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

Ben Howard at Brixton Academy

I Forget Where We Were
Source: www.O2academybrixton.co.uk

Ben Howard is an artist who's name is not easily lost in the 'indie-folk' music scene, nor is he easily forgotten in the three year gap between albums. Howard's humble beginnings start back in 2008 when he self-released his first EP Games in The Dark followed by two more EPs in 2009-2010. He then was signed by the mighty record label that it is Communion and released his debut album Every Kingdom. Despite not churning out his second album hot on the heels of the first, he kept his fans entertained by releasing two more EPs. When I Forget Where We Were was finally released in 2014, after teasing fans by playing new content live and releasing songs 'I Forget Where We Were' and 'Conrad', it received much appreciation and the dose of Ben Howard goodness that fans craved; whilst delivering more mournful and soulful content.

Having seen Mr Howard only a season ago it seemed like an age and it was most pleasurable to see him again so soon. Not only that but the O2 Academy Brixton seemed to be a fitting place to go to my first Ben Howard gig, having only seeing him at a festival. Ben himself even claimed: "I don't think there's a better place to play in".

Hiss Golden Messenger

source: http://www.mergerecords.com/

Kicking off the night was the American 'folk' band Hiss Golden Messenger, from the land of North Carolina. The band's debut album Country Hai East Cotton was first released in 2009 limited to only 500 copies, the following year they released Bad Debt via record company Black Maps. The band released three more albums following the first two, their most recent album Lateness of Dancers was released via Merge record label (who they are now signed to) in 2014. They are labelled as a duo, consisting of M.C. Taylor and Scott Hirsch, despite this they arrived on stage with two extra players which on their Facebook page they have titled "pals". Having seen Hiss Golden Messenger, in the summer also, I anticipated a performance of good old rhythm and blues with folk chords to sink your teeth into- which they delivered. Their performance was intense and enthused, expressing their North Carolina blues background, giving the audience songs to "dance to". It was a thoroughly enjoyable performance and they looked like they enjoyed it too. 

When Ben Howard and his legendary four piece band entered the stage the atmosphere grew with anticipation. As the lights progressively rose Ben began to strum the first mesmerising chords of 'Small Things'. As the band flowed through the set-list, Ben's nimble fingers effortlessly plucking out near faultless harmonies accompanied by the virtuosity of his band (as well as the lights and screens surrounding them), the experience truly immersed and captivated the audience. The new works from I Forget Where We Were filled the set-list with marathon long compositions exposing his desire to perform music on a grand scale. Much to the audience's delight, Howard still performed classic favourites Black Flies, The Fear, Gracious and the oldest Oats in the Water, despite this the audience began to chant the riff of Wolves to which he replied "Yeah we did that one". Thankfully all was not harmed as the audience seemed to accept that although there was no opportunity to cascade into a sing-along to Keep your Head Up or Old Pine he set out to play new music and that's certainly what he delivered.

Ben Howard
source: www.gigwise.com

Howard ended the night with End of the Affair which was seemingly appropriate given that it was the first song that was released off of the new album and it was the end of an affair that left the audience running 'round in love with Ben Howard again-if not already. 

Catfish and the Bottlemen at Koko

The Balcony
source: www.catfishandthebottlemen.com

Ragey, rapturous and rambunctious are only a few words that describe the performance of Catfish and the Bottlemen at the incredible venue Koko in November. The four piece band formed in a small town in Wales all the way back in 2007. It was only in 2013 were they signed, after 6 years of touring small gig to small gig, by Communion records (the same label as Ben Howard and Half Moon Run). In the same year they released their first single 'Homesick' and their second single 'Rango'. In 2014 it was clear Catfish- as they are known in the "biz"- were heading for new heights obtaining a relatively big fan base and not only releasing four singles but also their debut album titled 'The Balcony', which reached number 10 in the UK album charts. In that same year  you couldn't escape Catfish and the Bottlemen's name on the line ups of  most of the major festivals in the UK and Europe.

Koko

I first heard the sounds of Catfish and Bottlemen when XFM released their single Pacifier for free, having listened to the song on repeat on my phone for a little while I felt somewhat like a proud mother when I heard them on the radio. When I heard Catfish were playing Koko it felt like the bargain of the year paying only £12 for a ticket. I already expected the gig to be amazing having seen them live in the summer at Somersault Festival. The journey to the venue was really easy and it's great that the venue is mere seconds away from Mornington Crescent tube station. The venue itself was wonderful inside and out; looking like an old theatre throughout and the inside was covered with light bouncing of the oversized disco ball. My friends and I arrived later than the time the doors opened, this gave a us a chance to see leader singer Van McCann himself by the stage door. He was seemingly caught up in conversation and so we chose just to head inside, so as not to seem too fan-girl and way cooler than we actually are. We were standing about three rows back but with a clear view, as fans poured in we noticed that the crowd was mainly formed of young people, at a gig! I know shocking... Then after a while the lights went down and Southern came on stage.

Southern
source: www.inveterate.co.uk

I was first told about Southern, the brother and sister duo from Belfast, by my friend who described them as beautiful-both physically and musically.  But don't let their beautiful exterior fool you, their music is raw with blue riffs of darkness and some passionate shouting from Thom (half of the duo). Currently signed by Marathon Artists they released their first self-titled 'Southern' EP in 2013. Then in 2014 they released their single 'Where the Wild Things Are'. They played songs from both the EP and the single, with popular songs as Cool Kid and World Don't Shine. Their stage presence was great allowing those who knew they words to join in and those who didn't were encouraged by their playing to do a little jig. If such an event came along I would most certainly jump to the chance to see Southern again, and if you haven't checked them out go do it... right now!

Catfish rocking out
source: www.gigwise.com

Once Southern left the stage, the suspense began to build once more as we all waited for Catfish to come on. Whilst the instruments were being set up the ever popular 'Lid', as he known by the band and fan base, Larry came out to do the sound check for the band and received some cheers from the crowd. Soon after the band entered the stage and the crowd went wild. Catfish started the show with Homesick which catalysed a crowd serge pushing all of us towards the front, as soon as the ragey chorus kicked in we all began to jump.  As they pounded through hit after hit from 'The Balcony', such as Kathleen, Pacifier and 26, the moshing in the crowd reached epic proportions. Don't get me wrong I'm all up for jumping like a nutter, sharing sweat and screaming the lyrics, but what I didn't really like was some of the crowd were literally shoving- which showed a lack of crowd etiquette tbh. But regardless Catfish's interaction with the audience and their impeccable musical performance showed genuine enthusiasm and appreciation, it also enabled us the audience to feel more comfortable with the fact that our bodies were being thrown around and made the band feel more accessible.  My highlight of the night was the moment of calm when my favourite song from the album Hourglass was being performed. At that moment the crowd and the band felt united, with the endearing lyrics and satisfaction shared between the band and the audience,it was by far the best part of the night. They appropriately ended the night with the final song of the album Tyrants, the song itself feels as though it was written to close a gig; starting slow with lyrics to shout along to and gradually getting more powerful when finally it reaches the climax, loud and hard core.

It was certainly one of the most wild and enjoyable gigs I have ever been to. Their performance is of epic proportions- it sounds like I'm exaggerating but I assure you I'm not- they sound as brilliant live as they do on the album. As a fan the moshing at this particular gig made me feel as though by sticking it out we were making them proud, giving them signs of how much the vast group of people supported and enjoyed their music. Speaking for the crowd I would say the performance definitely left us with a mind that is so hell bent on seeing them again.

They are touring in spring next year defo go grab some tickets, you won't be disappointed.