Stal Kingsley at The Cavendish Arms

If you happened to be lurking around some of the less lit streets of Stockwell last fiendish Friday you may well have come across the enigmatic workings of the one man band that is Stal Kingsley. Still stuck in the media age of cassette players and VHSs, one wonders whether this strange kid is trying to be indie for the sake of it or genuinely believes technological advances should have stopped in the '90s. Either way it goes without saying that watching one man in a boiler suit thrusting around stage with his jangly guitar playing along side a recording of himself from a cassette is truly unmissable.

Unsurprisingly, Stal Kinglsey's sound is just as weird and wonderful as his performance proposes. Playing for what must have been a mere 30 minutes the small but enthused audience were met with an upbeat set list of tunes that sounded as if Mac Demarco had shacked up with Fat White Family (probably against their will) in the home of Ben Howard. Unbelievable, I know, but despite this apparent confusion of genre Stal Kingsley embodies a dystopian lo-fi psychedelia that you didn't know existed but carries some sort of groovy nostalgia that you've been missing. This is perfectly accompanied by a relatable reflection of life as a post-modern millennial, expressed through his lyricism: consisting of what it's like to be a useless boy, the influxes of nihilism that comes with life, and finally the desirability of love and it's eventual destruction of all you know. All of this is then ended with a loud twenty second countdown and a miraculously finished illustration.

Overall, whilst Stal Kingsley, and his one man show, may present him as an archetypal art graduate who is grasping at hipster straws to be an individual, he's actually a satirical come lyrical genius. He puts to the test how musical performance should be presented to you and more specifically what medium it's presented in. Should it be through a charmingly charismatic curly haired wanderer in a dirty boiler suit only playing a guitar, through a grainy almost inaudible cassette tape or through an cleverly comic farce played via VHS? I guess you'd have to find that out for yourself...




If you think this is enough to get your weird rocks off check out Stal Kingsley here:
Stal Kingsley / Bandcamp 
Stal Kingsley / Facebook
Stal Kingsley / Twitter

Mac Demarco at Brixton Academy

Mac Demarco

If you wandered past the O2 Academy Brixton during the last two days of May you would have noticed that the jangle-pop-indie-super-star Mac Demarco was performing not one but two sold out shows. As the line of fans began to congregate on the second night, it was clear why Mac had added an extra date and manage to sell out what was to be one of his biggest show (or two shall I say) in the UK, given that it appeared to be a pilgrimage for anyone who owns a beaten up pair of vans or seen-better-days dungarees.

Kirin J Callinan 

As the electricity and garish shirts filled the 5,000 person capacity space, the excitement to see the gap-tooth Canadian with rolled up jeans began to grow. Before, however, the crowd was greeted with support act Kirin J Callinan: an Australian 80's day dream in tight leather pants and a stiff red beret. Starting the show on his own with just his guitar and striking codpiece, Kirin performed as if he was the Aussie baby of David Bowie and Jarvis Cocker who grew up on a diet of rave music. After performing the first song solo, he was then joined by his "two little brothers", Tex and Mahne, a pair of skin heads in aviators and looked as if they could nut you whilst playing the accordion. Once this weird but wonderful silhouette of the trio had been formed they pump out a set that sounded as if they made the music from 90's show Twin Peaks kinky. Both tongue-in-cheek and a little sexy Kirin provides music that takes the piss whilst withholding a deeper meaning, hes a truly sardonic artist with a backwards mullet.  He ended the show, that was full of guitar throwing tricks and attempts to flog his t-shirt, with a performance of a song that required the crowd "use their imagination" as he pranced across the stage with just an air guitar and singing about how he's not a baby and not yet a man, a toddler.

Man with the band 

After a sweaty interval, the 'beast' entered the stage to the theme tune of the God Father bearing a bottle of wine and couple of beers. Kicking off a mighty 18 tune setlist, Mac and his motley crew knocked out Salad Days for their first number. This was met with an excited caterwaul from a crowd whose anticipation for the band had come to a climax. Jumping straight into the rest of the set, with No Other Heart, Rock and Roll Nightclub and On a Level (to name a few) Mac showed that after three albums this guy knows how to pace a show. This was reflected by the unceasing of the movement of the crowd, who didn't seem to know when exactly to mosh so just did it all the way through.

As he ploughed through the set, the crowd were met with two of the band's recent canine themed tunes, Kirin's sweaty bare chest riding the crowd during Freaking Out the Neighbourhood, and a tender moment of lighter swaying love as not only an ode to viceroy but to Mac himself. However, the music wasn't all the crowd came to see, clearly the intermittent chat from Mac was too a spectacle, discussing the best place to get a salt beef bagel and his fellow band member's wedding anniversary were just some of the stand out moments. The show went exactly how it was meant to, a fun mix of sweating and song whilst watching a goofball of a musician peform the old and the new with impeccable artistry. He ended the show with what must have been a 30 minute long jam, inviting not only his family to the stage but the band's friends too, performing an amalgamation of tunes and tricks with guitars. With a final good-bye crowd surf, as expected, this old dog left the stage the same way he entered it: like he was born to be shoeless and shirtless upon it.

Check the strange pair out:
Kirin J Callinan / Shop
Mac Demarco / Site

Jellyskin - Milk of Magnesia

Milk of Magnesia

Whilst we kick off the year with a continuation of the shit storm that was last year, given that Trump is now president and the UK's government still in dismay, it would seem 2017 isn't ready to offer any kind retribution as of yet. But never fear, Leed's based trio Jellyskin have released a new track as of this month, representing "the smell of pain and the end of days" that could be upon us, whey-hey!

Not quite avant-punk but still avant-garde, and signed to independent record label Blak Hand Records, Jellyskin come back again with a track that's dark and brooding. Following their first two tracks, Milk of Magnesia is a little different and a little heavier. Having expected another single with ethereal vocals and wavey vibes, Milk of Magnesia is displacing but in the best way possible; showing off what the band can really do, and that guitarist Will can double up as lead singer too.

Jellyskin

The track is instantly eery and encapsulating, kicking off the song with distorted synths not too dissimilar to the sound of organs you would find in the Phantom of the Opera. As weird as this sounds it works, setting the darker tones for the 6 minute long track. As the track continues you can really sink you teeth into sounds that are reminiscent of possible predecessors such as Sonic Youth, and even The Velvet Underground, 'White Light White Heat' era. Although in saying this the song itself sets them apart in their own right, utilising classic hypnotic riffs and monotonous drums to make it completely trancing. Needless to say its weird and its equally as melancholy, and it comes with a trippy music video, what more could you ask for?

You can also catch the trio on lurking round the stages of Leeds, considering that they have been gigging now since September. Having already secured some support slots for Crocodile and Will Joseph Cook, it's worth watching this space.

Got milk? No? Then get yours here:
Jellyskin / YouTube
Jellyskin / Souncloud
Jellyskin / Facebook 

Sorority Noise at Sticky Mike's Frog Bar

Sticky Mike's

Hidden in the labyrinth lanes of Brighton lives the legendary Sticky Mikes Frog Bar, yep truly a place that lives up to its name - sticky. Coated in local art, projected fish tanks, and glissenings of a disco ball, the Frog Bar is a fitting place for the hipster settlers to spend their Friday night. Joining the InD inhabitants last Friday were the sounds of Muskets, Puppy, and Sorority Noise.

Muskets

Whilst upstairs is lit up in all its glory, the basement of Sticky Mike's is dim but atmospheric, with only the light of the bar guiding your way. Walking into the basement you were met by the loud noises of Muskets, a long haired local foursome. Singing songs with relentless angst, and an anger that didn't seem to have its place located, this quartet tore upstage with no break for an applause. With only one EP to their name, it's early days for Muskets. However, what ever impression they give from their recorded stuff, you best believe they're better live. Sounding like Blink 182 had a baby with The Wombats, they're a weird amalgamation of American pop-punk and English grunge that seems to work enough to keep the crowd more than entertained.

Puppy

Following Muskets, were the London based trio Puppy. Staying true to the rock theme of the evening, this threesome came at the crowd with heavy metal tunes that were as soft as newly born canine. Now weighed down by the two EPs under their belt, Puppy have established themselves as the love child of 80's metal bands nursed by Weezer. Sitting happily in the intersection musical genres, Puppy greeted the stage with handfuls of harmonised guitar solos, pummelling drums, and bass that melted your face off. Unceasingly beating their instruments, Puppy crafted their weird but wonderful indie metal cross over to a crowd that got as sweaty as they did.

Sorority Noise

The final band to grace the Sticky Mike's stage was the American foursome Sorority Noise. Headlining the night, the quartet definitely drew up the biggest hoard, and aimed to make the loudest noise. Easily categorised as your average Emo / pop-punk band, Sorority Noise make it hard to look past their four man set up and songs that infiltrate the theme of juvenile angst. However, once you see through their archetypal pop-punk aesthetics, you reach of the band's gooey core that aims to motivate their listeners past self-negation and lending a hand to those who suffer from depression. Their performance on the night intertwined both their Emo roots and honest discussion of manic-depression, paradoxically encouraging self-preservation as well as body thrashing moshing.

Listen Here:
Muskets / Soundcloud 
Puppy / Soundcloud
Sorority Noise / Soundcloud

Beach Baby - No Mind No Money

Beach Baby

Since the release of their first single in 2015 the indie music scene have been expecting an eleven track blessing from London quartet Beach Baby. Having released of six, yes six, singles over the past year or so (and one EP), it came as no surprise that as of this month Beach Baby's debut album was born.

Amply titled 'No Mind No Money', Beach Baby incorporate surf pop motifs and the mesmerising power of shoegaze to create a dreamy representation of the tragedies and confused freedom of youth. With all the tracks from their singles on there, the album has a some familiar sounds as well as brand new ones; accurately exploring just what it's like to be not quite fully fledged but still suffering from the dilemmas of the real world, like not having any money or held hostage by infatuation.

The album's varying tones effortlessly shows off Beach Baby's talent, slotting themselves nicely beside such surf pop hotshots as Hawaiian Gremlins and Mac Demarco. With such cheerily mellow vibes, 'No Mind No Money' is a sure way to brighten up your mood, even if its focus on modern day calamities is almost too relatable.

Cheer up your ears:
Beach Baby/Itunes
Beach Baby/Twitter
Beach Baby/Facebook

Jellyskin - She Sung Oceans

She Sung Oceans 

Greeted once more with the presence of Leeds based band, Jellyskin, our ears are met with their newest creation She Sung Oceans. Having only started as a band in the spring of this year, this steadfast trio have already released their first track Grey Glass Hat and have teamed up with fellow fresher band, Sealand, to create record label Sea of Skin. Hacking through a starter band's checklist, Jellyskin are hastily commandeering a market which seemingly demands for a sound that's as if Kate Bush had joined Sonic Youth. And given that the band's mantra is not to sound like someone else, it comes as no a surprise that their desire to 'have a distinctive sound  that people will attribute to us' (says lead singer Zia) is accomplished.

Following on from their debut track, Jellyskin have managed to continue the melancholic transcendence that started with a visit from a mysterious man in a grey glass hat in their first track now to a girl who apparently sings oceans in their second. In its efforts to upkeep the reputation from their first song, She Sung Oceans seems to dip its toes into the seas of grunge, dream pop, and psychedelia, flooding your ears with ambient vocals, metronomic drums, and trance inducing guitars.With a climatic middle and a synthesised conclusion, each genre that the track moves through rolls over you like a wave.

Jellyskin

With images of that Simpson's scene where a bunch of teens bob to Smashing Pumpkins, and the track's sonic waves crashing around you, She Sung Oceans truly is a transient hipster daydream.

Currently toying about with ideas of organising their own gig in Leeds, says guitarist Will, and with more songs in the pipeline, we can look forward to future for Jellyskin, because it's bound to be as big as Alison Goldfrapp's hair.

Find out for yourself and dive into the oceans that she (whoever that is) sang:
Jellyskin/SheSungOceans

SGP - Petite Meller

SGP

Whilst Sunday maybe a festival's quietest day, their stages are still as alive as ever. Hidden on the east side of the fields was The Next Stage, new to SGP this year. On which you could have found the french powder-puff mademoiselle, Petite Meller (yes that's her real name) and her extremely talented Afro-French band, enact the most aesthetically pleasing performance that required three outfit changes and looked as if it was extracted from the dreams of Wes Anderson.

Outfit number 1 (bar the heels)
source: @Petitemeller

For most people, the sexualisation of adolescence or the appropriation of culture are areas of discomfort, however, for this Lolita archetype, who is enamoured with African culture, these are topics which should be so obvious that they are neither damned or damaged nor are they glamorised. And with her degree, and soon to be masters, in philosophy this girl knows her stuff when it comes to repression, Lacanian theory, sexuality, and what we see as literal- something she likes to release when on stage. With this in mind, it becomes clear that her imagery isn't just an artistic stunt, instead she claims that "bringing the libidinal unconscious dreams into reality is what fascinates" her and for this reason she aims to create realities that are "more real" than the unrepressed ones we have in our consciousness.

Whilst her philosophical passions can be hard to get your head around, her performance of fun electro-pop-eurotrash-inspired French chansons (in English) are easy to get along with and groove down to. Unfortunately for Petite her set happened to be during the Sunday headliner, Air, so the crowd was a petite as she is. The size of the crowd even left one member asking whether fellow gardeners knew what was about to happen and then deciding it was better they weren't there as it left more space to dance. And how the crowd did.

Petite and co.

Filling the stage with bizarre instruments of the jazz and electro variety, were her band, dressed in coordinating blue and mustard garments, and looking as cute as hell. Then without a moment to spare Petite greeted the stage with her sugary sweet presence in her first outfit of the night: "a Russian hotel blanket", 70's velvet platforms, and what looked like a safari helmet. With only a few singles out in the mainstream, her setlist wasn't as chunky as her heels, yet she still played her pop-jazz fusion with an unstoppable tenacity (despite a few stumbles and nip slips). And although her set was small it was solid, squeaky gold that called for dancing that seemed to be a hybrid of structured motifs and eye rolling seizures, that the crowd seemed to conquer with by flailing their bodies to the beat. After performing such crowd favourites as Babylove, Barbaric, and Milk Bath, and wearing three different kinds of hat, Petite finished a set that felt like she could have gone on forever, and given that the crowd were the "best ever" (according to Petite) they probably would have let her.

With her high notes and sax sounds still ringing in gardeners' ears she left the crowd confused by a mysterious blindfolded character on stage (that she left there) and a toothache from just how sweet she was.

Take a bite out of this cupcake and find out for yourself:
Petite Meller/Website
Petite Meller/Twitter

Petite Meller/Facebook

SGP - Caribou

SGP

Being the headliner at a festival is tough, but headlining a festival and performing after a six year firework spectacular tradition seems impossible. Yet, stood dressed all in white and silhouetted by strobe lights on The Great Stage, Caribou seemed to handle the job with the slickness of liquid velvet.

Caribou 
Source: Andrew Whitton

Having been around for the past 11 years, Caribou knows exactly what it takes to make a crowd weak at the knees and their bodies flail. Known almost as the cult classic of psychedelic electropop, Caribou creates house music like no other. And with their clump of limbs and instruments set up, front man Dan Snaith and co make for an performance of multiple climaxes with a sweaty finish. 

Having had the entirety of the festival on the stage side of the fields, Caribou had no option but to perform to the masses. Although they only had an hour long set, it seemed like the band could have gone on for days and I have no doubt their audience would have let them. As they trickled through the setlist, Caribou made the individual songs into a seamless sea of sounds, with every beat and strobe rolling over the crowd like waves. Performing such tunes as Can't Do Without You, Odessa, and Silver, there wasn't a dry face in the crowd. 

Caribou @ SGP
Source: Andrew Whitton

Whilst electronica can be a musical umbrella that is often mass produced or overrated, Caribou, however, manages to create such an emotional as well as psychedelic experience that it's borderline extraterrestrial (slotting nicely into Secret Garden Party's space theme). On the night Caribou performed the songs so authentically it was as if they were improvised, even though some of the tunes were as old as most of the crowd. It was a multidimensional experience that suited the every gardener's vibe: whether you wanted to have spiritually uplifting voyage or whether you just wanted to boogie till the late hours, Caribou were there for you that Saturday night.

Let your ears get intimate:
Caribou/Website
Caribou/Facebook
Caribou/Twitter
Caribou/Souncloud

SGP - La Femme

SGP

After a sweaty day in the scorching sun, nothing seemed worse than dancing in the middle of a toasty crowd for the evening, yet La Femme's performance made it all worth while. Having already had the likes of The Skints, Little Comets, and Swim Deep graced the sage that day it was a surprise just how effortlessly La Femme stole the limelight from right underneath this long list's feet.

La Femme
source: Max Miechowski

With a unique sound that, on paper, shouldn't work at all and with lyrics entirely in French, it comes as a shock just how popular La Femme are in England. Performing as a sextet this French lot, make looking cool their day job. Armed with synths up to their eye balls and surf pop riffery these cool kids create a sound that's as if Mary Goes Round performed a cover of Jane Birkin's Je T'aime whilst riding a carousel. And whilst it sounds implausible, La Femme expertly execute the sultry sound of the ye ye girls and the upbeat jangle of surf-pop, whilst in-keeping with the angry doom of the Kraut and DAF punk movement.

La Femme
source: Max Miechowski

After what appeared to be a rushed set up, La Femme entered The Great Stage without dropping a bead of sweat in front of the crowd which had began to form. With a row of synths along the width of the stage and the drum kit just behind, their lay out prepared eagerly awaiting fans for their surf-pop-cold-wave hybrid.  And whilst they seemed unaffected by the heat of the sun or the size of the crowd, they certainly made the audience sweat for them. Performing such popular, hits as Antitaxi, It's Time To Wake Up 2023, and Amour dans les motu, La Femme encouraged a surge of dancing which slowly formed into a mosh pit in the middle. Finishing their hour set, La Femme put the crowd out of their sticky misery whilst at the same time left them wanting more.

If you were lucky enough to spot them around the festival in the evening, they were giving out handshakes, kisses on the cheek, and free t-shirts (at some point).

They're fun and furious, and even if you can't be bothered to translate the lyrics they're like an electro-punk themed carousel on the West Coast that once you've heard it you'll definitely wanna ride. Get on here:
La Femme/Facebook
La Femme/Website
La Femme/Twitter
La Femme/soundcloud

SGP - Blondage

SGP

Having suffered last year with pouring rain and mud baths, Secret Garden Party got to show off their full potential this summer with beautiful weather and glitter covered gardeners, despite the fact they didn't sell out this year. For this year's theme Head Gardeners planned a weekend of intergalactic transportation, taking inspo from the cult classic Hitchhiker's Guide to the Galaxy, and amply naming it The Gardeners Guide to the Galaxy.

Blondage

As a festival there stands to be no kind of set structure, rather it is truly just one big party, although having said this the festival doesn't shy away from providing many a stage, which many a great artist performed on throughout the four days. In this four-post-mini-series, there will be a taster of the bands who stood out as the 'best in show' of each day, starting obviously with Thursday.

Although the festival does officially start on Thursday, The Great Stage remains redundant until Friday, which means that it is left to the mini stages to fill the ears of wandering gardeners. New to 2016, The Urban Forest, was merely one of the stages located around the three fields. Built entirely out of old shutters, window frames, and mirrors, the Urban Forest was an home from home in the strange galaxy that was SGP '16. Headlining the Urban Forest on Thursday evening was the Danish electro-duo Blondage. 

Blondage @ Secret Garden Party

Formerly known as Ragleklods, Blondage is made up of the talented Pernille Smith-Sivertsen and Essen Andersen. With only two singles to their name, Blondage aren't easy to hear, so seemingly the best way to listen to them is live. If you were lucky enough to stumble upon their performance on Thursday, you would have found these strobe-a-holics drenched in all black and producing the juiciest synths since Kraftwerk's The Man Machine. Whilst the crowd was small, their performance was not. Whipping out instruments that didn't seem real, and managing to sing (yes both of them) whilst mixing their own music live, Blonadge's pop-electro performance created bubblegum sweet sounds that made your ears happy, whilst your feet hurt. Hidden by cutely coloured back lighting this duo were merely silhouettes on stage that, even without being able to see their faces, performed with ice cool eclat. 

Described by one in the crowd as 'like Grimes but trying less hard' they are clearly a duo to keep your eyes on. Serve yourself an aesthetically pleasing slice of whatever their having here (because you'll sure want a taste):

Blondage/Soundcloud

Blondage/Facebook
Blondage/Instagram

sealand - Holy Head

sealand

Finding ourselves back in what seems to be the birthing pool of musical talent, the North, we find yet another little musical gem: sealand. Manchester students Rory Calland and Lucio Gray are the ambitious minds behind this post-punk-dream-pop-shoe-gazer combo that some would say is impossible to pull off. With two songs under their belt, this duo show off their musical diversity through a limited playlist.

Releasing said songs on their soundcloud in the same month, it's hard to tell that they were curated together. Their first track Vehicle is one of which is like Stone Roses spin off (somewhat like an indie equivalent of S Club 7's S club Juniors). But don't get it twisted, whilst the song has it's roots deep with the soil of their predecessors, it has a back bone that is completely their own. And even though the song may not sound as enticing as the idea of a fresh Mancunian newcomer, their second song Holy Head definitely changes this.

Holy Head

The song is slow but intense, and sounds as though Joy Division has had an anarcho-punk child, born holding a sitar. Creating a stream of consciousness that's just about audible, mixed with the overlapping drone of guitars and synths, sealand have made a song that makes you feel as though you're wandering round the unconsciousness of our generation. This hybrid of dream-pop and spoken word makes for an interesting listen to say the least, that could be controversial and meaningful but you might need to squint your ears to hear it. However, one thing that is for certain is that it's alluring and hypnotic, and once you've heard it it's as if you've bathed in the holy water of sealand.

Holy Head will also be featured on the band's independent DIY record label Sea of Skin Records (co-owned by their plan Jellyskin no less) first compilation album, which comes out on the 15th of this month. Keep your ears to the ground, as it won't be long until we're soaked through by the splash of sealand.

Swim with them in their serene pool:
sealand/souncloud
sealand/facebook
sealand/twitter

Jellyskin - Grey Glass Hat

Jellyskin

It must be something they put in the water because, like many indie music pioneers, Jellyskin hail from 'up North'. However, this is not their leading feature, instead what stands out about this trio is their ability to make a song whilst balancing the life of a student. According to the band lead singer, and synther, Zia and guitarist, Will have always wanted to make music together, and with friend Olly being a drummer, they one day came together to work with some ideas. And with this the band birthed their first song Grey Glass Hat, and it's a corker.

The song starts off slow, with ominous syths, that are deeper than the voice of Johnny Cash, and elegant vocal's from lead singer Zia. It doesn't take long for the guitar and drums to make their entrance, really showing off the band's late 80s-early 90s influence creating a sound that's almost a grunge-shoegaze combo. With heavy synths running throughout, and mellow drums to compliment them, it's hard to believe that it's only three of them making so much sound.

Grey Glass Hat 

Whilst the song repeatedly asks you why you don't go, us as the listener asks the band why would we leave this dark and mystical place Jellyskin have managed to engulf us in; even if no one truly knows who the man in the grey glass hat is. The song is progressive, dipping right in the middle to finish on a crescendo that ends in a melancholic climax.

With a name like Jellyskin it's surprising that they can make something that is so structured and ethereal compared to the vision of wobbly flesh. Given that this is their first song, they have made their mark as musicians who can create music that is hauntingly beautiful and heavy at the same time. Sounding as if Smashing Pumpkins have had a love child with London Grammar, or as if a grunge band has taken choir practice, I'd watch this space because, as their name suggests, I have no doubt they're gonna make you as wet as pre-mixed jelly.

Wet your ears: Jelly Skin

Warmduscher at the Windmill

The Windmill

If like me you landed in an other dimension and spent a night in Brixton's The Windmill (again) you would have been witness to the carnage of both bands Good Sad Happy Bad and Warmduscher, as well as being disappointed that the real Lady Gaga wasn't there (and neither was band Goat Girl). Hosting the night were the illustrious Warmduscher celebrating the return of Saul Adamczewski from the the land of the free and the home of the brave, and oh boy do they know how to throw a welcome home party.

Good Sad Happy Bad

Before Warmduscher took the stage, threesome Good Sad Happy bad performed their version of music. Formerly known as Micachu and the Shapes (after lead singer Mica Levi's stage name Micachu), this trio create music that seems to regurgitate a distorted version of the sounds of an angsty teen after a night out, and appear to represent what it is to be good, sad, happy, and bad all at the same time. After composing the soundtrack of major motion picture 'Under the Skin' as Micachu and the Shapes, it seems that their re-branding as Good Sad Happy Bad is the trio's attempt at getting back to basics, and their performance makes this assumption believable. Going back to their make-shift music roots, Good Sad Happy Bad perform as raw as their newest single sounds. In fact they were so back-to-basics that lead sing Mica apologised when something went wrong. Although their music may not be to everyone's taste, and they sound a little like they just rolled out of bed with a hangover, their performance was both amicable and popular and spurred a unified crowd jig and the consumption of a pint.

Warmduscher

Following the trio came the sordid liberators Warmduscher. Welcoming home their beloved band member Saul, the foursome performed a setlist that encouraged the secretion bodily fluids and the throwing of punches. For Warmduscher it would appear that during every performance they manage to catalyse some kind of social butchery, where every moral and social norm is blocked out by the drone of guitar riffs and pounding drums. Wearing a jacket coated in gold, which suggested that guns, bling, and ganja are integral to satisfaction, lead singer Clams Baker and the guys performed classics Uncle Sleepover and The Salamander, as well as new track The Sweet Smell of California, displaying that despite what their name suggests they are anything but wimps. Before finishing the show Clams once again left the mic to the audience during the final song (clearly a signature move), expressing that for Warmduscher the revolution is a collective effort and it all started in the windmill. 

The night was rounded off with a DJ set by 'Lady Gaga', however, if you believed it was the real one you were sadly mistaken. However, giving a four hour set isn't easy so hats off to you DJ Lady Gaga, it's just unfortunate that most were too busy gurinin' to notice. 

Warmduscher X Meatraffle at The Windmill

The Windmill

If you were in the whimsical watering hole that is The Windmill on the 3rd of June you may have found a band who comes with a trumpet and a postpunk attitude, and another who's name needs to be typed into google translate in order to correctly pronounce it. With their roots planted deeply within the dirt of the weird and wonderful, Meatraffle and Warmduscher have come together to create a double-sided single that's so degenerately unorthodox that it deserved a party that embodied that very notion.

If you arrived fashionably late, you may have missed the first three acts of the night: NoFriendz, Fake Fur, and Suitman Jungle. However, that does not mean that you couldn't see them, on the contrary. In fact you were most likely to be moshing next to the singer of NoFriendz, who was unmissable given that he had pegs in his hair, and no doubt you also saw the singer from Fake Fur, as she was later on invited back on stage to give a second display of her lungs (and boy does she have a good pair).

Warmduscher

The first band, out of the pair of headliners, to greet the stage was Warmduscher. The band is made up of trio  Jack Everett and Saul Adamczewski (although he wasn't there on the night) from the Fat White Family, Ben Romans-Hopcraft of Childhood, and Clams Baker. It didn't take long for the mottly crew to prepare their set, nor did it take any time for the crowd to emerge from every crevasse to form an audience just as equipped for mayhem as the band was. With neon lights clouding their vision and anarchy coursing through their veins, it came as no surprise that the crowd became engulfed into the trippy dystopia that is the world Warmduscher.  And whilst it may take a certain kind of person to find solace in the sounds of Warmduscher, what they create is undeniably something special. Why, not just any band can successfully embody the dysfunctions of our morally diseased society and still make digestible music; however this trio can. They say you have to see it to believe it, and The Windmill definitely saw.

Meatraffle

Following Warmduscher were the mutinous Meatraffle, made up of a bunch of uncanny aliases, such as Zsa Zsa Sapien, Tingle Lungfish, and Fats McCourt, and whilst their names may be comical, their message is not and neither is their following. As almost a band in residence, Meatraffle are a beloved name around the South London area. Musically, the band refuse to be categorised, so they sit on the outside able to replicate the collapse of civility and morality as we know it. Their overtly political stand point and music, made for a performance that encouraged riotous behaviour whilst reminding you how important the dentist is. Their setlist was an entrancing amalgamation of sounds copy and pasted straight from their album to the stage. They are a band like no other and put on a show that everyone should see in their life time- APART from the Yuppies of course, you fuckers stay out.

The single launch was nothing less than success: the bands saw, came, conquered, and left everyone drenched in the expulsion of the socialist orgasm that the musicians created.

Buy the single here and reach the same climax from the comfort of your own home: Meatduscher.

Yak at The Joiners

The Joiners

Yak are a trio made of London based nuttahs, from Wolverhampton and New-Zealand, who find solace in dripping with sweat and making others do the same. With talent oozing from their pores, and front man Oliver Burslem's Mick Jagger crica '65 good looks, the band put on a show that leaves crowds with bruises on their knees. Although the trio has only been circulating around the indie rock scene since 2014, their notoriety is formed off the back of their ability to recreate a sound that is reminiscent of a scuzzy garage band from the '60s. The band have only this month released their debut album 'Alas Salvation' and are embarking on a tour which is proving their worth as musicians who aim to bring to crowds what their album title suggests.

The V2's (taken  by Rhona Murphy)

If you were looking for a Friday night full of sweat and beer fuelled civil disobedience than Southampton's The Joiners welcomed you with open arms. Kicking the night off were Bournemouth based boys The V2's. As somewhat local performers at The Joiners, they quickly filled up the floor with fans presumably the same age as quartet of sixth formers (I don't I think I've ever felt so old even when I wasn't holding a beer can). However, age seems to be irrelevant to The V2's, and given their performance history it evidently isn't a hindrance.  Their music is so full of catchy lyrics and fuzzy riffs that it's even caused Mac Demarco's mum to join their fanclub (supposedly). Covered in glitter and wearing coats with fringe The V2's performed a setlist to which the crowd shamelessly moshed to. Watch out 'cause for these southerners the only way is up.

Palm Honey

Following regulars The V2's were Palm Honey, the super psychedelic synthers from reading. This indie foursome greet the crowd with sugary-sweet sounds made up of poppy hooks and chill outed synths. The band's musical style seems to exist in the realms of psychedelia but with a darker twist, given that their lyrics are "super deep". However, it's unfortunate that some of this was lost in their performance given that lead singer Joesph Mumford's voice was distorted so much that it was hard to make out the band name let alone the lyrics, which contrasts their recorded stuff that you can find on the internet. Although in saying this the overall experience of their performance was submerging and indulgent, even if you struggled to sing along.

Yak

Last but not least, given that everyone had paid to see them, were Yak. Although a little late starting, the unruly threesome began their performance with no intention of lulling. From start to finish they performed a setlist that was made to be performed live and the crowd knew it. The push and shove of the crowd began as soon as they did, with Harbour the Feeling, moshing so much that front man Burslem was able to crowd surf within the first five minutes. Dripping with sweat and spitting for days, the band put on such a victorious show that bassist Andy Jones broke a bass string. Lapping up every tune with hungry eyes and hanging off of every hook the crowd were just as relentless as the band. When the trio ended the set with Plastic People followed by Jam, the audience sighed with relief as they realised, alas, Yak brought salvation.

Black Honey at The Joiners

The Joiners

It's hard work making an entire venue wish that they were you, however front woman of Black Honey, Izzy Bee, oozes with so much cool she makes it look as if it's her day job. Yet a kick ass lead singer is not all this fierce band have to offer. Armed with an attitude that could turn you to stone in one second and then melt your heart the next, the band's music is addictive like something sweet but storms into your ears like a lighting strike. For one night, and one night only, this tenacious foursome took over Southampton's The Joiners, however their smell and sound is probably still lingering around the venue after whipping up such a moshing storm.

Fever

The Joiners as a music venue is pretty cool: it's outside is a shell of your average pub yet its insides are made of your typical gig venue organs and is plastered in music posters- past and present. A suitable place for Black Honey's first support act to take the stage, cue the southern quartet Fever, who evidently have some notoriety within the venue anyway! Whilst they only have two songs on SoundCloud, Fever emptied out an handful of tunes that seemingly can't be found on the internet and therefore can only be heard live. Their sound is little more than garage fuzz,  however that's not to say that they are average, on the contrary their songs are hot like fever yet on stage they are as chilled as the cold beer in your hands. What the band lack in stage, and internet, presence they make up for in music, kick starting the cold sweats of evening.

Johnny Lloyd

Following the South Coast's answer to grunge, Fever, comes a south London soloist Johnny Lloyd (solo despite the fact he comes with a band and a good looking sound crew). As former front man of Camden's Tribes, Johnny Lloyd is a natural born performer who comes equipped with a voice that warms your heart and sweet, ceaseless, hip thrusting action. His performance is also aided with the help of a setlist that is armed with so much talent you could sink you teeth into it and take a chunk out. Each song him and the band performed was something a little different ranging from sounds similar to Bob Dylan, 'John Wesley Harding' circa, to sounding not too dissimilar to Fleetwood Mac's 'Rumours' era. On the night he performed his recent release 'Hello Death', produced by Jamie T, as well as singles 'Pilgrims', produced by Mystery Jets, and 'Happy Humans'; much to the middle aged women behind us' delight. After supporting Black Honey, Johnny Lloyd, and co, are embarking on a solo tour as well as touring with Band of Skulls, so see them there or forever live in the unknown where your ears are never graced with Johnny Lloyd's smouldering sounds.

Black Honey

Black Honey shortly emerge upon the stage that is already full of their instruments and infamous flamingo ornament, and the crowd, needless to say, embrace the band with welcoming arms. The band began their setlist with no intention of lulling, starting as they mean to go on with the throwing off of a beret and their tune 'Spinning Wheel' (that makes you feel as though you're in a Tarantino movie). With a crowd that worships the ground the band walk on, who not only want to be lead singer Izzy Bee but also drool over her, the atmosphere was rife for some angsty carnage. Black Honey continued to pound relentlessly through a setlist made up of both their EPs and new song 'Mothership', which required the audience to crouch to listen to Izzy Bee as if she was so kind of cult preacher before bursting up into a frenzy of shear glorious chaos. The night ended in what seems to be a theme of a Black Honey gig and that is a full blown stage invasion with no fucks given. Having already been told to 'behave' and 'get down' when the first few attempts were made it was the final song, 'YSIA', that called for the sweaty bunch of adolescences to storm the stage and succeed. Once Black Honey finished, and the crowd had wet their pants, they could be found in the lobby selling merch and baptising pre-pubescences with temporary tats.

Black Honey in some respects remain a secret band that apparently people in the local pub hadn't heard of, however, it goes without saying that their performance is a 60s esk creation of the grooviest kind of pandemonium that can't be missed.

All photos were taken at the gig, by one Jamie Wrapson (thanks pal)

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).

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