occasionally subtle
trying on a metaphor

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@ellaesmith
NEW SONG/VIDEO from our show at Power Lunches, London on Sunday night. Love and thanks to Dan Jones for the video.
âI like the comfort in knowing that women are the only future of rock ânâ roll.â
Kurt Cobain (via laurasnapes)
<3
Getting To Know: Eagulls
The Smear are class
Chain of Flowers âArches Sessionâ tapes will be available for purchase + download via the internet tomorrow then at the following shows this week:
23/01/14 - Powerlunches, London w/ Eagulls + The Smear 24/01/14 - Undertone, Cardiff w/ The Smear + Mars To Stay 25/01/14 - Temple of Boom, Leeds w/ Eagulls + The Smear
This tape holds âDeathâs Got A Hold On Meâ and a cover of Spectrumâs âHow You Satisfy Meâ. Limited to 200 via SWINE LANGUAGE.
The two songs were recorded in our space in Cardiff with J Thomas (Islet) and mixed by Ben Greenberg (The Men).
Happy Birthday, Elvis! The King would have been 79 today.Â
(Photo: Robert W. KelleyâTime & Life Pictures/Getty Images)
"Le Voyage dans la lune" 1902
Out November 25th on Columbia / ĂÂ Deux records worldwide. Pre-order here: http://smarturl.it/BITDdigi?IQid=sc Vinyl pre-orders coming soon. ...
Say Lou Lou <3Â
Dr Martens âStand For Somethingâ Tour @ The Louisiana, 12/10/13
When Dr Martens released their Autumn/Winter 2013 campaign âStand For Somethingâ, I instinctively asked myself âwhat do I actually stand for?â- A question, which I have never truly asked myself until now. After minutes, hours, days of asking, I realized that I stand for being me. Being true to myself, being true to who I am, and ultimately, not really caring about anyone elseâs input into whom I am, or what I do. These thoughts reiterated that individuality is key, not just to me, but also to everyone. This, essentially, is what Dr Martens targeted with said campaign. Everyone stands for something, and those around us should respect that.
âŠ. On the 12th of October, Bristol held their âStand For Somethingâ tour, which had the unsurprisingly so all girl fan base band Young Guns headlining. Before the 7pm kick-off there was a signing in the Bristol store, which had endless queues from around 4:30pm. While the fans queued, there was something about overhearing girls and boys, of all ages, talk about music that was really refreshing to hear. There were people making new friends, young teenagers stood on their own while being unified by their pure love of music. Dr Martens are/have hosted five gigs around the UK, all of which hold well known bands such as Spector, Sonic Boom Six and Lower Than Atlantis, and many more. However, this Bristol show was one of the first to sell out, and while listening into the excitable conversations that were going on outside, I felt like a kid again. Going to shows, talking to complete strangers and meeting a handful of people who all hold the same interest or agenda as you. In a world full of the medias influence and digital games, events such as this keep the faith that not everyone will become the couch potato that worried everyone back in the late 90s.Â
The show itself began with support from Bristol based, Nirvana inspired, Armchair Committee. Their alternative sound fused with the grit that holds itself captive in Tom Hackwellâs vocals created an angst to the band who have surprisingly only been going since 2011. Following this boom of an opener, Canterbury were next up. Bands who confidently describe their genre as âsweet rockâ sometimes have a lot to prove, but judging from the crowdâs reaction, they certainly ticked the box. The quartetâs harmonies were as flawless as that of the acclaimed Alexisonfire, while their riff-ridden songs got pretty much everyone moving. The band are currently doing a UK tour and Iâd recommend attending a show if you have the time to appreciate their confident live performance. Both support bands built up the anticipation for many screaming, head-banging girls and boys. Young Guns, get radio airplay, play sell-out shows across Europe and have a following that is probably the size of my hometown. For a band of such caliber to play such an intimate show at the cosy Louisiana, a venue that is home to an extensive back catalogue of bands who have played there only a few years before their well-known recognition, many are forever kicking themselves in the foot for not attending shows, and arguably many will feel the same for missing the chance on not getting a ticket for the âStand For Somethingâ tour. While Young Guns played, the room was unmovable, loyal fans were refusing to budge if you were that annoying person who moved a couple of rows forward to get a better view. From start the finish, everyone in that venue was 100% into it.
When asked what they stand for, Gus Wood (lead vocals) replied, âPeople can do whatever they want if theyâre willing to put their head down and work for it. For me, at least, thatâs very much what the band is about: itâs shown me the meaning of working hard and being passionate about something that you love. Thatâs really importantâ. For me, this specific Dr Martens campaign not only urges individuals to think but also to take action on their own accord, and when heard from influential artists and bands, these role models must fulfill a void or inspire in some way. This show reaffirmed that every person in the world âstands for somethingâ, but that day with the queues outside the Bristol store, or that night at The Louisiana, I can tell you that everyone stood for music.Â
Here on Yuckâs second album original front man Daniel Blumberg is missing and guitarist Max Bloom has taken the reins to guide Glow & Behold into a different space than that of their self-titled 2011 record. Sometimes a bands internal lineup changes, and that can be for the better, but here Iâm not so sure. Itâs not so much Blumbergâs absence that causes such doubt but rather the album itself. It lacks in grit and simply blurs itself into the atmosphere. Yet having said that, blaming Blumbergâs nonexistence for the result of this record devalues Yuck as a whole. This record is good, but when compared to their replayable debut it feels hollow.
Glow & Behold was produced by Chris Coady whose work ranges from Smith Westerns to dreamy Beach House and noisy synth pop band Cold Cave, which links to why on this record you can see Yuck have accumulated a load of sounds. They still have the ability to create fuzzy 90âs songs while also bringing the surroundings down a mark to enter a tenderly overcast environment. Their debut already exposed their CD collection and as far as I can tell, they havenât strayed all too far. With lusciously shoegazey songs like âLoose My Breathâ and âRebirthâ which all sound like a less-noisy fuzz that could exist on a My Bloody Valentine album, while others just sound like a weak and exhausted remake of what we previously knew. âMemory Fieldsâ is a loosely gripped ballad that scratches the surface of âSuckâ, while âMiddle Seaâ holds the catchy hooks that âGet Awayâ or âGeorgiaâ were smothered in. However, all of their songs even those that tenuously stand out, all lack edge. Yuck were never an in-your-face band but they had character in their subtle individuality, their 90âs sound served perfect for Blumbergâs gloomy lyrics and now Yuck seem to fall into the category of that band with the âalrightâ second album.
Glow & Behold feels like an album that was pieced together to prove that Yuck can do it alone without their front man. They have become a replication of pretty good bands and subsequently sound like a pretty good bad. Whether you love, hate or are in limbo with this record, you will inevitably always go back to Yuckâs self-titled album to become awash with nostalgia because this album purely isnât the same.
Zola Jesus/ JG Thirlwell. Perfection.
NEW BLOOD ORANGE ALBUM
CUPID DELUXE, OUT NOVEMBER 18TH