I feel will stick with me for a lifetime thanks to him. Further recognition goes to my friend Lee who got me listening to Tom Petty, a legend I had somehow missed for 20 years of my life and a maker of truly fantastic records. Last but certainly not least, huge appreciation to my girlfriend Kayleigh for sharing fantastic bands/artists like Charli XCX, Sneaker Pimps and Jamie Woon but more so for music we've discovered together. Peace, Swim Deep, Haim are all bands we've enjoyed together and have been made better because of it. Whatever happens in the future I know I'll listen back to these records fondly as I'm no doubt reminded of fun times and awesome passionate conversations we've shared as music lovers.

The same goes for everyone on this list, its just a massive thank you really, there are so many good feelings that come with certain songs and albums because of close ones. Though I now find most new music through other resources, without the bands you introduced me to and more importantly the bond we've shared over any music, I truly would not be the person I am today and I am grateful. I shall continue to try and do the same for you ;)

Now though you must suffer...

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MUHAHAHAHAHAHAHAAA

New Choons: Superfood - 'SUPERFOOD'

The love/hate relationship I have with the West Midlands based music scene is forever fluctuating. On one hand you've got the fantastic widely acknowledged bands that come from the area (Peace and Swim Deep) as well as many exciting bands still aiming to break the region (JAWS, Wide Eyed, God Damn, Dumb). On the other hand you've got the god awful scene tags like 'b-town', 'West Madlands' and 'The Whack Country' (ok I made that last one up but its only a matter of time!!), you've got Peace openly embracing lad culture (definitely NOT a bragging point in my eyes) and lastly, there's a worry that after Swim Deep release their debut album in May, people will begin to lose interest and the scene might just die. If Superfood saw this outcome approaching, their debut offering is a weapon that fights relentlessly against it.

Before yesterday the band only had a reputation for solid live shows and firm endorsement from Harrison Koisser of Peace and Connor Schofield of JAWS to back them up. However a link posted by a friend directed me towards a free mp3 promoted by the band, the self titled tune "SUPERFOOD". The hype is finally justified as those not lucky enough to have caught them live are introduced with a rollocking and groovy track that definitely separates the band from their b-town contemporaries. The 90s influence is extremely evident with the post-grungey late Blur/early Pavement style guitar hooks and a baggy-ish beat that could have come straight from Fun Lovin Criminals' hit "Scooby Snacks". Singer Dom Ganderton is apparently the man behind the mixing desk on Peace and Swim Deep's early demoes so its no surprise the recording is catching everyones ears with his screams of "You're always hungryyyy" complimenting the fuzzy instrumental goodness. If "SUPERFOOD" is a sign of things to come, consider me hungry for more. 

You can send your email to the band via THIS PAGE to receive the free mp3 or simply stream it below via Soundcloud.

www.superfoodjunk.com
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Review: Peace - 'In Love'

Peace & love, rad.

The West Midlands is a funny place. Having lived in Wolverhampton all my life I can tell you excitement is few and far between. If a colour described it best it'd probably be grey. Not silver or chrome, grey. Recently however the grey skies have opened and a glorious rainbow has emerged in the shape of four fellas in leather jackets. Peace are a band bursting with colour, not just in their charity shop leopard print clothing but in their lusciously crafted baggy grunge pop songs and awesomely hectic live shows. The band herald from Digbeth in Birmingham and have been labelled as ringleaders of the recently hyped up scene (NME's new play thing) 'B-Town'.  They, along with groups like Swim Deep, JAWS, Troumaca and Wide Eyed (to name but a few), have managed to put the Birmingham and the surrounding areas back on the music map and have themselves become one of the UK's most promising indie stars. After last year's euphoric and widely adored EP "Delicious", the boys from Brum entered 2013 with single "Wraith" and a rerecording of the band's first single "Follow Baby", both tracks taken from their soon to be released debut album "In Love" that is now streaming via Peace adorers NME.

If "In Love" can be credited for one thing its most definitely catchy songs. The album in its entirety is an explosively melodic record that melts your heart like an ice cream on a summer day. Opening track "Higher Than The Sun" is as expansive as it is charming with youthful singer Harrison Koisser crooning "I'll take the jump, all I wanna know is how high?" as the band dives into a rhythmically spectacular collection of groovy drums, hypnotic bass and a particularly delicious riff from the band's long haired guitarist Doug Castle. This and follow-up "Follow Baby" start the album with an energetic and optimistic bang as Koisser furthers the band's brit-pop influenced hopefulness with the familiar phrase "we're gonna live forever (baby)".

Though excitingly refreshing, Peace have their brit-pop and grunge influences firmly planted on their sleeves it would seem. "Follow Baby" has hooks stolen straight from Nirvana's "Drain You" and "Smells Like Teen Spirit" whilst "Sugarstone" sways along to an early Oasis feel and "Waste Of Paint" lends funky rhythms of The Stone Roses. Surprisingly however its not really an issue as it always feels like Peace, there are no carbon copies, only borrowed parts to make an all new model. The band's title comes into play as we are given detail of the mega highs and crushing lows of Koisser's experiences in love. These tones are reproduced efficiently and fittingly in the music with buzzing distortion and cutting major to minor chord changes conveying the cruel sting and bitter hurt in "Toxic" while the volatile chorus of "Wraith" matches the subject matter of hopeless longing. "Float Forever" and "California Daze" capture the band at their most gentle with soft melodies and carefully plucked arpeggios creating a heartbreaking atmosphere. 

For me the album's most deplorable trait is its somewhat underwhelming length. With only 10 tracks I find myself slightly unsatisfied as the final notes of closing track "California Daze" finish the album. The annoying thing is as well, this could be so easily solved. "Bloodshake" from the "Delicious" EP is a furiously stompy affair that could have added a further sparkle somewhere within the album. Or the superb "1998" could have been a more remarkable ending as it definitely was on the same EP clocking in at 10 minutes and 8 seconds on its own. Saying that, this album is far from disappointing. The songs are all incredibly well written and gorgeously intertwine with one another in a fashion that leaves you with an overall level of cheer. Perhaps the band were frightened to include too many already released songs on the album but I feel another could have pushed this album to a far more perfect experience. Regardless, I can honestly say the songs on this album and beyond leave me proud of Peace, a real honest hardworking band that make "B-Town" and the rest of the Midlands' music lovers forever grateful. Peace out... (CRINGE).

"In Love" is out on March 25th on Columbia Records. In the meantime, click here to stream it via NME.

www.peaceforeverever.co.uk

Preview: Reading + Leeds Festivals 2013

The Line-up

I thought I'd write a feature on the recent extended line up announcements of Reading + Leeds Festivals that were revealed on Monday as this year *drumroll* I"M ACTUALLY GOING!!! Yes, good news, as part of my 21st birthday present my parents loaned me the money for 2 tickets to Reading Festival this year. I've always wanted to go to a festival same as any other music lover but Reading or Leeds held a sort of special place in my heart. Mainly due to past headliners like Radiohead, The Cure, Arctic Monkeys, Smashing Pumpkins, Rage Against The Machine and Arcade Fire all wetting my imagination and desire to join the 30,000 strong main stage crowd.

So first order of business, headliners. When Eminem was announced first in November last year I was somewhat disillusioned. I can imagine the majority of Reading and Leeds regulars might also feel that way as it seems a bit of a scheme to attract a more obvious mainstream selection of artists along with recent additions Azealia Banks and Skrillex. While its definitely not a bad thing to supply a diverse range of artists at festivals, it does slightly betray the festival's reputation as the 'Alternative' festival. Still as a fan in my teens I'm sure dancing around drunk in a field to "Without Me" could be a great laugh, that is as long as he sticks away from more recent depressathon tunes of recent years. Biffy Clyro and Green Day will please a more rock-friendly audience but even still, its another two VERY popular rock bands. No doubt similarly with Eminem, these guys after a few drinks with their chart topping pop rock will be good fun. However, within the headliners, theres no relevant modern recent success in the headliners, nor a really critically acclaimed under-appreciated legend.

Not that the alternative side hasn't been covered elsewhere. The news of Perth's psych rockers Tame Impala playing the tent was greeted with gallons of metaphorical wee in my pants. 2012's Lonerism was an outstanding album and the band's reputation for amazing festival appearances only adds to the anticipation of a potentially special moment. Similarly news of B-Town favourites Peace promises for a spectacular showing, something I'm especially thankful for having always missed the chances to attend their sold-out local shows. Main stage performances from Nine Inch Nails, Deftones and System Of A Down are the three I personally look forward to most and I imagine I'm not alone within the slightly older (God... I'm only 21!) attendees. Foals also promise for a great performance after their critically acclaimed third album "Holy Fire", however if they are on at the same time as Tame Impala I'm afraid the Oxford drop-outs are getting missed! Swim Deep, Haim, Deap  Vally, Phoenix, Temples, Johnny Marr and Palma Violets (minus annoying on-stage shenanigans from the latter) are also acts I'd like to catch if possible though there will no doubt be some give and take.

It is clear to see with the festivals recent crowd expansion from 70,000 to 80,000 with further plans to reach a 6 figure crowd in years to come has meant the festival may have felt the need to cater for a wider range of music fans. This is understandable and of course a great thing for any festival, the more genres supplied on multiple stages the better. However I feel this is a year where the less mainstream bands are being slightly misrepresented. Fall Out Boy and New Found Glory along with Green Day and Biffy Clyro are pretty much all Kerrang legends aimed predominately at teens while Alt J, Bastille and Jake Bugg have been enjoying a lot of UK chart attention leaving only really a handful of real hard-working upcoming artists on the bill. Despite this I'm still shitting myself at the following things: When NIN play (or better play!) "March Of The Pigs", Peace and Swim Deep repping the West Midlands with some propper summer choons and of course TAAAMMMEEE IMPAALLAAAAA!!! Somebody slap me.

New Choons: JAWS - 'Friend Like You'

Straight off the back of supporting Swim Deep on their first headline tour in February, JAWS, B-Town's underdog band, are back with a new single, the sweetly titled Friend Like You. The opening riff glistens before the band kick in swimming deep (ha ha) in a pool of reverb. It's a very familiar song even on first listen, imagine U2's With Or Without You re-written in the hands of The Cure with the vocals of Bernard Sumner. 

A contemplative and rather optimistic song as frontman Connor Schofield asks in his signature drone "do you want to look back and say you did it well?". The single is taken from the band's soon to come EP Milkshake out on April 22nd which also features past singles Toucan Surf and Surround You but will be available individually on April 1st. The band have this week announced their first UK headline tour to be starting later this month so be sure to catch them before they do a Peace and blow up! 



Tour Dates:March/April 2013
28th - Birthdays - London
30th - Joiners - Southampton
1st - Zephyr Lounge - Leamington Spa
4th - Bungalows & Bears - Sheffield
5th - MelloMello - Liverpool
6th - Cockpit - Leeds
8th - Hare & Hounds - Birmingham