Yuck at The Moth Club 2016

Yuck @ MothClub

In deepest, darkest Hackney Central is a pub that looks as plain as it gets, however once you go through the door that has a laminated 'entrance' sign on, it becomes clear this is a club like no other. With the club's history deep rooted in British military past  (MOTH standing for Memorable Order of Tin Hats) it's a surprise how well the club's original memorabilia complements the  glitter smothered ceiling and the gold shimmer curtains that drench the stage. It's a venue that is a must see to believe, suited and booted for any band that's going to create a good time and who will fill up the dancefloor, evidently Yuck suited the Moth Club down to a tee. With the launch of their newest album 'Stranger Things' on the day of their first gig at the Moth Club it comes as no surprise that they managed to fill floor with moshing indie kids, politely perched fans on the velvet sofas and the odd adolescent who seemingly had managed to sneak their way in (something im sure we've all done at some point).

Shark Dentist

Before Yuck hit the lit up stage, in all its shiny glory, were Shark Dentist. According to their facebok bio the band themselves harvested jellyfish in their childhood and until 2014 there was no such Shark Dentist. However, whilst their "history" and name, on paper, is laughable, any band who calls their genre of music 'sandwich metal' deserves some kind of recognition. The foursome's performance, simply put, encompasses their internet persona... frankly they don't give a shit and they are teeming with wit. Their setlist comprised of songs from their newest single 'Stranger' and the crowd favourite Cut Myself Shaving (as well as a few more), each song performed with the feral intensity of a wild animal and the angsty attitude of a pre-teen. With hilarity of their lyrics they combine the mundane with a rich sound that is anything but boring, unlike cutting yourself when shaving- it is this mixture of honesty and loud noises that make them so enjoyable. Watch this space.

Puppy

Following the delightful catawaul of Shark Dentist came another band with an animal themed title, Puppy.  Whilst the band aesthetically suit their syrupy sweet name, their music is quite the opposite, and it is for this reason that they are so surprisingly pleasing. Puppy's music is a creation of nuance heavy metal that takes the genre for a fast paced ride on the indie roller coaster, making them sound somewhat like Wheatus covering Metallica. However as strange as they sound, their live performance shows that there is method in the trio's madness, creating a sound that's unique but at the same is like having 80's classic rock blasted into your ears. On the night they performed music from their newest EP 'Forever' making for an evening of perfectly refined indie-metal ballads and a setlist built upon hammering drums, rough riffs and rambunctious harmonies all tied up neatly in a bow.

Yuck

It wasn't long before the headliner of the evening, Yuck, came on stage. The band entered the shimmering stage with a blaise presence whilst they were surrounded by glimmering tinsel curtains, which just asked the audience to glow and behold the ever cool foursome. Whilst the band's last two albums may have passed the music scene by, seeped within the shadows, their gradual release of new singles over both this month and the last Yuck have evidently been gathering more and more hype as this year progresses. Their growth in popularity, and support for new album 'Stranger Things' ,was represented by the abundance of fans who flooded the dance floor of the Moth Club on the 26th of February. Performing both classic Yuck hits such as Get Away and The Wall (the song the crowd insisted they played in between tunes) as well as their new stuff Hearts in Motion and Cannonball, Yuck merely excrete what it is to be a indie-grunge band in 2016.

The band finished the night with two more song's following their faux encore exit, giving one last chance for the crowd to get sweaty, before the start of the brilliantly selected DJ by the Moth Club. The night in general was just as glowing as the ceiling. And speaking of shiny, Yuck's shiny new album premiered yesterday and if you aren't listening it now than what are you doing?!

Gotta catch 'em all:
www.sharkdentist.bandcamp.com
www.puppytheband.com
www.yuckband.com

Sweet (20)16 in her Leather Boots.

As much as a new year is just another day with a different number, we start to reflect on the new things that are to come much more than any other time of year. As this happens, bands who may have previously just been lurking in the shadowy darkness of last years music scene begin to emerge left right and centre. So what a fitting time it would seem to comprise a short list of artists (in no particular order) who as we speak are crawling out of the woodwork and into our ear-holes.

1. Beach Baby

Source: Beach Baby

Despite a Google search for this band resulting in finding pictures of babies on beaches, and being pointed in the direction of First Class' 1974 hit Beach Baby this English Quartet are far from babies and although they are not First Class their music is nothing but. With the same management as that behind the jingly jangly Jungle, it comes as no surprise that their music carries the same dreamy feel, yet it is also completely different. The band's most recent release 'Limousine' (2015) is their first EP and what a way to start. With the songs on the EP they entered the music world with a setlist of post punk, shoe-gaze, surf pop hybrid that that is sweet like honey in your mouth.

2.Blossoms

Source: Blossoms 

After the unprecedented popularity of this leather-jacketed-long-haired five-some's hit Charlemagne it comes as no surprise that Blossoms are already making their mark on 2016's indie market. Seeking inspiration from the works of Alex Turner and ABBA, this band have created a sound that is not dissimilar to pop culture of the 00's; and their recent release At Most Just a Kiss is no exception to their signature funky fresh vibe. Although the band has been deemed to share the focal guitar rifts that such bands as the Arctic Monkeys have, their heavy sythns keep the their tunes funkier than the sounds of Wham!, proving that their roots are firmly grounded in the depths of glam-rock.

3. Tacocat

Source: Tacocat 

Seemingly 2015 was a quiet year for this surf-punk, Seattle based foursome, in contrast they begin 2016 with the strong statement I Hate the Weekend. Whilst most appreciate the luxury of the two days which make up the weekend, the band forces their typical comically piss-off outlook upon the way the weekend is  overcrowded with unbearable drunken businesswomen and men. The single follows the bands classic structure of creating a classic punk sound with unapologetically clever lyricism, keeping fans content with the burn! factor that reigns through their previous two albums. The band, arguably, kicks off the year with a kick up with a socially concious anthem that refuses to be ignored, and this is can only be expected for their thrid album 'Lost Time'.

4. Black Honey

Source: Black Honey

With an EP and three singles under their belt, this foursome come charging at you with the tenacity of freight train but in the dreamy way possible. And it is this that's given Black Honey such a rock n' roll reputation among the indie music scene. Arguably what makes their music stand out above the rest is their ability to combine psychedelic guitars of recent mainstream indie pop, with the lyricism and hearty fuzz tones you'd expect to hear from a 1960's garage band. With this in mind it feels as though the band has based their songs on the moto of something new, something borrowed and something blue making for the perfect collaboration of the old and new and creating a sound that's like a pool of blue you just want to dive straight into. Having already experienced the hype of their own headline show, and won the award for the Most Blogged Artist 2015, it feels safe to say that there are big things coming for this band, we can only but hope they don't 'want to sleep for ever'.

5. Sons of an Illustrious Father

Source: Sons of an Illustrious Father

Having remained relatively unnoticed around world, despite one of the band members being the actor (and angel) Ezra Miller, this New York based trio create deep nuance blues sounds like no other. And whilst the band have previously released two albums pre-2016, this year they plan to release their third album Revol, in March. Whilst fans anxiously anticipate the new album, Sons of an Illustrious Father keeps eager listeners excited with the single Conquest, starting the band's 2016 with a bang.

Conquest, is not only an amicable salute to both traditional folk artists and politically conscious punk bands, but is also a powerful homage to the intersectional feminists such as bell hooks and Andrea Smith- who lead singer Lilah Larson claims 'the song is deeply indebted lyrically to'. The hauntingly sweet song is accompanied by a graphic novel both written and illustrated by Lilah Larson. With an upcoming tour of the US and their upcoming album the band have a their hands full and the music world to conquer.

6. Bleached 

Source:Bleached

Made up of two sisters, the Calivins, Bleached are the veterans of LA's feminist punk girl group Mika Miko. Sticking with the theme of dirty-under-chipped-nails punk rock from their previous band, their music is aggressive and manic but still echoes the popular surf punk tunes. The girls undeniably resemble their 60's femme predecessors: combining a retro Shangri-La's coolness with mordern day rock and roll, similar to the like minded band Hunx and His Punx. Their 2016 release Keep On Keepin On sees bleached in all their glory, and with their second album set to release to release this year, as well as a world tour, this sister act is already giving 2016 a run for its money.

7. Inheaven

Source: Inheaven 

With an immaculate combination of the gloomy vocals, aggressive guitars overlaid by female harmonies Inheaven have managed to create a sound that, although is not dissimilar from their indie rock predecessors such as Jesus and The May Chain and Jimmy Eat World, is completely their own. Their unique sound almost embodies the unrelenting power of teenage angst, so it's no surprise that they style and music caught the eye (and ears) of The Strokes' Julian Casablancas who helped co-release the band's first single. Having already released two singles in 2015, this South London based quartet enter 2016 with a reputation that suggests that their music has so much unstoppable spiritual, kinetic energy that it has a life of it's own.

8. Estrons

Source: Estrons 

Estrons are a fearsome foursome who come charging at you from the Welsh seaside wielding the lyrics 'I'd like to make a man of you'. Whilst this song came out in 2015, and the only other song to their name is a welsh track C-C-Cariad, they prove that they are band not be messed with. The song Make A Man epitomises this exact notion: its political, punchy and powerful echoing fellow political-punk artists and takes no shit. The story behind the track is one 'of a heterosexual female's battle between desiring a man, whilst simultaneously finding herself having little respect for his self important ego and misogynistic attitude towards women' tells frontwoman Taliesyn Kallstrom, thus whilst their name means alien in Welsh their rebellious ideals are any but extraterrestrial. 2016 looks like a year that these Estrons will prove how out of this world they are.

9. Yuck

Source: Yuck

After a surprise appearance in 2015, with release of a new single, Yuck have returned once more this year armed with a pop-punk track that contagious as it gets; upholding their signature style and their reputation as a great UK garage band. Their new release Hearts In Motion successfully embodies the stress of modern day romance, where it’s hard for two hearts in motion to beat at the same time (much like the inability to find a match on tinder). The song itself ends ambiguously, leaving you wondering ‘Is it all just doomed to failure, or is it the one thing that we should be holding on to the most in this world?’(says singer Max Bloom), however 2016 for this band is anything but doomed to fail. Hearts In Motion is a mere taster of what’s to come from Yuck’s third album Stranger Things that’s due out next month.

10. The Magic Gang

Source: The Magic Gang

This rising foursome from Brighton dive straight into 2016 with their new release EP, making their mark on this years music scene. As musicians they have been compared to the likes of Weezer and the Beach Boys, and with sickly sweet guitars combined with lyrics of the mundane, and sometimes gloomy, side of life this comparison rings somewhat true. Across the cleverly named EP, The Magic Gang fuse illusion with reality, epitomised in their contrast between joyous melodies and wistful lyricism that is almost too real to handle. The band themselves claim that their music is for the 'mind, body and soul', and their EP truly displays this to be their mantra. With tunes that make you blissfully aware that life is a bit shitty sometimes it looks like a good year for this surprising relatable and charmingly melancholic quartet. 

Despite the year beginning with such sad loses to the music world it would seem that from here the only way is up. Roll on the hopefuls for this year. 

Music Menses

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

Fat Whites
Source: derricksantini

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

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

Whitest Boys on the Beach
Source: TheQuietus

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


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

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

Music Menses

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

Pixx herself
source: 4ad

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

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

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

source: rockfeedback

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

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

The Sentimental Secret Garden Playlist

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

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

Basil Brush
source: 405

1) Hozier- Take Me To Church

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

2) Jungle- Busy Earnin'

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

3)  Darwin Deez- Bad Day

Darwin Deez
source: Secret Garden Party

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

4) Angus and Julia Stone- Big Jet Plane

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

5)  The Prodigy- Fire Starter

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

Big Burn
source: Secret Garden Party

6) The Acid- Creeper

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

Saturday Spectacular
source: Secret Garden Party

7) The Indiana Jones Theme Tune

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

8) RHODES- Turning Back Around

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

9) Bernhoft- C'mon Talk 

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

10) Floella Grace- ODSM 

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

Fin, till next year SGP.

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

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

(Disclaimer: non music post)

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

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

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

  

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

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

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

Drenge at The Electric Ballroom

Drenge M8
source: www.theguardian.com

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

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

Big Deal.
source: www.hitthefloor.com

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

Crowd chaos.
source: www.gigwise.com

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

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

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