Music Menses

It's that time of the month again (even though we skipped a month....) where we take a good look at some groovy tunes made by bloody good creators.

Fat Whites
Source: derricksantini

This month we are greeted with a fresh creation from the beautiful degenerates scrapped straight from the glory hole, one Fat White Family. Having left fans waiting over a year for a new album, the band have released a mere snippet of their glorious spew up 'Song's for Our Mothers', consisting of heroine addictions, references to Hitler's suicide and the spectre of an austerity victim.Whilst there has been longing for new content it's clear the album's creation has drained the band physically and psychologically, driving them so hard into the ground some of the band almost ended up on their death bed. We can, therefore, only expect a stomach churning mastery to come from an album that has been so highly anticipated by their fan base, who are just as indignant and anarchistic as the band themselves (myself included).

The fragment of the album the fans are greeted with, Whitest Boys on the Beach, is an indication of the collected mayhem that is come. The song is full of layers, as per Fat-White-Family-usual, it's like being smushed in the face with moist towel used to wipe the sweat off the face of dead fascist, by the hands of insurgents who killed him. Made up of Lias' eerie lyricism sang through his typical unsettling murmur, behind the hum of synths and the relentless drone of fuzzy guitars, the song shows off the band's solid roots dug deep in the time of synth-pop and electronic rock, as well as being stuck in the ways of cowpunk and psychobilly. In this way the band have combined both distinct elements of such artists as DEVO and Talking Heads with contrasting bands, like The Gun Club, as well as echoing such previous songs as Wet Hot Beef  Pt. 1 and Cream of the Young. 

Whitest Boys on the Beach
Source: TheQuietus

Although the Fat Whites have been performing Whitest Boys on the Beach for a while now, with the build up to the album the band have released the song as a single as well as releasing video for the song this month. The song's history is not as controversial as the song has made out to be, the band themselves have said the inspiration for the song stems from literally being the 'whitest boys' on the beach inBarcelona, however Lias explains: "If it is construed as political, then I'm glad it is. Why shouldn't it be... The song was inspired by a completely different situation, but if the song ends up being construed as about who's white enough to stay on the beach, then so be it." With recent developments in politics and music the song, whether purposeful or not, slaps modern culture in the face with an ox-tongue so hard it knocks some cold, much needed sense into both indie music scene as well as our so called 'democractic' society. And baby it hurts so good, we are ready to embrace the harsh reality of human futility with the Fat White Family. Let's get down and dance 'to the beat of human hatred.'


You can caress the Whitest Boys on the Beach in your soft palms on the 15th January 2016. On the 22nd of the same month 'Song's for Our Mothers' will be released for all your Mother's needs.

Watch the Whitest Boys on the Beach video through this exclusive interview: Whitest Boys
Keep yourself updated: Fat Whites

Music Menses

This is the first part of what will, hopefully, be monthly music segment, amply named music menses as much like a lady's womanly cycle it will be messy, most probably painful and is likely to be unpredictable. In the way of content, however, is hopefully where the feature will differ from the menses part and instead, provide a monthly instalment of new music from far and wide and all the right places.

Pixx herself
source: 4ad

To cut the metaphorical ribbon at the grand opening of 'Music Menses' is the celestial electronic-folk singer Pixx aka Hannah Rodgers. Whilst her home town of Chipstead isn't on the map for its musical luminary, her graduation from the Brit school tells a different story, as at only the age of 19 Pixx launches herself in the crowd of new notable creators such as likes of FKA Twigs and King Krule.

Her futuristic aesthetic combined with a classical melancholic tone not only sets her apart from many artists but also caught the eye of the credible 4AD- home to such epic bands as Beirut, Purity Ring and Pixies (!)- who no doubt signed her almost instantly. What with her Grimes-esk vibes and the folk themes similar to Iron and Wine the Record Label seems an undeniably perfect habitat for such an artist as Pixx, who herself claimed that "it's incredible to be welcomed with open arms to a label that is home to so many artists that have influenced me over the years."

Although the young chanteuse only recently released her EP 'Fall In', she has already made her mark in the indie music scene with her upcoming tour travelling all over the UK and performing in such popular music venues as Heaven in London and Patterns in Brighton. The EP itself maintains the same haunting tone throughout all four songs, yet that's not to say the songs are similar in any way, in fact they are all quite different from each other.

source: rockfeedback

Pixx begins her EP with the eponymous tune Fall In setting the tone for the chilled-futuristic-four-song adventure that you are about to embark on. Whilst the lyrics that state "we fall in and out and in and out" linger in your ears the next song fills you with an awkward displacement, but only in the best way possible; where you feel as though you are "weary and waiting" much like the song A Way To Say Goodbye claims.The shortest and most different song, Flee, follows and seems to stick out in between two very electronically driven songs, however, it's fair to say the almost classical interruption seems to express that this girl is versatile af and hats off to her. The fourth and final song Deplore seems to end on what we came here for and apparently it shows "from our head down to our toes".

Having seen her live, in the weirdest and most intimate space in the depths of Dalston (more to come), it's safe to say Pixx is as magical live as the EP promises. Her upcoming tour, mentioned above, still has tickets and the EP is available now, like right now, so get both here: Pixxmusic (you won't be disappointed).

The Sentimental Secret Garden Playlist

Whilst many were tucked up in their warm beds, in dry homes, only the brave flocked to the unpredictable British countryside for five days of unruly mayhem. Those who brave it can only, and do, pray for sun and not only dry but solid ground. However, the dream did not become a reality for this year's Secret Gardeners, instead they were left with two days of solid rain, soup-y ground and threatening winds. Despite this, all was not lost. Determined festival goers did not let the grey sky, hunt for ponchos and sodden tents disgruntle them, nay, the party continued and glitter remained rife. For this years theme head gardeners a like provided a party of 'childish things'; and what with the alphabet-block lights plastered over the festival, the notorious fox dressed as Basil Brush and an island stage made from what looked like Playmobil not an element of childhood went a miss- even mud pies were of unlimited supply.

The festival itself appeals to many different people, varying in music taste and style. This said variety of audience members enables the festival to have a vast array of different stages and places to play, why you only have to walk through the 'Lost Woods' to discover two very different styles of music within metres of each other. This wonderful mismatch congregation of gardeners means that everyone experiences the festival very differently, creating an individual and almost sentimental feeling towards Secret Garden Party- which seemingly resonates in not only those who return year after year but SGP virgins also. As a gardener of this year's party myself I felt it necessary to compile a playlist of songs which sum the wonderfully wet weekend that was Secret Garden Party 2015, so without further adieu here's a list of songs and more banging on about how wet it was (ooer).

Basil Brush
source: 405

1) Hozier- Take Me To Church

This may seem like a peculiar one, mainly to those who attended the party, as Hozier wasn't at this year's party but to those who spent a majority of their time in the north field will know that Hozier's existence at the festival was all too real. As for every day, without fail, this very song was played. Although their was no set take-me-to-church-time, it was a guarantee, thus it makes the list as an although not a good song it was a most definitely a memorable one.

2) Jungle- Busy Earnin'

Although Friday saw the first of the two days of non-stop rain, it also saw jingly-jangly Jungle hit The Great Stage. Much of the festival fled to The Great Stage to see the 'neo-soul' duo and whilst the gardeners were drenched by the infinite drizzle, Jungle performed a set that drowned in lush falsettos and sumptuous synths. Busy Earnin' is one of the band's most popular hits, since emerging on the music scene in 2013, and seemed to not only follow you around the festival, but also set dancing feet in motion for the rest of the weekend.

3)  Darwin Deez- Bad Day

Darwin Deez
source: Secret Garden Party

For some of the gardeners Jungle's dreamy performance was interrupted towards the end by New York's sassy foursome Darwin Deez. As an avid fan of the band their performance was more than I could I have ever hoped for, and I think it's pretty safe to say whether you were a fan or not if you were in the crowd you had a good time. Despite the socially awkward stance, the quarto are charismatic and hilariously funny, putting on a performance of not only brilliantly witty written songs but also choreographed dance routines running throughout! They undeniably performed a set built for a sing-a-long, stealing the attention away from the rain and leaving the crowd craving the next dance interval. The band's song Bad Day, in particular, seemed to hit a special love spot for the crowd, catalysing a unified sing song to the sarcastic and clever ditty which, much like an indirect tweet, you hope is never aimed at you.

4) Angus and Julia Stone- Big Jet Plane

Saturday saw some sun! And along with the sun came the Australian bother-sister duo Angus and Julia Stone. The low-key folk rock duo are mesmerisingly talented, from the low murmurs and deep reverberating guitar from enigmatic brother Angus to the flittering Julia makes between instruments from guitar, keyboard to trumpet it's no surprise that the duo make sounds which certainly have the goose-bump-effect. The sweetly bleak song Big Jet Plane (an Angus hit from 2010) was one the whole crowd knew the lyrics to, whilst the song was full of woebegone vibes the crowd definitely wasn't and enjoyed every minute of the duo's instalment of country tunes and some Aussie sunshine which they bought to The Great Stage.

5)  The Prodigy- Fire Starter

Another random one, but a song that was central to the festival nonetheless . Fire was firstly a focal attraction due to the never-ending  rainfall which left gardeners chilly and dishevelled evoking a state of cavemanism where the search for warmth turned quickly into "man need fire". However, fire was not only focal for its conventional uses but also for blowing shit up. Saturday night saw the burning of a giant projection screen which, before it turned to ashes, added to the childish theme playing childhood classics. The screen took its time to burn, and revealed the ominous message: 'Game Over'. The Sunday saw the pinnacle event: 'The Big Burn', whereby the island in the middle diminishes from inside out, creating a glorious light in the centre of the festival and emitting a surprising amount of warmth. However, fire was not only central for the festival itself but also for brilliantly brainy 'Guerilla Science' tent, which ran a performance of fire and sound, all weekend, through the biggest fire organ in the UK. Thus the infamous rave  hit Fire Starter went down a storm in regards to the spread of fire which thankfully was a safe theme at Secret Garden Party.

Big Burn
source: Secret Garden Party

6) The Acid- Creeper

After the 'Saturday Spectacular' firework display, it was to Where The Wild Things Are we went to find The Acid in the early hours of Sunday morning. Cold and draped in coats the crowd swayed uncontrollably to infectious beats of trio The Acid. The band's set aimed to thump through the bodies of both those standing next to speakers to those sitting at the back. They are definitely a band to move to, who create psychedelic house beats carrying contrastingly prominent heavy guitar running throughout. Their song Creeper is not only one of my personal favourites due to it's heavy tone and haunting lyrics ("I want to love you like a creeper") but is also enjoyable in the way that when you yell the title to a friend in a crowd they easily misinterpret it as an insult against the man who is innocently standing in front of you.

Saturday Spectacular
source: Secret Garden Party

7) The Indiana Jones Theme Tune

As aforementioned the central attraction of Saturday at Secret Garden Party is their 'Saturday Spectacular' fire work display, which, sticking to the theme of childish things, was orchestrated  by that classic hit The Indiana Jones Theme Tune. As a series of 'aws' and 'ahs' echoed through the audience it was clear that while the fireworks were sparked by the hands of the trained said theme tune sparked an explosion of nostalgia for all involved.

8) RHODES- Turning Back Around

On the last day gardeners were once again met with more rain... however they were also greeted by the melodies of the young British singer song-writer RHODES. With a wealthy history of supporting such indie-folk singers as Nick Mulvey and Laura Marling it comes as no surprise to find that the songs that David Rhodes creates are ones similar in more ways than one. Yet that's not to say that the relaxed folk vibes weren't appreciated, on the contrary, rather they were welcomed by the weak arms of the last-night-crowd as if Rhodes himself had wove his audience two soft pillows for their ears with his tongue and guitar. Turning Back Around seemingly is his most popular song, given it was the song that most of the crowd knew the words to, its mellow guitar and husky tones are both calming at chilling giving Rhodes the opportunity to show off just how nibble his fingers are but also how extensive his vocal chords are too.

9) Bernhoft- C'mon Talk 

Following Rhodes was Norway's home grown mulit-instrumentalist and lyricist- the one man band- Jarle Bernhoft. Bernhoft, who enters the stage with nothing but a mic, pedals and a guitar, seems to offer not a lot in the way of fellow band members yet when he plays he covers all elements of the musical spectrum. Whilst he is on stage he not only sings and plays guitar, but creates the backing track to go with it as well as the percussion he produces with only his mouth! His musical talents, which although for me had gone unnoticed until now, have not gone unrecognised and this year even saw him be nominated for a Grammy (for Best R&B Album I'll have you know). His song C'mon Talk is an older track from his 2011 album and reaches the extremities of soul and R&B, ticking all the boxes for a soulful seduction and exposing his baffling skill of coordinating the stepping on pedals with his swaying of hips (which are anything but "rusty" as Bernhoft himself had described them)

10) Floella Grace- ODSM 

Bizarrely enough I've decided to end this elongated list with a song I didn't even hear until I arrived home on the Monday, but have faith there is reason in the madness...  Whilst I attempt to not get too meaningful and deep man I will say this, that there are some people that are just nice, a genuine nice that you only have to experience once and will stick with you forever. My friends and I were lucky enough to experience this when we met Flo and Garreth from Floella Grace, and although that Sunday will never be recreated their music is a reminder not just for those who shared that reality but for everyone that this is what we live for, to meet new  people and share experiences we will never forget- I mean that's what festivals are about: the removal of all social norms for a weekend. ODSM  is emotive and delicate, as songs go, and is worth a listen to even if you ignore the sloppy stuff written above.

Fin, till next year SGP.

Be a gardener at the next party (which we hope will be less wet): Secret Garden Party 2016

Campaigns for lady-pains, voting, and the empowerment of menstruation.

(Disclaimer: non music post)

“Let’s talk about menses.” *gasp* “Did you just say the M word?!” Yes, yes I did. Menstruation. Despite the fact that we are now fully immersed into 2015, arguably the most diverse and liberal year since the years began, there is still taboo about the blood that women naturally produce. Many find the idea of periods “disgusting” or “dirty” and, trust me, for most girls this is exactly how they feel about it too (in other words we don’t need a lecture on how you find our bodily functions gross because we know). However, despite the fact that what’s going down in your knickers is similar to the blood bath between the Crazy 88 and Uma Thurman in ‘Kill Bill vol.1’, it’s not something to be ashamed of. In fact it’s one of the most empowering function a woman has- the power to create another life. Yet as discussed this isn’t how many individuals see it and this is epitomised in the society that we live in.

It has become clear that what happens to women on a monthly schedule and the products that women require at this time are not classed as ‘essential goods’, and recent campaigns show that for women in the UK this is not good enough and nor should it be. The most recent campaign ‘Stop taxing periods. Period.’ is the inevitable cry out of women who are being taxed for blood which they didn’t ask to spill in the first place. This petition highlights that sanitary products are non-essential due to their “luxury” good status, but whether one would call a nappy-like strip taped to a pair of knickers, or cotton wool rolled up inside a lady, luxury is dateable. Unbelievably products such as “helicopters”, “alcoholic jellies” and “exotic meats including crocodile and kangaroo” are classed as “essential” and non-taxable. Having existed now for 18 years I can safely say I survived without a ride in a helicopter or eaten crocodile and kangaroo stew, but I could have not lived five of those years without the “luxury” of sanitary products. Seemingly the government has combined two conflicting sides: an unstoppable natural function and the economically profitable.

In 2001 after campaigns arose the VAT on lady-time products was reduced to 5%, but it still seems baffling that even remains. It’s not as if such products exclusively benefit menstruating females, in fact it benefits society as a whole; not only do they ensure that a woman’s health and private life isn’t jeopardised it also means there isn’t a need for someone to clean blood-soaked rags or where a woman on her lady-time has sat on the bus. To justify such a tax on products which are undeniably essential, despite not considered as such in technical terms in the UK, and ultimately limiting their accessibility seems absolutely effing barmy if you ask me.

  

Arguably, for a woman in the UK the idea that life dependent items are classed as “luxury” makes trusting the current government a hard thing to do (similar to David Cameron finding the abolition of said tax "hard to do"). Speaking of which lets look at some stats from the UK taken in 2010 on the gender difference in Parliament: 78% of political parties were made up of men (Labour, Conservative and Lib Dem) whilst only 22% were women. Although there was an increase in female politicians, to 41% and not forgetting the three female politicians in up coming elections, women remain the minority in the government both in the UK as well as internationally. Although having said that in recent developments, in the UK, labour party deputy leader Harriet Harman is leading the "woman-to-woman" initiative in order to encourage women to vote and abolish the label that voting is a “men only” activity. Yet Harman’s “magenta” mini bus has not gone unscathed from critics: some have labelled the attempt as a ‘gimmick’ and ridiculed for being “patriarchally patronising”. As far as I can agree that their ideal to discuss politics with women around a “kitchen table” is patronising, it’s the determination to encourage women to vote which I can strongly agree with. Furthermore, scrutiny of the colour “magenta” arguably is society’s way of overlooking what’s really important in this campaign: the female vote. Why only last year was the same shade of pink used behind Ed Milliband’s head during a campaign and no one said a dicky bird, on top of that people are quick to accuse the party of sexism but neglect the issue of finding a colour which doesn’t already represent a party or that carries an association elsewhere. Why shouldn’t a party catch the attention of women to vote, it’s undeniably necessary in this particular subject matter and it’s also a waste of our female ancestor’s efforts to gain us women the vote, let’s not abuse it.

But it’s not only the physical health that is increasingly worrying in regards to the subject, it’s the effect that the taxation on sanitary goods and the pessimistic view which surrounds a woman’s monthly schedule has on the psychology of our society that’s distressing. Let’s get real here, it is unfortunately an unpleasant experience for any woman be it the pain it causes to the fatigue it can bring, everyone is different and suffer from different symptoms, or, lucky for some, not at all. But that shouldn’t mean we don’t embrace the process, whether you are a participant or non-participant. It’s difficult to track exactly when the negativity surrounding menses truly began, but it clear that it has existed and reproduced itself for generation after generation. Why only a few years ago did I hear a boy younger than me describe a room of predominantly girls as “smelling of period.” But if we don’t act to eliminate these views, that periods are “catastrophic”, mostly, of those who aren’t even involved in the process then those who do have to endure it will start to believe it too.

Menstruation is an essential part of our society- always has been and undoubtedly always will be- a possible first step in embracing this as fact is by removing the constraints to consume a vital range of products that have been ongoing for decades. Let’s also take steps in acknowledging our suffragette ancestors and ensure that women are having a say in politics, don’t let your vote go to waste, if you haven’t done so already. Whether you menstruate or you don’t, we should agree that it is vital to plug up the taxation of sanitary goods, let the female votes flow and let’s put a bloody stop to negative views surrounding menses. Period.

Drenge at The Electric Ballroom

Drenge M8
source: www.theguardian.com

In one of the hip-est parts of London, Camden Town, there lies a nook in the wall which contains the Electric Ballroom- a Tardis-esk, rock n roll nightclub that seems like the ideal venue for the grunge trio Drenge. What with its dipped lighting and walls slathered in red, the 'scuzzie' aesthetic sets the perfect tone for a night rife with carnage. The band entered the music scene as a duo emitting enough teenage angst and aggressive witticism to pump out sounds that echo bands such as the grunge pioneers Melvin, the naughties infamous Milburn, and fellow duo Bass Drum of Death. The band released their first self titled album, 'Drenge', back in 2013 establishing themsleves as a band renowned for aural chaos and the rage-y pummelling of drums. In more recent developments the Loveless brothers have joined with bassist Rob Graham, refining their sound whilst keeping their feet firmly in grunge roots. This progression is materialised within their newest release 'Undertow', which catalysed their latest tour.

As a gig venue The Electric Ballroom is one to note down for generations, not to be hyperbolic. Its history and notoriety is formed on the back of rock musicians and their fans, with the likes of The Cramps, The Virgin Prunes and more recently Royal Blood performing there its popularity comes as no surprise. With a variety of standing options, even balcony window frames, its a great venue for any kind o' gig goer.

Big Deal.
source: www.hitthefloor.com

If you arrived fashionably late to the venue, never fear, there was still a chance to claim a space amongst the soon-to-be unruly crowd and would have made it just in time to see warm up band Big Deal. Big Deal are known officially as a duo, comprised of Kacey Underwood and Alice Costelloe, and what with two albums successfully under their belt the band have secured a reputation to be "more grunge than gooey". What with equal male to female ratio of band members (initially just a duo and now a quartet) and armed with fuzz tones for days it came as no surprise they put on an enjoyable show, complimenting the sounds that were soon to follow.

Crowd chaos.
source: www.gigwise.com

With the temperature of the crowd already rising- due to sheer capacity- Drenge's entrance on stage couldn't have come sooner. They Kicked off the night with Running Wild, which did in fact make crowd go 'wild' (I'm sure they would have run too given half the chance), transforming the crowd into a sea of failing limbs and catalysing the first shower of beer. The trio stormed through an impressive sixteen song set list made up of old and new, including faves I Wanna Break You In Half, Gun Crazy and Bloodsports, as well as new crowd pleasers The Snake and Never Awake. The theme of night seemed to embody the band's recent hit We Can Do What We Want, whereby the crowd thrived on aggression, ignored all the rules, and relentlessly gave each other a good old mosh bollocking. After bloodthirsty periods within the mosh and circle pits, slower tracks were much appreciated and thankfully received with a hearty howl-a-long to such songs as Fuckabout and the finale Let's Pretend.

Despite the minimal crowd interaction, the band's rebellious persona didn't go unnoticed, however nor was it scrutinised, rather the crowd merely embraced their presence, no doubt, finding their nonchalant attitude relatable. When attending a Drenge gig you should expect a night of (very enjoyable) pandemonium, to leave with a shirt dripping with sweat and a few souvenir bruises, and maybe feeling as though you've been broken in half.

Go find them:        https://bigdealmusic.bandpage.com
                     https://twitter.com/drenge
                     https://www.facebook.com/drengeboys
                     https://soundcloud.com/drenge

We'll Light the Sky EP by Lyonn

If like me you've never heard of Lyonn well get listening. This Californian duo are coming at you with haunting vocals and tunes for the perfect come down. What with an EP, 'Promenade', already under his belt solo artist Tyler Gurlard made the decision to combine with songwriter/producer Attila Yavuzer to form what Lyonn is today, embodying the classic Spice Girls lyric "when two become one". Excitingly, since these two have become one, they have, only this month, released their first EP together: 'We'll Light the Sky'. After receiving an invitation to listen to the EP it only seemed fit to write about the contents of this fresh release.

It has been said that the duo fall into the alternative pop genre and what you find within the EP certainly expresses this kind of interpretation. The first song Empty Bed kicks the EP off with oscillating guitar chords and well timed crashing of cymbals. Arguably the song sets the tone for the rest of the EP enabling listeners to expect a somewhat uplifting pop-vibe to run throughout the four songs. 

The second song starts off with more pop-py tones and seemingly listener predictions ring true- what with the influx of 'jangly' sounds radiating from the start. However, once the wispy, polished, vocals begin it seems to take a different, more soulful approach. The lyrics are complimented with calming yet crashing sounds, which you'd expect to here from such bands as The 1975 or The Neighbourhood. There is a certain expectation for a titular song of an EP to be the most prominent, and I can agree that this song meets such an expectation.

On to the third song Shining Eyes, which begins with heavy guitars once again breaking listener predictions (keeping listeners on their toes). However, don't be discouraged as some upbeats synths and lavish keys soon follow, complimenting the style of the first number. One thing that stands out about this song, amongst the others, is how fast paced it is; reaching lyrical climaxes far quicker than the rest. What with it's staccato rhythm it's definitely one to move to.

We now come to the fourth and final song, titled Iceburg, taking a much more calming direction. Its building piano, from the start, gives it a suspenseful edge and climatic end, which is successfully combined with weighty lyrics making for a good crescendo. The much more meaningful approach seems like a fitting end to an emotionally charged EP.

Despite there only being four songs on this new released (duh it's an EP) the duo have managed to cover a lot of ground, musically of course. Well crafted and impressively mixed, the EP is full of alternative pop goodness. Although the genre isn't really my thing I can completely admire the hard work and appreciate how beautifully put together the EP is. So whether it is your thang or not Lyonn are definitely worth checking out, and with their sweeeeet sounds and chilled vibes their name is sure to be spread about.

Go find them here: https://twitter.com/LyonnTweets 

                   https://soundcloud.com/lyonnmusic

A night of Shame at The Windmill

Within the depths of Brixton there is a hidden gem that is The Windmill, in which a quintet of 18 year olds, Shame, stick a middle finger up to those who say "grunge is dead" with their performance full of rage, riffs and rebellion. Despite the fact the group haven't even finished college yet their performance track history is pretty impressive: having already supported the increasingly popular Fat White Family to up coming events with YAK (and much more). Not yet signed, the band have self-released two demos on SoundCloud and it's clear that they have received sensational feedback from moshing crowds and fans who attempt to learn the lyrics on the night. Their performance at The Windmill with bands Sleaze, Haydn and The Normals, and Night Games, followed suit. 

The saying 'never judge a book' is important to keep in mind on arrival to The Windmill. The venue itself is tucked away and from the outside could be mistaken for anything but a pub. However, once inside its treasure trove factor instantaneously becomes clear. What with its walls smothered in psychedelic paintings, the bar draped in stickers and a garden lit by fairy lights it's easy to see how beloved and full of memories the pub is. Having already performed in The Windmill before, Shame seemingly have some notoriety within the venue; with many of the crowd coming to support the band, as well as VIP guests Chilli Jesson and Lias Saoudi.

Shame.

    (courtesy of Salvatore Lanzarone)

Despite running a little late, the band set the stage with haste and were on within minutes. As the band began their set a crowd surrounded the stage with a mosh pit at its core. What with songs to "make you groove", lyrics to inspire anarchy, and riffs you'd expect to hear from such classic bands as The Cramps and The A-bones, it's no surprise they put on a show where the speaker nearly collapsed and the guitarist was electrocuted. Regardless of the technical difficulties the band powered through, performing their demos Repo Man and Furry Freaks, as well as new music, which got the Lias-Saoudi-head-bang seal of approval.

By the end of the performance the crowd had grown in chaos and size, the lead singer was shirtless, and smell of sweat and beer lingered in the air. With all this in mind, as well as hearing snippets of other bands, its fair to say the night was thoroughly enjoyable and anything but shameful.

Watch this space:  https://soundcloud.com/shamebanduk
                   https://twitter.com/shamebanduk
                   https://www.facebook.com/shamebanduk

NME Music Awards Tour at The Forum

The notorious Brit, music mag NME recently held their annual award tour, which ended on the 4th of March. The tour itself has been running for 20 years, and is renowned for promoting such bands as Arctic Monkeys, The Killers, Florence and The Machine and, more recently, Royal Blood- who have broken into the mainstream. This year was no exception to the epic scale line-up. What with the likes of Slaves, Fat White Family and Palma Violets there was a conspicuous necessity for anarchy within this years tour. Despite the tour's loss of the Glaswegian ruffians, The Amazing Snakeheads, the rowdiness of the gig still continued at full force.

It didn't take long for the stalls of The Forum to fill up with turbulent teenagers. The tension to mosh and go wild built even before the bands entered stage, and scoring the best spot was the aim for all of those involved. The mayhem that was to come was instantaneously matched by the unruly crowd.

Having been to The Forum before I expected a brilliant performance with the chance to get a good view no matter where you stand. The spot my friends and I managed to score was a row from the barrier, giving us the opportunity to join in the moshing madness whilst having much needed stability (avoiding the super awkward fallings over).

The Wytches
source: www.thegurdian.com

Due to the recent spilt of The Amazing Snakeheads, their departure from the tour was inevitable. To replace the rough and loud Glaswegianers was the equally as loud trio The Wytches. Although the threesome have some notoriety in the indie scene, they weren't particularly to my taste. The Wytches entered the stage with draping hair, a 'don't care attitude' and guitar riffs for days. However despite providing a performance which catalysed the first serge of sweaty bodies  and the forming of mosh circles, the band marjorly lacked in crowd interaction- maybe that's their thing but without a doubt it caused the audience to loose interest. They ended the performance with a petite "thank you" and a guitar shred literally on the speaker- very rock and roll.

Slaves
source: www.amusicblogyea.com

The next on were two lads from Kent, Slaves. The British two piece from Tunbridge Wells, formed in 2012, are signed to Major record label Virgin EMI. Their popularity peaked after the release of their EP Sugar Coated Bitter Truth along with the release of numerous singles, following this the duo has performed on Jools Holland as well as being nominated for BBC Sound of 2015. Arriving on stage in matching black shirt and trousers,the pair soon became dishevelled and finally shirtless. The duo stormed through their set-list with mercilessness enthusiasm. They're set-list comprised of hits such as Hunter, Feed The Mantaray and Where's Your Car Debbie, as well as brief introductory tales of each song. What with Isaac Holman's ruthless beating of his drum kit accompanied by Laurie Vincent's relentless guitar shreds, combined with raw lyrics attacking social observations and demanding revolution ("Don't trust the flies, they're government spies"), Slaves provide a show that is a breeding ground for rebellion.

Fat White Family
source: www.telegraph.co.uk

Following Slaves were the infamous grubby guys extracted from the depths of Brixton: Fat White Family. Having claimed fame through their outrageous antics (from lead singer Lias Saoudi both exposing and fondling himself on stage to the throwing pigs heads at the audience) and the release of  their brilliantly hypnotic album Champagne Holocaust, witnessing their music live is an unmissable experience. The sextet entered the stage with characteristic style, from Lias' nude top half to guitarist Saul's cowboy-like suit and hat, and effortlessly powered through the set-list- which was made with surrealist intentions and the desire for it to be endless. The band performed the compelling tracks Touch The Leather, Auto Neutron and Cream Of The Young, full of both filthy and satirical lyrics. When witnessing Fat White Family perform live it is easy to see just how mesmerising the band are. The combination of kaleidoscopic tracks and magnetising dance moves disillusions the "revolting" attributes of the band and allows the crowd to view them only as, much needed, avant-garde realists attacking political beliefs and societal norms.

Palma Violets
source: www.valerioberdini.photoshelter.com

The final performance and head-liner of the night was the undoubtedly brilliant Palma Violets. Having been popular on the music scene since 2012, with their first single 'Best of Friends' voted NME's song of the year 2012 and having already toured with the NME Awards Tour, Palma Violets are the indisputable 'oldies' of this particular show. However, their music is anything but 'old'; smashing through a 13 song set-list comprised of the classics Best of Friends, Chicken Dippers and Rattlesnake Highway as well as new stuff (Danger In The Club and Girl You Couldn't Do Much Better) the crowd was immersed in the music throughout. The Failing limbs of the crowd embodied the band's musical presentation of mayhem. Whilst performing, the band made essential connectivity with the crowd, as well as endearingly knocking each other around on stage. Mid-way through the performance co-front man and bassist Chilli Jesson told the crowd it was "good to be back on home turf". The crowd-surfing and raw-throated sing-a-longs was most definitely the crowd's way of showing that they were just as overjoyed to have the band on "home turf". With the upcoming release of the band's second album this tour arguably will integral to its success: by not letting their name disappear in the midst of new acts and reminding fans just how sensational Palma Violets are.

Despite having to share personal space with fellow fans (who ended up smelling not too fresh), being head butted by an over enthusiastic teen and being accidentally touched by way more than five sweaty fingers, the unhinged, passion filled performances made the circumstances well worth enduring. The night was one of those performances you won't forget in a while, that created a crowd jumping jolly until the end. 

Die Antwoord at Brixton Academy

Die Antwoord.
source: www.fanpop.com

Although the saying "Sleep, Eat, Rave, Repeat" is terribly generic, this how the members of South-African rap-rave group, Die Antwoord, truly live. Having released three albums since 2008, $O$,Ten$ion and most recently Donker Mag, Die Antwoord's name has seemingly become widespread and is well known enough to perform at Reading Festival as well as selling out the O2 Academy Brixton both in 2014 and (now) 2015 in the UK. The rap-rave group is formed of a trio consisting of Yolandi Vi$$er and Ninja on lyrics and DJ Hi Tek, who does as the name suggests and drops the beat. They are most prominently known for their outrageous "Zef-Style" (which is defined by Yolandi as "you're poor but you're fancy") and bringing a witty pastiche of art, music and costume, which ultimately leaves many wondering whether they're a parody of a band. Regardless, the group are currently embarking on their "Fuck da World Tour" hot off the heels of their most recently released (critically acclaimed) album Donker Mag and one shouldn't expect any less than a night of epic showmanship, Ninja's naked bottom and a small Yolandi jumping full force around the stage.

The Brixton Academy was as usual on top form for a gig venue and on arrival was jam packed with the most diverse fan base I have ever experienced, which was both refreshing and exposed just how many different people truly enjoy the group. Moreover, despite being stuck in the cloak- room queue for over half an hour we still secured a spot in the second row.

DJ Jackmaster.
source: www.inthemix.com

Before Die Antwoord came on the crowd was greeted by a lone man (DJ Jackmaster)  and a mixing deck. Behind him stood a black, ambiguous curtain discreetly hiding the the main staging. It has been said that it is "the element of surprise" that is crucial for Jackmaster's set. His mixing of beats and bassy tunes flowed from his fingertips and he seemed to instinctively know what sounds go where and what the audience wanted to hear. Which ultimately formed an enjoyable show, regardless of feeling as though the bass drop may make your brain explode- referring to Saturday Night Live digital short which is how I imagine the crowd looked during his performance. If dance music with a few twists is your thang then check out Jackmaster's music, it's also worth checking out the video I was referring to in order to know what to expect from his performance.

O2 Academy Brixton

Once Jackmaster had left the stage the lights went down leaving the crowd cheering in suspense and draped in UV lights. The curtain dropped to reveal a stage covered in Die Antwoord's classic, black and white drawings, followed by smoke pouring out of the seams. A projection was then played of the much loved friend of the trio Leon Botha, who sadly died in 2011, as a tribute to him from the band. DJ Hi Tek then entered the stage in his typical warped face mask and took his place at the decks; opening the show, in complete contrast to the touching projection, with "DJ Hi Tek will fuck you in the ass". Word of advice: don't bring your parents. Instantaneously followed by Yolandi and Ninja covered in neon orange tracksuits. They began the performance with the hit Fok Julle Naaires, catalysing the synthesis of people to echo the crude lyrics as well as a unified crowd bob. The trio went on to perform the twenty song set list, comprised of crowd pleasing hits, such as: Baby's on Fire, Wat Kyk Jy?, Ugly Boy and Fatty Boom Boom (as well as others).

Blurry with excitement- Die Antwoord.

Whilst blasting through the set list here are some things from Die Antwoord you should expect: 1) nudity- although they may enter the stage fully dressed soon enough you are guaranteed to see DJ Hi Tek's bare chest, Yolandi in booty shorts and crop top and Ninja in the notorious Pink Flyod boxers (and if you're lucky a view of his bare bottom). 2) Epic dances- as well as having two of their own dancers (Tarryn TNT and Lafayette Bless) Die Antwoord also perform choreographed dance rountines throughout. 3) Stage Diving- whilst Yolandi bounces across the stage, delivering high pitched and speedy lyrics, Ninja dives into the arms of screaming fans. Not only that but he was attentive to all sides of the stage, making sure that even the edges got a touch of Ninjie.

Whether you're a fan or not , whether you understand them or not, it safe to stay Die Antwoord know how to perform. It was a performance which immersed the crowd into the most ridiculous, outlandish world, in the best way possible. What with the rave visuals and "is it real?" factor it is easy to see that their fans fink they're freeky and they're liked a lot.

Video mentioned above: https://www.youtube.com/watch?v=XCawU6BE8P8