Thursday, 30 April 2015

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.

Sunday, 26 April 2015

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


Thursday, 16 April 2015

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

Monday, 13 April 2015

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