The Best Gigs of 2017

It’s finally here: no, not Christmas, list season BAYBEE! A culmination of all the good, and bad, that the year has had to offer, we’re kicking things off with some positive content about the live shows that the team loved every second of.

Before we get into each team member’s choice, let’s have a glance at some of the honourable mentions that deserve a shoutout…

The Vegan Leather @ TRNSMT

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At a festival with some of the biggest names in music, it goes to show how utterly impressive this Paisley art-rock outfit were at the debut entry of TRNSMT. “Talking Heads meets Yeah Yeah Yeahs meet LCD-Soundsystem” is the only way we managed to describe their sound yet that still doesn’t do The Vegan Leather justice: if you’re lucky enough to have New Years free from work then be sure to boogie on down to see this foursome kill it at King Tuts.

FULL REVIEW HERE

SWAY @ Tenement Trail

Photo Courtesy of Cameron Brisbane | Twitter | Facebook
Photo Courtesy of Cameron Brisbane | Site |Facebook | Twitter

If our accolade of “Best Band At Tenement Trail 2017“, a prestigious award depending on who you ask, wasn’t enough to do SWAY‘s performance at Nice N Sleazy justice then let this be your final telling off. Presenting a beautiful blend of indie rock finesse with shoegaze and pop influences, the Paisley act put on an amazing show featuring great tunes, inflatable footballs and a bloody nose (#PrayForDanDrennan).

FULL REVIEW HERE

Wolf Alice @ Barrowlands

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Photo courtesy of Jose Ramon Caamaño | Facebook | Flickr |

Hot off the back of providing one of the best sophomore releases of the decade, lovely London lot Wolf Alice treated their Glasgow fans to not one but two shows at the iconic Barrowlands venue. Playing a healthy dose of the old and the new, along with some golden oldies like Blush, the indie rock outfit show that they deserve every morsel of hype they’ve accumulated over the past few years.

And now, onto the team’s top picks…

Isabella McHardy (@isabellamchardy)Strange Bones @ TRNSMT

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I hadn’t heard of them before but a friend suggested we go see Strange Bones – it was by far my favourite performance of the festival and ultimately the entire year. They played the tiny Jack Daniel’s Jack Rocks tent on the Sunday and it was perfect. They played with such an infectious energy, I couldn’t stop smiling the whole set.

The entire tent was jumping up and down and yelling even if they didn’t know the words. They were probably one of the heaviest bands at the festival but they still managed to pull in such an enthusiastic crowd. The band were crowd surfing and running into the audience throughout the show but no one got tired of it. It was the first gig I had been to in a while where I felt completely ecstatic. After their set, I couldn’t wait to get home so I could go through their discography.

Disappointingly, their EP’s don’t live up to how they perform live, but I would still go see them again just for the atmosphere and the ‘Theresa is a Terrorist’ t-shirts.

FULL REVIEW HERE

Callum Thornhill (@calthornhill) – Sorority Noise, Turnover & Citizen @ Camden Underworld

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They say good things come in threes. Wise men. Amigos. So on and so forth. For this ridiculously intimate show; it was American emo icons that arrived as a magnificent trio. Heading to Camden’s Underworld via stunning performances at this year’s Slam Dunk Festival came Citizen and Turnover; ‘supported’ by Sorority Noise.

What made this an incredible line-up was the enthusiasm shared by bands towards other bands, fans to bands and even bands to fans. Splitting the set times evenly, no band took the limelight, however, Sorority Noise were first up to get things going. With third LP, You’re Not as _____ as You Think released earlier this year, it was the first time many fans had heard tracks such as Car and No Halo; Cameron Boucher even recited Manchester Orchestra’s I Can Feel a Hot One ahead of No Halo. These new, heartfelt ballads combined with golden older tracks, e.g Nolsey and Using, made Sorority Noise the perfect opener.

Turnover were next up and thankfully, and I am sure fellow fans will agree, they decided to play a set full of classics rather than cramming their set full of Good Nature tracks. Peripheral Vision dominated the setlist with the crowd singing along to everything from Cutting My Fingers Off to the iconic Dizzy on the Comedown. A mellow atmosphere greeted the Virginia outfit, who took it in their stride to engage in a chilled out yet passionate vibe.

‘Headlining’ for the evening were Ohio/Michigan alt-rockers Citizen. Brutally belting out The Summer instantly showed what was about to unfold. The highlight of the set was How Does it Feel? purely because the dark, moody atmosphere perfectly complemented the pitch black surrounding of the Underworld. Giving Yellow Love and Cement air-time before The Night I Drove Alone closed their slot, Citizen gave a stunning performance to cap off an amazing night of bands from across the pond.

To conclude, good things do come in threes, and this line-up does nothing but emphasise that fact.

Ethan Woodford (@human_dis4ster) – Gorillaz @ Hydro, Glasgow

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In a year where I finally saw some of my all-time favourite bands (Radiohead, The Libertines) as well as seeing some old friends again (Wolf Alice, Basement), every gig stuck out in my mind but none more so than the Gorillaz‘s massive show at the Hydro.

Having been desperate to see them for years, it was such a joy to hear some of my favourite songs sung back by thousands of people in unison. Damon Albarn was in top form, a massive smile barely leaving his face except when he was stood at the edge of the stage trying to look menacing during Clint Eastwood. It’s commendable a man of his talent and success is still so humbled by fans singing his lyrics and his constant gratitude to his many guests and backing band members made for a wholesome sight. 

Speaking of his guests, they only added to the spectacle, from De La Soul to the show-stealing Vince Staples, each guest injected even more energy to the atmosphere and by midway through the set, the entire crowd was bouncing,

A truly mesmerising gig that had me smiling for the rest of the night after, Damon Albarn and his friends deserve the crown of best live show of the year.

Ryan Martin (@ryanmartin182) – Childish Gambino @ Radio City Music Hall

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Photo Courtesy of Bradley Robinson

Seeing Childish Gambino co-headline an event at Radio City Music Hall with Dave Chappelle was truly something special but after his announcement earlier this summer that he would be retiring after his next album, it truly made the concert something to be cherished forever.

Being a massive Donald Glover fan, I had never seen him perform live as Childish Gambino except for a small radio show festival performance where he only did his biggest hits before exiting. Gambino at Radio City Music Hall exceeded my expectations from the multi-talented performer. He performed the majority of his new album Awaken My Love with the help of a full band, backup singers, and an incredible display of lights and visuals.

Hearing AML live without the vocal effects made for an entirely new experience of the album. The album sounded fresher, more exciting and more fun live. Gambino’s performance was incredible, filled with passionate shrieks reminiscent of Prince in his prime. He showcased his dancing skills throughout the set and was all over the stage, even moonwalking at one point.

Gambino’s decision to perform most of AML with exception to 3005, Sweatpants and Sober really showed how much Gambino has matured in recent memory and how he is beginning to grow out of most of his discography. This could be a partial reason for his decision to retire the Childish Gambino moniker and will almost surely affect his future touring schedule. One thing is for sure, if Gambino stops by your area, be sure not to miss out.

Andrew Barr (@weeandreww) – Frank Ocean @ Parklife

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Photos Courtesy of Parklife

Here lies the critical irony; my favourite show of the year, Frank Ocean’s surreal headline slot at Parklife festival could scarcely be considered a performance, serving as more of a glimpse into the elusive star’s psyche.

When Ocean stuttered onto the stage 40 minutes late and restarted opener Solo 3 times, it looked like his long-awaited live return could end in spectacular failure, however, Ocean managed to claw it back in a way only he could. His confidence and stage presence grew throughout the set dominated by Blonde and Endless material, and by the time he walked offstage during the Korean verse on the alt version of closer Nikes, it was clear; this wasn’t a show for everyone, but one that the many diehard Ocean fans will never forget.

Liam Menzies (@blnkclyr) – Run The Jewels & Danny Brown @ O2 Academy

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Photo Courtesy of Ryan Johnston | Facebook | Site

 

It shouldn’t be much of a surprise to anyone that this gig was a highly anticipated one for myself: Run The Jewels and Danny Brown are both Album Of The Year winners, in our 2014 and 2016 lists respectively, so the prospect of seeing both acts in the one night was too good to pass up.

It was no disappointment (I mean, it’s on this list, isn’t it?) as the Detroit king of rap Danny got things underway, storming through his impressive discography with some running man dancing and what can only be described as an intimate strip show for the thousands in attendance. Tracks from his magnum opus Atrocity Exhibition got just the reaction he must have expected, provoking a wave of moshing and rapping from the enthusiastic crowd.

Not to be outdone, RTJ made their way to the stage (albeit a bit late) and from start to finish, they undoubtedly affirmed why they were a force to be reckoned with. Not only that but there was a great deal of duality on show: Killer Mike is an absolute monster when he’s on the mic but the amount of compassion and love shown between songs, from a speech about mental health to a big fuck you to groping at gigs, the man is like Sully if he had an abundance of sick bars. Don’t worry El, I haven’t forgotten about you; RTJ is a two man show after all and if it weren’t for the bounciness, crassness and sheer bragadociousness of El-P then it just wouldn’t be the same.

Danny even showed up for his verse on Hey Kids, wearing only his underwear as the O2 Academy witnessed not only Mike giving the audience a glimpse of his ass, but two of the best acts on the fucking planet: and the crowd goes…

Jake Cordiner (@jjjjaketh) – Gorillaz @ Hydro, Glasgow

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Photos Courtesy of Getty Images

 

While I was ever so slightly underwhelmed by Damon Albarn and his band of merry primates’ latest effort Humanz (DO YOU GET IT BECAUSE GORILLAZ?) I still jumped at the chance to see them live at The Hydro when the gig was announced earlier and the year. And I’ll tell you something, I’m bloody glad I did.

Gorillaz live are a different beast entirely from Gorillaz on record. There’s something of a more immediate urgency about them in a live setting, particularly in the vocals of head gorilla Damon “I Love Witches” Albarn. I’ve never seen Blur live in person, but I’ve seen my fair share of their sets from the comfort of my own computer chair and Albarn seems to turn everything up to 11 when he’s performing under the Gorillaz banner. Gone is the subdued, mild-mannered, middle-class Englishman that belts out Tender with a quiet confidence, instead he’s replaced by a grown man doing his best impression of an actual Gorilla. To put it bluntly, when Damon Albarn is in Gorillaz mode, he is a fucking nutter. He jumps around the stage with a reckless abandon, screaming in innocent concert goers in the front row like a man possessed by a pure primal force. It’s a joy to watch.

As are the rest of his band, I was blown away by how flipping CHUNKY everything sounded in a live setting. The bass was lovely and sludgy, both drummers played flawlessly and the keys were whimsical one moment and downright demonic the next. Then came the guests: Bootie Brown, Zebra Katz, Vince Staples, DE LA BLOODY SOUL were all there in the flesh and it was chuffing magnificent.

I’d wanted to see Gorillaz in some capacity for over a decade, and holy fuck me did they deliver. This ranks as not only one of my gigs of the year but genuinely one of the best gigs I’ve ever been to. So thank you, Damon and company, you bunch of fucking lunatics. We wouldn’t have you any other way.

Rory McArthur (@rorymeep) – King Gizzard & The Lizard Wizard @ Albert Hall, Manchester

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If you know me, this choice won’t come as a surprise; I may or may not have a little bit of a thing for this band. This was my fourth time seeing King Gizzard, but this was the first time it properly hit me how unfathomably incredible they are live. From the tried and trusted old favourites to the, at that point in the year at least, new microtonal tracks, everything went down an absolute storm with a suitably energetic crowd. The electricity inside the Albert Hall that evening was honestly breathtaking. I don’t think there’s another rock band in the world right now that can put on a show quite like Gizz. If they’d have decided to play all night long, I wouldn’t have minded one bit. 

Kieran Cannon (@kiercannon) – Protomartyr & Oh Boland @ CCA, Glasgow

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Protomartyr’s third visit to Glasgow in as many years takes place at Sauchiehall Street’s pre-eminent creative hub, the Centre for Contemporary Arts. Incidentally, this occasion marks their first time playing above ground in the city; apt, considering their meteoric rise from the underground to the forefront of contemporary post-punk, a sort of symbolism that isn’t lost on despair extraordinaire Joe Casey.

Joking that it’s a sign they’re finally moving up in the world, his self-depreciating humour is disingenuous to their cerebral yet deeply enjoyable brand of music. Turning up on stage without further ado, the band launch straight into lead single My Children. Casey’s appearance, grey-suited and formal, carries as little extravagance as his vocal delivery: barking and authoritative, the right level of Angry Da but never unintentionally bombastic. 

Audience interaction is sporadic and generally kept to a minimum, save for a few amusing exchanges; however,  such was the level of quality and electrifying atmosphere that the crowd quickly began dancing of their own volition. In contrast to the chaos of Casey’s performance, Greg Ahee’s guitar work is a controlled explosion of riffs and inventive, often unexpected chord changes complemented by a captivating dynamic between himself, bassist Scott Davidson and drummer Alex Leonard, whose stellar percussion work underpins every track, relentlessly propelling forward. While leaning fairly heavily on their latest material, Protomartyr nevertheless treated veteran fans to plenty of classics including two tracks from their oft-overlooked debut. 

Support act Oh Boland, covering the spot regrettably vacated by Sauna Youth, proved a worthy opener, commendably navigating one or two technical glitches to produce exactly the kind of high-octane introduction needed to prepare everyone for what lay ahead.

Gregor Farquharson (@grgratlntc) – The LaFontaines & The Dykeenies @ Barrowlands

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Having a gig at The Barrowlands is a massive achievement for any band. Tonight, The LaFontaines were ready to unleash their chaotic, charisma filled live show to the sold-out Glasgow crowd. The buzz in the buildup to the performance was surreal, with fans everywhere eager to see the fonts once again.

The band tasked with getting the crowd ready? The recently reformed The Dykeenies. The band played a good 50 odd minute set, with highlights being Waiting for Go and Sounds Of The City. The fans were ready and The Dykeenies job was done with success and the fonts took to the stage.

Opening up with Slow Elvis and going straight into Junior Dragon, the atmosphere was something else. The bands unique sound works beautifully live and the feeling in the crowd was magical. New songs Common Problem and Hang Fire went down great with the crowd, proving the band are not just a one album wonder and that their second full length is doing wonders.

If anything, this gig proved that The LaFontaines are going to get even bigger than what they already are. If they keep up the work rate and live shows they have going, it’s a bright future for the band that are already seen as Scottish heavyweights.

FULL REVIEW HERE

Tilly O’Connor (@tilly_oconnor) – Gorillaz @ Hydro, Glasgow

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Photo Courtesy of Aidan | Source

With the Autumnal gig season drawing do a close, I saw Gorillaz at the Hydro in Glasgow. As someone who normally consumes live music in dive bars, the stadium’s sheer size was daunting, even if it’s sticky floor felt like home. The crowd was full of groups of families with grownup-kids near my age. My parents got me into Gorillaz young and I credit them with playing a part in shaping my current tastes in music, visual arts and even politics. The group has always been all-encompassing, and their 29th November gig was no different.

The band rattled the room with M1 A1. This was followed by Albarn, mic in hand, asking the 13,000 strong crowd if we were the last living souls. These songs from the band’s earlier work set the tone for the rest of the show, as it would feature hits peppered with memorable album tracks. A high point for me was Dirty Harry. The live performers were accompanied by a disjointed choir of cartoon South Park-esque kids singing the chilling chorus to the delight and discomfort of all watching. The band’s alter egos played a huge part in the engulfing feeling of the show. Carrying out heists and racing games, 2-D, Murdoch, Noodle and Russell Hobs reached deeper into our collective consciousness, pulling out gleefull pockets of nostalgia, providing the perfect backdrop for the night’s music.

Along with visuals, the main band were accompanied by a vast amount of guest performers, most notably the hip-hop trio De La Soul who feature on one of the bands most famous songs – Feel Good Inc.

Hong Kong was the first encore song, and it provided the most haunting musical moment of the night. The song which plays heavily on imagery surrounding neon lights and electricity was spontaneously met with thousands upon thousands of glowing phone lights, bringing the previously black room to an eery yellow which shined down Damon Albarn’s face. Singing to us, an army of smartphone welding fans, with a wry smile “All the people in a dream, Wait for the machine” he brought the night towards its end. This scene felt stunningly fitting for a band who have continuously captured the zeitgeist. From their self-titled debut in 2001 to this year’s Humanz, the group have always painted a vivid picture of the world in the 21st century.

Will Sexton (@willshesleeps) – Frank Carter & The Rattlesnakes @ O2 Academy, Bristol

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Photos Courtesy of Ashlea Bea | Twitter

Now I know what you might be thinking, “ooh pick the latest gig you went too” but people who are thinking that obviously have never seen Frank Carter live. The stage presence of this man is electric all in itself and arriving on stage with an absolute roar of noise and appreciation is so magical every single time. Frank has had a bit of a tough year but you wouldn’t have ever guessed, coming back from tonsillitis and taking a small break to help recover from the incredible work he has done over the last three years which was very well respected amongst the fans.

He came back with a total bang and every song from Primary Explosive right to I Hate You were electric. Filled with moshing and inspirational speeches about girls feeling safe at gigs, mental health and just straight up appreciation of us, it was a magical night!

Dominic Cassidy (@lyre_of_apollo) – The Mountain Goats @ The Art School, Glasgow

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The Mountain Goats were awaited by the crowd with bated breath and I’d be lying if I said I was not amongst their number, in terms of the mob or the state of breath. North Carolina based folk rockers The Mountain Goats – consisting of the ever-present singer-songwriter John Darnielle and multi-instrumentalist Matt Douglas – ascend to the stage accompanied by cries of devotion from the loving Glasgow crowd. Opening with Have to Explode, the cheers and whooping give way to absolute silence. When the song ends so does the hush, the hanging silence expelled with thankful applause.

Honestly, for me the gig was a beautiful exhibition of long-crafted skill and art, showing how well playing to the crowd can be done. The innate crowd interaction from John Darnielle who was loving the little stand-up bits, made the night all the more special. If you have not seen The Mountain Goats live, I can recommend nothing more, and if you have never heard them, I would start now; on The Sunset TreeTallahassee, or Beat the Champ.

FULL REVIEW HERE

List Season Continues…

10 WORST SONGS OF 2017 – 11TH DECEMBER

50 BEST TRACKS OF 2017 – 15TH DECEMBER

10 WORST ALBUMS OF 2017 – 18TH DECEMBER 

25 BEST ALBUMS OF 2017 – 22ND DECEMBER

 

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FESTIVAL REVIEW – Gettin’ Glastönbutlered

By Oliver Butler (@notoliverbutler)

The key thing you need to take into consideration with Glastonbury is that it is not your common garden music festival. I mean, first of all, it’s actually a ‘Festival of Contemporary Performing Arts’, which is true, because no matter where you go in those trillion square acres of Somerset countryside, there is always something weird and wonderful going on.

Whilst yer da was at home complaining about how Jeremy Corbyn and Ed Sheeran was on his telly with 6,000 other available channels, there were a million other things happening. People were indulging themselves in ancient cultures, sampling some of the world’s hottest and most loved musical and artistic acts, and slightly overweight music writers were permanently sipping beer as they thought of what they were actually going to say about Glastonbury.

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Sorry to disappoint you, but there’s no perfect way to describe it. As soon as you sweep through the sleepy village of Pilton, Somerset, you’re greeted by sights that would put Disneyland to shame, and it really is Disneyland for grownups. There’s so much whimsy, magic and wonder as you stroll about Farmer Eavis’ Gigantic Farm of Banter, and the view at night from the hill on which the Glastonbury sign sits is unparalleled.

In every sense of the matter, this festival is huge, and the big name bands are merely just a side show. If you spend an entire Glastonbury weekend just watching bands, then buddy, you done fucked up.

However, my job for this website is literally writing about bands, so let’s talk about that, shall we?

Thursday

Old Dirty Brasstards

https://www.youtube.com/watch?v=2ga25UP2Lt8

Ooooooooh I’m drunk, and these boys are the perfect accompaniment to any decent session. The tweed-clad army of lads play up-tempo covers of some of your favourite pop and rock songs, opening 2017’s set with a beautiful rendition of QotSA’s No One Knows, followed by Taylor Swift’s Shake It Off, David Bowie’s Let’s Dance, and of course, for the stars of Friday’s show, a cover of Radiohead’s Paranoid Android, all expertly communicated through the jovial means of brass and percussion. Without hyperbole, if these boys played a Friday, Saturday or Sunday night, there’s every chance I’d have sacked one of the headliners off to see them. The Brasstards are the perfect feel good start to a weekend of quality music.

10/10

BANDS SEEN: 1

BEERS DRANK: Got a bit hazy around twenty. Went to Pimp My Fries, then strolling around the legendary South East Corner, on the hunt for some good times. Threw up. A lot.

Friday

Oh God. Is it possible to be this hungover? I can just about move my body and that’s to poke my head out of the tent pod’s little window to retch the last of my pimped fries up. Damn you Pimp My Fries. This Friday at Glastonbury is going to suck even more as in the evening, Radiohead, Lorde, Sleaford Mods, Dizzee Rascal AND Clean Bandit all clash. Fuck this festival and the sheer amount of quality musicians on offer.

Nothing But Thieves

They’re nonces, Jim.

Royal Blood

https://www.youtube.com/watch?v=B8AuiZ0O6Qg

Here’s another hot-as-bollocks band with a second album that’s come out in 2017, which, at first was a bit disappointing, but has grown on me, with live performances of Where Are You Now?, Lights Out, Hook Line and Sinker and Hole In Your Heart strengthening the love for How Did We Get So Dark? 

But it just wouldn’t be a Royal Blood set without jams like Figure it Out, Little Monster, and the almighty Out of the Black closing the set, with a massive cock tease as sticksman Ben Thatcher went into the crowd just before the final riff, only for the camera to pan to LARS FUCKING ULRICH FROM FUCKING METALLICA, maybe nodding to the fact that Lars took over the drums once before whilst Ben got closer to the crowd. However, it wasn’t meant to be, but Christ almighty, what a set!

8/10

The XX

https://www.youtube.com/watch?v=nhZTexVqRCI

I’ll level with you here. I watched these guys from my chair back at the tent which overlooks the Pyramid, because I couldn’t face standing up for a few hours waiting for Thom Yorke and His Gaggle of Weird Lads to show up. But having never really given them the time of day before, they were very impressive, and their airy, synthy sound was the perfect relaxer for a man with a devastating hangover. However, I did have a can. Lovely.

Look, if you’re looking for someone who spent his weekend sober, whilst sticking religously to his itinerary, trying to review as many bands as he could, you’ve come to the wrong place.

7/10 

Radiohead

https://www.youtube.com/watch?v=cGFg0FN2yBU

Bucket list band time here gang. Ever since I got my pubescent paws on a copy of OK Computer and The Bends whilst only really knowing the words to Creep, I’ve wanted to see this band, but in my heart of hearts, I knew they’d disappoint me because of how much I wanted this.

The first bar of Daydreaming and there was zero possible way that Radiohead could disappoint me tonight. I was stood around the WORST people, including a group of LadBible fanatics doing keys of MD, a man in slacks and a fleece taking photos of EVERYTHING, a couple who wouldn’t stop fucking kissing and literally Your Dad singing every word of every song but sulking through Creep.

However, the set was perfect, the notable highlight being the eerie silence during Exit Music (For a Film), turning that song from a 10/10 to a 20/10. Songs such as Ful Stop, Weird Fishes, Lotus Flower, Bodysnatchers and Nude made an appearance because I’m Thom fucking Yorke mate. A friend commented that they’ve got to play Pyramid Song because they’re on the Pyramid Stage, and they did! But probably not for that reason, probably because I’m Thom fucking Yorke mate.

Whilst some bands stick to their vanilla setlists to please all palettes, I can’t even work out what flavour this set was. Aged pistachio or something. But when you get Fake Plastic Trees and Karma Police as some of the final accents, it can be whatever flavour you want it to be. Truly one of the best sets I’ve ever seen. Ever.

10/10

BEERS DRANK: Two! Two!

BANDS SEEN: Four. Ish. 

Saturday

Fresh as a daisy mate. Fresh. As. A. Daisy. I’ve probably had 10 hours sleep, and I’m ready to have halloumi for breakfast. I think I had halloumi. Really it’s hard to work out what happened and when, but one thing I can tell you for definite is that Saturday started with…

Jools Holland and His Rhythm and Blues Orchestra

https://www.youtube.com/watch?v=B6naZMWemDs

No word of a lie, there were fewer bands I was more excited to see this weekend. When he’s not walking backwards in a studio introducing bands, he’s an accomplished blues pianist, bringing boogie to all the land, and with his full orchestra, oh my, it’s a party!

Jools and his guests played a variety of covers, getting an early afternoon audience up and ready, pumping them full of feel good, including a joyful cover of Enjoy Yourself by The Specials, and an appearance from my favourite, the Queen herself, Ruby Turner.

One thing I would recommend is getting tickets to go and see this man. You won’t have a better evening, I guarantee.

9/10

Craiiig David

https://www.youtube.com/watch?v=vuUZh81B27I

Re-rewind, when I run back to the tent for more beers!

Straight off the bat, Craiiig David was a delight to see, playing a mix of orignal garage, soul and R&B classics, plus a few covers and a TS5 DJ set. It also led to the theory that Bo’ Selecta! did actually ruin Craiiig David‘s life, in that when introducing the stone cold banger that is Rise and Fall, he spoke about coming through adversity and how writing music helped him get through some tough times. Bo’ Selecta! came out in 2002, Rise and Fall came out in 2003. Your honour, no further questions.

But needless to say, Craiiig David had the last laugh, as he’s had a number one album, a UK wide arena tour, played the Pyramid Stage at Glastonbury whilst Avid Merrion being about as funny as a haemmorhoid being Keith Lemon. So who won that round? Ya boi Craig did.

8/10

Jeremy Corbyn

https://www.youtube.com/watch?v=UVGFi8balOM

“WOAAAAH JEREMY CORBYN! I don’t give a fuck about him, I voted UKIP” – those lads doing MDMA behind me at Radiohead.

Still never know which way Glastonbury leans. Whilst it’s an inherently left leaning festival in that it used to be a CND festival, it is chock full of Tories, and when they try to mosh, they endager the lives of everybody in that pit. That being said, worst you could do is give them a head injury and create a Lib Dem front bencher.

Oh yeah, Jeremy Corbyn.

It was a rapturous reception for the Labour party leader, with the field surrounding the Pyramid packed to the rafters (there are no rafters in fields, but fuck you) for his address, stirring the souls of every person in that field, giving a lucky young boy named Michael Eavis a signed copy of the Labour manifesto. Well jel. Whilst he was preaching to the many converted, undoubtedly there were a few who couldn’t help but be enthused by his message.

1 billion/10

Run the Jewels

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Another tent special. Good guys, good sound, good message.

7/10

Liam Gallagher

https://www.youtube.com/watch?v=8xo_GcOsp4k

Oh my God. This guy is literally Your Dad. He’s in his anorak, trying to sing Oasis coverOH it’s Liam Gallagher. If you were at that gig, please let me know if you were also there, purely for him to say “Oh and by the way, this is my brother Noel“.

In defence of the lesser of the two evils, sound quality plagued the Other Stage for the entire weekend, but the sound quality was still dire, as an anaemic crowd tried to pretend they gave a shit about Wall of Glass. Sure he played Rock n Roll Star, Morning Glory and Slide Away, plus an emotional rendition of Don’t Look Back In Anger, but there was little substance to this set, making the fact I ran out of cans even more upsetting. Jesus.

4/10

Katy Perry

https://www.youtube.com/watch?v=E5vp6usKX_Y

Caught the last bar of Roar, because it takes 9 years to walk anywhere ¯\_()_/¯

The National

https://www.youtube.com/watch?v=zBg9xysCYwU

Mad how Jurgen Klopp manages Liverpool and also fronts The National. Top boy all round. Being honest, I’ve got little to no interest in The National and couldn’t work out why they were sub headlining Saturday but the Eaviseseseseses are absolute r/madlads, so you’ve just gotta ROLL WITH IT, GEDDIT?! Oh wait, Liam Gallagher was the last act.

Yeah these guys sounded pretty good, and drew a decent crowd, but I can’t say I’d ever listen to them again.

7/10

Foo Fighters

https://www.youtube.com/watch?v=I2ER7ChXX6s

The more I think about it, the more I realise Foo Fighters is a ridiculous name for one of the world’s biggest bands, but Dave Grohl could start a band named All My Fans Are Cunts and I’d still lap up every note.

Two years ago I was pencilled in to see the Foos twice in two weeks, once at Wembley, and once at Glastonbury, until Dave selfishly broke his leg. Bastard. So this, in many ways, was a redemption gig. Opening the set with Times Like These, dedicated to Florence from Florence and the Machine, who performed the same song two years ago in their headline slot, you knew it was gonna be a good’un.

The thing about Dave Grohl, much like Thom Yorke, means that little to no fucks are given about setlist content. Which is why cats like Cold Day in the Sun, Wheels and Skin and Bones were thrown in amongst the pigeons of All My Life, The Pretender and Monkey WrenchSonic Highways hit Something from Nothing also seems to be a setlist mainstay these days, which is good, because it’s a high-grade banger, along with medium-grade banger Congregation. Brand new banger Run also got a… wait for it! Run out!

The negative points on this report card? No guests. I’ve seen these guys perform motherfucking Under Pressure with goddamn John Paul Jones and christing Roger Taylor before, but there were no special guests this time. But a cover of Under Pressure performed with Taylor Hawkins doing the vocals so that counts, I guess?

The high point of this set? The Everlong ending. Because quite frankly, if anything could ever be that way forever, if anything could ever be that good again, my word.

10/10

BANDS SEEN: Seven. Ish.

BEERS DRANK: So many. At least thirty. Ended up at a silent disco and a communal sleeping tent that honked of incense. N.B. It was a communal sleeping tent, and not an invasion of someone’s tent. 

Sunday

Hungover as fuck, gotta go load the car, so the first band I saw today was in the late afternoon and it was…

Frank Carter and the Rattlesnakes

https://www.youtube.com/watch?v=S2oqXN06ffE

He’d be the first to admit it, but Frank Carter is a bona fide madman, and his Sunday teatime slot with The Rattlesnake just adds to that theory. Clad with pink hair, white jeans and a sheer white shirt, the punktastic prince angrily wrangled his way through Sunday afternoon, stopping to throw an entire bottle of piss back in the face of a lad who threw piss at him first during Juggernaut. A madman. A legend. An idol. Tried to start a circle pit through the whole of the tent. Killers fans weren’t having it. Mugs,

The beauty of a Frank Carter and the Rattlesnakes set is that you’re guaranteed hits, and with Snake Eyes, Jackal, I Hate You and Lullaby being charmed out the snake basket, it was business as usual from an energetic and enthusing set. Another particular highlight was getting a girls-only crowdsurf during I thiiiiiink it was Devil Inside Me, threatening to decapitate any handsy male who tried groping them, stating that we are all equal, to which the Andy Dick looking motherfucker creepily rubbed his hands together when the subject of groping young women came up, and sulked when Frank said that we were all equal. I hope you do get decapitated, pal.

9/10

The Killers

https://www.youtube.com/watch?v=SRF0q6z60hc

Best part about where we camp is that we can hear about four stages clearly. I heard The Killers. In this same time period, I had violent diarrhoea. Go figure.

Chic

https://www.youtube.com/watch?v=i2khokvlf_Y

I also heard funktastic disco legends Chic from our tent, which was much, MUCH better, for am I of the opinion that there are few finer guitarists in this world than Nile Rodgers. This set delivered by the bucketload, featuring, Everybody DanceGood TimesLe Freak, fucking He’s the Greatest Dancer, Let’s Dance, GET FUCKING LUCKY, and Good Times. Also featuring a funk off between Nile Rodgers and Jerry Barnes. Jesus Christ.

9/10

Biffy Clyro

https://www.youtube.com/watch?v=wlPt8C5Fnxk

First things first. Biffy should have headline before Sheeran. They’ve got greater pedigree, more albums, more prowess and more fucking everything than someone playing a small guitar. There. I said it. Although someone leaving Chic was saying “I hate Biffy Clyro, he(?)’s shit, ooh, Courteeners are on”. Confusing.

But then again, Biffy were a wildcard. I’d have never painted a band of their demeanour as Glastonbury sub-headliners but they made sure that they secured themselves a second invitation. Definite 2019/20 headliners.

The set was a mix of old and new, opening with Wolves of Winter and ending with Stingin’ Belle,whist throwing Who’s Got A Match?Bubbles, Medicine, Re-Arrange and Animal Style in between those two delicious slices of bread. Also they threw in Puzzle album track 9/15ths because why not? It’s fucking brilliant.

Seriously though, Biffy delivered in a big way, and proved their worth as certified festival headliners.

9/10

Boy Better Know

https://www.youtube.com/watch?v=0_BzqnpyVM8

My relationship with BBK is strained at best. Whilst I remember the days before JME and Skepta had albums and were world renown, I just can’t seem to enjoy a live set, and neither did Glastonbury, as barely anybody showed up. To be honest, the only song I really recognised was That’s Not Me, leading me to realise I’m quite behind on the times with BBK, but will forever remember playing songs like Serious and Doin’ It Again on repeat. Sometimes, the past is best left in the past.

6/10, I guess.

WEEKEND VERDICT

Yet again, this magical festival met my expectations and exceeded them. I had a fantastic weekend with quite literally, all my friends, having a laugh, getting drunk and mooching around the numerous exciting and interesting areas, sights, sounds and indeed, smells, this festival has to offer. Sure I could’ve spent my weekend religiously seeing a lot of bands, but there’s no fucking fun in in that. I could’ve been up, bright and breezy to see someone I’ve never heard of who might be alright, but I’d be on my own, or I could’ve gone for a greasy breakfast and had a few cans with my friends.

What I’m trying to say is that music is beautiful, it’s wonderful and it’s lifesaving, but it’s meaningless if I can’t enjoy it with my pals. They’re the real headliners of any festival, and the highlight of any set. I had a fucking great weekend and had gotten my money’s worth by Wednesday evening, because we were all having a laugh together.

So here’s my final review:

My Pals

A great set from the 14-piece roast-and-booze ensemble, notable highlights including Broken Chairs, Stone Colding Beers, Dancing to Bassline Junkie in the Tent and of course, Saturday Night Piss Up. Could never ask for more from an act.

14/10


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Top 10 Albums of 2017 (So Far)

We’ve already given our rundown of the best tracks this mess of a year has provided us with so far and while songs are significant, the art form of the album is one that makes music such a beautiful thing to so many. From emo-folk to hip-hop to glitzy indie rock, the blinkclyro team has put our heads together to come up with the ten best records 2017 has gave us so far. This could have so easily became a top twenty with the sheer amount of quality albums that have been released so far but we had to show a bit of self restraint – we’ll leave the gushing till the Top 25 at the end of the year. So let’s stop beating around the bush and jump right into the main event: don’t get too angry. 

– Liam Menzies (@blnkclyr)

10. The Menzingers – After the Party

According to Greg Barnett of the punk-rock act The Menzingers, there’s a song that was originally meant to appear on a split before all of a sudden “everyone just started falling in love with it”. While it would be easy to point this song out, After the Party contains a lot of tracks that you’ll find yourself adoring due to the band’s integrity being intact while pursuing a more fun sound – though this doesn’t mean that the album avoids touching on any topics that are the antonym of it.

Much like The Dream is Over last year, The Menzingers‘ sublime use of imagery, rock n roll vocals and easy going, fun instrumentals mixed with some smart narratives makes this a must listen to any rock fan.

BEST TRACK: Bad Catholics

9. King Gizzard and the Lizard Wizard – Flying Microtonal Banana

The first of five albums they are planning on releasing this year, and their ninth altogether since their debut ’12 Bar Bruise’ in 2012, Flying Microtonal Banana could be considered a bigger, better and more artistically thought-out version of King Gizzard‘s previous release, Nonagon Infinity.

Unlike Nonagon Infinity, the tracks on Banana are all based on different riffs. In true King Gizzard style, they all blend into one another without a break, but you can easily tell when one song finishes and another begins. If Flying Microtonal Banana isn’t to your taste, don’t worry- they’ll probably have released another album by the time you have finished reading this.

Full review by Nicola Roy here

BEST TRACK: Rattlesnake

8. Father John Misty – Pure Comedy

Pure Comedy is the third album our Holy Father has released, which packs in just as much punchy realism and sheer gorgeousness as predecessors Fear Fun and I Love You, Honeybear, respectively released in 2012 and 2015. Pure Comedy is a beautiful and sometimes harrowing critique of 21st-century life, almost taking the piss out of the internet and the culture surrounding it.

It’s also a grandiose message about the state of current society, especially with lyrics such as ‘I’ve got the world by the balls, am I supposed to behave?’ which could easily be a reference to the leaders of our world who have no clue what they are doing. They’re in it so they can have their white, wrinkly hands on our incredible diverse world by the balls. Our collective balls. Once again we are left contemplating our own existence. Very on brand.

Full review by Becky Little here

BEST TRACK: Total Entertainment Forever

7. Vince Staples – Big Fish Theory 

Staples’ sophomore album sees him at his most confident he has ever been with impressive features but no need for help stealing the show, Vince isn’t once outshined by his featured co-stars on Big Fish Theory, capturing the attention span of the listener throughout the entire album.

With the sound hip-hop has been embracing lately, Big Fish Theory comes as a refreshing, fun listen that can be dove deep into or enjoyed on the surface either way. It’s the young rapper’s best work thus far and brings a wild amount of excitement for his next move.

Full review by Ryan Martin here

BEST TRACK: Crabs In A Bucket

6. The XX – I See You

While there are many changes that are apparent on I See You, what’s utterly remarkable and something that should be commended is the fact that The XX are simultaneously pushing themselves out of their comfort zone while staying true to their humble roots. The sampling on display and subsequent alterations to the sound make it feel like an R&B album more than an alt rock one but the emotional voices that manage to project both passion and insecurities feel so quintessentially XX. There are tracks that feel like they could have been ripped straight off of their debut like ‘Performance’ while others like ‘Dangerous’ and ‘On Hold’ feel like they’ve landed from a parallel universe where the band are far less timid.

I See You shows reminiscing, acceptance and strength, feeling like the most solid chapter in The XX arc but leaving room for the inevitable follow-up to build upon the now strengthened foundations.

Full review by Liam Menzies here

BEST TRACK: Dangerous

5. Paramore – After Laughter

After Laughter is the riskiest album Paramore have ever put out. 2013’s self-titled effort, while great in its own right, felt like the beginning of a metamorphosis for the band. They were gradually becoming a different beast entirely: with songs like Ain’t It Fun and Still Into You, they were starting to shed the “punk” from their “pop-punk” label, opting for an edgier pop vibe, and it worked with those singles being massive successes. 

So, now comes the most important question about After Laughter: did Hayley, Zac and Taylor make the right decision in not listening to the angsty side of their Parafans? (Note: we’re not sure if they’re called Parafans but as far as Jake is concerned, they are now). In short, they absolutely made the right choice. After Laughter is the sound of a band finally making the kind of music they’ve been threatening to for years now.

Full Review by Jake Cordiner here

BEST TRACK: Hard Times

4. Mount Eerie – A Crow Looked At Me

Whilst A Crow Looked At Me is full to the brim with sombre and heartbreaking imagery, one line that manages to evoke the realness of Phil Elverum‘s ordeal comes on the record’s third song. As Ravens concludes its second verse, Elverum’s sulky and trauma-ridden voice project the words “now I can only see you on the fridge in lifeless pictures“. Without context, the lyricism of Mount Eerie still manages to strikes an emotional chord with even the sternest of listeners though being a concept album, A Crow… becomes a different beast when you dig beneath the surface.

While the sound, lyrics, and themes that fuel A Crow…help to make it the magnificent record that is, it’s hard to shake off that what it represents it what helps to make it such a vital listen. That’s not to say that the record is only good because it is about losing a loved one and deserves sympathy points for it, no, not at all. Instead, A Crow… manages to rise above some limitations of music much like last year’s Blackstar: it explores death both depressingly and beautifully, making the issue far more 3D and lifelike despite being solely audio, while also acting as a Memorium to someone special.

Full review by Liam Menzies here

BEST TRACK: Toothbrush / Trash

3. Run The Jewels – RTJ3

“We’re in sync so much now, after two records and several tours – and this new one felt like we hit that point in the Rocky training montage when he’s just killing shit,” said El-P in an interview with The Guardian and RTJ3 very much feels like the point where both him and Killer Mike have managed to catch the chicken. Showing sincerity, awareness, and aggression all at once, RTJ are the epitome of every liberal’s worst nightmare: they’re an answer to the intolerance that has infected America since its birth and do not give a fuck who disagrees. Their music is sure to be the soundtrack to the revolution and what a fucking soundtrack that is.

Full Review by Liam Menzies here

BEST TRACK: Legend Has It

2. Kendrick Lamar – DAMN.

It seemed like Kendrick Lamar‘s ambitious feats in the world of music may become his own undoing. After the success of To Pimp A Butterfly, expectations were high but somehow, Lamar managed not to falter under the pressure. Exploring an abundance of themes and emotions (pride, heritage, paranoia, love, lust etc.) with interesting instrumentals and engaging sounds, DAMN does a fantastic job of cementing Lamar’s legacy.

DAMN and Kendrick asks you this: will fear drive you down a wicked path, falling victim to the fate that has faced many? Will you find yourself weak, surrounded by the sins our world has? With the last track looping the album into itself, the questioning is eternal and Kendrick has made a record that will be sure to be as timeless.

Full Review by Liam Menzies here

BEST TRACK: DNA

1. Lorde – Melodrama

When Lorde first released Pure Heroine at 17, she instantly gained notoriety for her cutting art pop. Rightfully so, her debut was exceptional, and after a long four year wait we finally have a follow up LP. Coming in the form of “Melodrama” the new album is big, bold and devastating. More realised and confident, it is a fitting follow on to everything Lorde embodies.

Melodrama is nigh on perfect. It’s joyous and celebratory of the singer’s successes but maintains everything she became known for. It’s nice to see that writing songs for the Hunger Games series hasn’t swayed Lorde towards more commercial ventures. Especially when trips down a more avant-garde route produce such high quality output.

Full Review by Patrick Dalziel 

BEST TRACK: Hard Feelings/ Loveless


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Field Day 2017 Highlights

By Liam Menzies (@blnkclyr)

If the title wasn’t enough to hammer the point home, Field Day’s new task of taking place over the space of 24 hours works far more in its favour than you may believe. Though it hasn’t always been this way, organisers for the East-London festival have made an ideal move to condense the previously two-day event into one, giving it an advantage over other musical offerings who have to spread the big acts over the course of three or four days. With a plethora of juggernauts and game changers at this year’s round, all been stuck just the weekend before a General Election, Field Day wasn’t short of highlights by any stretch of the imagination.

Death Grips Bring The Noise

With some of the most brutal yet simultaneously intelligent music of this century, it was no real surprise that Death Grips would put on a triumphant performance. Teasing the crowd with a sound check of Ex Military‘s Guillotine, the Sacramento act squeezed a 17 track setlist over their hour-long performance. There was no sign of any new music but considering the length of latest track Steroids (Crouching Tiger Hidden Gabber), which clocks in at around 22 minutes, that’s probably for the best.

Starting off with Whatever I want (Fuck Who’s Watching), Death Grips never slowed down for a second, bringing out some old school favourites like The Money Store opener Get Got as well as Giving Bad People Good Ideas, a track off last year’s Bottomless Pit that features some of the most unsettling vocals the band have ever incorporated into a song. After the dust settled from the audio bombardment that is Guillotine, the band disappeared much like they always do, though having made sure not to blue ball the audience.

Aphex Twin Returns With Style

Aphex Twin Field Day 2017

While Death Grips were hotly anticipated by a lot of attendees this weekend, they weren’t the act that the majority were eager for. No, that accolade goes to Aphex Twin, a pioneer of ambient, intelligent EDM and acid techno who provided some of the best music of the 90’s. With his comeback in 2014, everyone was eagerly waiting for his return to the live circuit having not played in five years. The Field Day organisers were aware of how big a moment this was, giving the Irish-born musician a temporarily constructed superclub known as The Barn with a ginormous sound system and lighting rigs for him to add to his disposal.

With 10,000 people fitted into this ravey construction, Richard D. James made sure not to fuck up this comeback. As you can imagine, the aforementioned rigs allowed for swirling lights to mesmerise and consume the entire audience though, of course, it was what was playing that truly captured the attention of those in attendance. The textured landscapes that Aphex Twin‘s trademark sound explores are played, backed up by some wonderful effects that make the music just as encapsulating as it was the first time you heard it. Featuring just as many covers as untitled’s, the visuals on display help to cement Aphex Twin as a master in what he does: creating music so warped but painstakingly measured and tweaked that, when mixed with some tantalising graphics, is the closest thing to living art that you can get.

Run The Jewels Give London A Political Injection

Run The Jewels Field Day 2017

Field Day may have got most of its buzz this year with pioneers of certain genres playing, the festival made sure to show just how much they have the finger on the pulse. Case in point: American rap juggernauts Run The Jewels, a slick, wisecracking pair that has time and time again solidified their quality and importance in our current political climate. With their recently released RTJ3 being a success in almost every regard, there was no doubt that the duo would put on a great set.

It may have started to rain a tad before their performance but Run The Jewels made sure to brighten up the day, well night, of soaked festival goers. El-P, the answer to everyone who asks “where are the good white rappers”, showcases some of his world class flow and wordplay, throwing out sexual innuendos and dick jokes that balance out the hard-hitting social commentary that the act champion. Of course, there’s no talking about RTJ without mentioning Killer Mike, a rap heavyweight in his own right and one that often seems like the voice of reasons both in music and the real world: “If you touch a girl and she doesn’t want you to, we’re gonna beat your fucking ass” he says to a rowdy and unstable audience, resulting in an applause. RTJ3 makes up a great chunk of the setlist but honestly, that’s not a negative. With topics such as police brutality, self image and inner-city turmoil being explored over some lavish and well-produced beats, Run The Jewels not only show that it pays to be aware but that your music doesn’t have to sound lame to educate.


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GR8 MUSIC M8: January 2017

A new segment where I’ll be taking a look at any albums, EPs and singles that were my favourites of the past month. Want something reviewed? Let me know via twitter.

By Liam Menzies (@blinkclyro)

Albums

Run The Jewels – RTJ3

“We’re in sync so much now, after two records and several tours – and this new one felt like we hit that point in the Rocky training montage when he’s just killing shit,” said El-P in an interview with The Guardian and RTJ3 very much feels like the point where both him and Killer Mike have managed to catch the chicken. Showing sincerity, awareness, and aggression all at once, RTJ are the epitome of every liberal’s worst nightmare: they’re an answer to the intolerance that has infected America since its birth and do not give a fuck who disagrees. Their music is sure to be the soundtrack to the revolution and what a fucking soundtrack that is.

FULL REVIEW HERE

10/10

Code Orange – Forever *

Having had no prior knowledge of Code Orange or any previous interest in metalcore, it came as a total surprise to me that Forever would be one of the first music gems of 2017. Managing to balance off the hardcore punk sound that appears on the vast majority of these tracks by dipping their toes into some alt-rock waters as heard on Bleeding In The BlurForever is a true tour de force, putting aside any worries fans may have had after the act moved onto a major label. If there were any doubts about Code Orange being on their best form then Forever puts them all to rest, under a tsunami of sheer fury.

9/10

The XX – I See You

While there are many changes that are apparent on I See You, what’s utterly remarkable and something that should be commended is the fact that The XX are simultaneously pushing themselves out of their comfort zone while staying true to their humble roots. The sampling on display and subsequent alterations to the sound make it feel like an R&B album more than an alt rock one but the emotional voices that manage to project both passion and insecurities feel so quintessentially XX. There are tracks that feel like they could have been ripped straight off of their debut like ‘Performance’ while others like ‘Dangerous’ and ‘On Hold’ feel like they’ve landed from a parallel universe where the band are far less timid.

FULL REVIEW HERE

8/10

Wiley – Godfather *

Even though he may hit out with the threat of retiring as frequently as Donald Trump tweets out a potential World War 3 catalyst, Wiley has still continued to make music and Godfather may be his magnum opus. Most members of the public no doubt know of the grime artist via his chart hits such as Rolex and Heatwave but it does the artist a complete disservice not to recognise the impact he has had on the genre, being there from practically the beginning and surviving both the boom, death and subsequent revival of Grime. Featuring some of the darkest production to appear on a grime record in quite some time, Wiley offers up a variety of different sounds as well as some amusing and hard-hitting lyricism. Speakerboxx may very well be 2017’s Shutdown as it packs in an Arabic sounding flute, which feels like it was taken straight out of Banjo and Kazooie’s Gobi’s Valley, alongside a dominating and intimidating Wiley who chats about his youth selling drugs while comparing himself to the Bob Marley of Grime. With an output and influence as huge as Wiley’s, it really says something when an album such as Godfather can do him justice.

9/10

Japandroids – Near To The Wild Heart Of Life *

While it may not be as groundbreaking or solid as their past releases, Japandroids have avoided falling into the pitfall that many bands do after taking a break of half a decade away with their third record Near To The Wild Heart Of Life. There are some obvious complaints: there’s a clear lack of witty lyricism from King and it feels far too polished, not a granule of grit to be found. That’s not to say that what is on display isn’t ambitious as the American punk act do all they can to push themselves out their comfort zone and bring new life to a genre many have said is stagnant. Dig beneath the surface and you may find the rock record that you’ll be comparing every subsequent release this year to.

7/10


EPs

David Bowie – No Plan *

Ever wondered what it would sound like if David Bowie had written a James Bond theme tune? Then look no further than No Plan, an EP that marks what would have been the artist’s 70th birthday. Featuring the aforementioned Bond-esque Killing A Little Time as well as the beautiful title track, No Plan manages to display all different facets of Bowie’s musicianship, reassuring all that his legacy will live on.

9/10

Cabbage – Young, Dumb And Full Of… *

Acting as a compilation of all the band’s work thus far, Young, Dumb And Full Off…demonstrates the prowess and sheer energy that Manchester rock outfit Cabbage possess this early in their career. Not just a release full of sad romantic songs about girls, Cabbage touch upon a wide array of political and social matters such as the monarchy, NHS, Austerity and a certain tangerine president with whimsy and appeal, making Cabbage not only one of the most exciting bands in the UK but one of the most aware too.

8/10

Boosegumps – on the way to meet you*

While certain seconds on this EP would give you the feeling that this Heeyoon fronted project had been recorded in a bedroom then swiftly left in the loft for a few years, this only adds to the utter enchantment on the way to meet you offers. Concluding track Happy embodies this EP’s message, with the lines “I am so positive/ I am so happy/ I tell myself every day/ I’m starting to believe me,” being both relaxing and resonant. Lasting only a brief few minutes, Boosegumps EP is very much like its artwork: alluring, soft and calming, full to the brim with positivity.

8/10


Singles

Sleaford Mods – BHS 

With their follow up to Key Markets set to drop in March, Sleaford Mods dropped another tease as to what to expect from English Tapas. BHS, which is clearly in reference to the now defunct UK chain of stores, takes a stab at the 1% and offers the politically aware alternative that Fat White Family constantly slated various other indie rock acts for. On top of that, the rather stripped back drum machine and guitars gives the track the serious vibe needed to carry the duo’s message across and does so wonderfully.

FKA Twigs – Trust In Me

It may have only appeared in the latest Nike ad for what feels like a few seconds but it’s truly a testament to FKA Twigs that this brief amount of time is all she needs to make an impact. While details on her upcoming album are scarce, if the vocals are as beautiful as they are here and the instrumentals just as jarring, unsettling yet alluring then it’ll no doubt be one of the best releases of the year.

Father John Misty – Pure Comedy

Father John Misty’s latest eponymous cut off his upcoming third LP Pure Comedy is a relatively simple piano ballad that holds no punches when discussing its subject matter, delivering some particularly beautiful and thought provoking lines like only Misty can. With 2016 being infamous to say the least, it’s a relief to see that something can come of it and Pure Comedy is sure to be one of many pieces of art that stands as a reflection of what has been and a glimmer of hope of what is to come.

Joey Bada$$ – Land Of The Free

Dropping around the time of President Trump’s inauguration, Joey BadA$$ has undoubtedly provided the best political track of the year so far which touches upon topics of mass incarceration and racism, delivered witfully such as the line on his first verse “Two A’s, Three K’s in AmeriKKKa”. Finish that off with some killer production from Kirk Knight and you have yourself a track that cannot be slept on. 

Mac DeMarco – My Old Man

Making sure to leave fans with more than enough music to keep them content until the album’s release in a few months time, DeMarco dropped the reflective title track My Old Man. While not as stripped back as This Old Dog, My Old Man incorporates some simple synths that, in the context of the album’s concept, shine through as utterly delightful, showing that less can indeed be more. The lyrics, which are usually DeMarco’s strong point, are as touching and introspective as always, in no small part due to the different way he went about writing this album.


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Run The Jewels – Run The Jewels 3 ALBUM REVIEW

And the crowd goes…

By Liam Menzies (@blinkclyro)

The Los Angeles riots in 1992, fueled by the beating of African-American taxi driver Rodney King and the subsequent acquittal of the four police officers who took part in the despicable crime, is an event that more than 20 years after it occurred hits too close to home for some. With police killing at least 100 unarmed black people in 2015 alone, more than five times the rate of unarmed whites, it’s no surprise that music has taken its place in the frontlines alongside other protesters to vent their rage and provoke change.

It’s hard to recall a hip-hop act that has reacted angrier than Run The Jewels who haven’t so much been at the forefront of this protest rather than orchestrate it all with a non-literal Molotov in hand. While protest music is nothing new, members Killer Mike and El-P have been pissed off well before RTJ1 dropped back in 2013 to critical acclaim, releasing That’s Life and Run The Numbers respectively which both displayed  the artist’s quick wit and knack of butchering authoritative figures and corrupted individuals with one flick of their fiery tongues.

Not only that but Run The Jewel’s involvement wasn’t limited to just the music scene with Killer Mike advocating for the election of Bernie Sanders during the Democratic Primaries and El-P making a decision to stop wearing red hats due to a certain spray tanned devil with a bad toupee. Fast forward to 2016 and it seemed somewhat inevitable that an RTJ album was needed in what had to be the most politically charged year of the century, seeing the rise of Trump along with further divisions in America. It’s probably no surprise then that Killer Mike and El-P decided to drop RTJ3 ahead of its 2017 launch date, following the album’s message of doing whatever the fuck they want to do, summed up beautifully by El-P in an interview with Billboard when he said “Suck my dick, I’m going to say everything I want to say”.

The fact that Run The Jewels 3 had a surprise drop does not mean that the project was rushed by any means. “There are more songs and there’s more of an arc. Like he said, we really just took our time, and it really was just because we could. We had the time to do it. And there’s an arc in the record because you’re getting a year’s worth of our mind and our hearts” said El-P and he isn’t lying. While it’s easy enough to point out that RTJ3 is the biggest project the duo have hit out with, running at 14 tracks and clocking in at just under an hour, the aforementioned arc makes the record a far more interesting listen than anything the band has previously released.

The first part, in what I’m gonna call RTJ’s three act structure, focusses more on the duo themselves and fuck, it’s an experience. Legend Has It is by far the most braggadocious song that Killer Mike and EL-P have ever crafted with the former aptly rapping about the two being the murderous pair, even going so far as to say they “went to Hell and discovered the devil, delivered some hurt and despair” as well as featuring what could arguably be El-P’s best dick reference since Oh My Darling, Don’t Cry.

The track that flows in seamlessly next, nicely titled Call Tickerton after the automated concert ticketing purchase system, follows this theme of vanity with a constant mention of Run The Jewels live at the garden, an obvious nod to Madison Square Garden which seems more realistic than a fallacy at this point in the boys’ career. These two songs help display Mike and El-P’s well-documented skill at dropping killer verses with the fifth one on Call Tickerton by Killer Mike featuring some of the best lines to appear on RTJ3.

It’s not until we reach the seventh track Don’t Get Captured that things start to get noticeably darker, heavier and harder in not only lines and themes but sounds as well. Starting off with some ominous children laughter, we get some expert storytelling from RTJ, all kicked off by Mike as he greets us with a “hello from the little shop of horrors”, swiftly followed up by another pop culture reference, before spiraling into a telling of the gun violence epidemic in Chicago, something that he believes no one really cares about until they’re faced with it which harks back to another collaborative track Murder With Excellence by Jay-Z and Kanye West.

Unlike Hov and Ye however, Mike and El bounce off one another and intertwine these narratives throughout this track as well as the rest of RTJ3 with El stepping into the driver’s seat to talk from the perspective of a police officer with some rather suitable references to horror films to introduce the listener. It’s at this point on the record that it becomes clear that RTJ3 isn’t just a way for the duo to collaborate, rather it works as the culmination of everything they’ve worked on over the past few years to act as their platform and manifesto. Even when their views are seen as the anti status quo, especially Mike’s in regards to his words on Hilary Clinton which is referenced on this record, the duo manage to make a compelling argument in addition to abiding by their “responsibility to make dope-ass music to help push through this bullshit every day”.

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As the record starts to reach its end, things start to slow down but don’t lack the punch RTJ3’s second act displayed as shown by Thursday In The Danger Room. As Mike put it:

I never would have done a record like “Thursday in the Danger Room” [solo]. You wouldn’t have heard a record where I was forgiving someone that murdered someone that I loved. I had probably carried that in my heart since I was a teenager, and it’s just not easy.

Death is the focus on this penultimate track and hearing two perspectives, one about watching a friend die of something you can’t prevent and the other related to gang violence, is a true testament to not only the variety Run The Jewels provide but also the power they possess with some truly saddening lines about “you never left cause I never let myself forget” backed up by a beautiful saxaphone provided by Kamasi Washington, known for his contribution to Kendrick Lamar’s To Pimp A Butterfly. From the topic of death follows A Report To The Shareholders / Kill Your Masters, a song that masterfully encompasses all of what makes this record and Run The Jewels themselves amazing.

Bringing in Rage Against The Machine’s Zack de la Rocha helps to further push all of these political messages much like Close Your Eyes (And Count To Fuck) did on RTJ2 with a vilification of society. Discussing the actions of obeying in the first half, the song breaks into anarchy when Kill Your Masters kicks off into full overthrowing mode with Mike’s lines about being Jack Johnson and Tiger Flowers managing to summarize the racial politics behind his anger but his ability both on and off the mic. The song is essentially a fuck you to corrupt and war hungry officials and authority who “twerk on graves” and can’t wait to load up the silos and make your babies glow.

“We’re in sync so much now, after two records and several tours – and this new one felt like we hit that point in the Rocky training montage when he’s just killing shit,” said El-P in an interview with The Guardian and RTJ3 very much feels like the point where both him and Killer Mike have managed to catch the chicken. Showing sincerity, awareness, and aggression all at once, RTJ are the epitome of every liberal’s worst nightmare: they’re an answer to the intolerance that has infected America since its birth and do not give a fuck who disagrees. Their music is sure to be the soundtrack to the revolution

Their music is sure to be the soundtrack to the revolution and what a fucking soundtrack that is.

10/10


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MOST ANTICIPATED ALBUMS OF 2017

By Liam Menzies (@blinkclyro)

Welcome to the very first post on blinkclyro.com in 2017! Feeling hungover? Full of regret already? Don’t worry, you’ve got the next 365 days to make things even worse.

Having had the month of December to reminisce about the best and worst of the last year in music, it’s now time to get aboard the hype train as we take a look at what albums we, more specifically I, are most psyched about hearing in 2017. As always, my choices are purely subjective and there’ll no doubt be a few albums from my list last year making an appearance seeing as some artists actually want to take time with their music? What a bunch of selfish assholes. Anyway, let’s get this show on the road…

Run The Jewels – RTJ3

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ETA: Out Now (STREAMING) / 13th Janaury (PHYSICAL)

Let’s start off with what is undoubtedly going to end up being an album of the year contender: Run The Jewels 3. Whilst technically it did drop in 2016, it was originally slated for a 2017 release and the physical release is set to come out in just over a weeks time so its inclusion is more than deserved, especially since so far RTJ3 is the most polished and politcally charged record the hip hop duo has dropped. Don’t Get Captured manages to approach topics of genrification and police brutality exceptionally with EL-P and Killer Mike’s expert storytelling and flow being displayed. With RTJ2 being my favourite album of 2014, expect RTJ3 to be on repeat for the duration of 2017.

Kanye West – Turbo Grafx 16

NEW YORK, NY - FEBRUARY 11: Kanye West attends Kanye West Yeezy Season 3 at Madison Square Garden on February 11, 2016 in New

ETA: TBA

When you have the late, great Lou Reed praising you then you must be doing something right and the ever egotistical Kanye West looks set to continue his golden run with his new gaming inspired record Turbo Grafx 16

https://twitter.com/kanyewest/status/703447172050788352

With the record set to feature sampling from the likes of No More Heroes and Super Mario Galaxy in addition to hosting appearances from the likes of Kendrick Lamar, Chance The Rapper and Young Thug, Kanye may be set to deliver the oddest record of 2017.

The Flaming Lips – Oczy Mlody

Image result for oczy mlody flaming lipsETA: 13th January 

Despite their recent collaboration with Miley Cyrus being one of the worst listens of 2015, The Flaming Lips seem set to return to the glory days of 2002 with their upcoming record Oczy Mlody. Lead vocalist Wayne Coyne described the record as sounding like a drug and second single How is the embodiment of this, sounding like a vapourwave acid trip that reaches the airy heights that the band have previously achieved on Yoshimi Battles The Pink Robots. Any album being built up as “Syd Barrett meets ASAP Rocky and they get trapped in a fairy tale from the future” is one worth being on the radar of anyone with even a tiny incling of interest in music.

The XX – I See You
Image result for the xx i see you  

ETA: January 13th

Being indie darlings since their mercury prize winning debut record dropped in 2009, The XX’s third album I See You has been a long time coming with nearly five years passing since we last heard anything from them. While previously being apprehensive about the band becoming stagnant, it’s a relief to see Jamie XX being given more creative control after his dazzling 2015 record In Colour which is shown masterfully on lead single On Hold, having the classic Jamie XX sampling expertise with Hall and Oate’s I Can’t Go For That making an appearance. With the band stating that I See You will have a more distinctive sound and a more positive, open and “expansive” concept than the previous two albums, it’s hard not to get a bit excited about the band’s triumphant return. 

The Orwells – Terrible Human Beings

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ETA: February 17th 

While other garage and punk bands such as FIDLAR seem content with spitting lines about drugs and drink at the moment, American rock outfit The Orwells seem to be using their third LP Terrible Human Beings as a maturity stepping stone.  “The whole cute, punk, beer thing—it’s so uncool now,” vocalist Mario Cuomo said in an interview to Spin. “There’s nothing cute about getting head in the back of some parked truck. You know?”. Buddy seems to be the only track that touches on their immature former selves with singles such as Double Feature showing signs of a band who are ready to make their mark this time around, this time not puke related.

Japandroids – Near to the Wild Heart of Life

ETA: January 27th 

Much like the XX, Canadian rock act Japandroids have been kept fans waiting for nearly half a decade with their unique part classic rock, part punk sound finally making a return on Near to the Wild Heart of Life. 2012’s Celebration Rock is one of the most cohesive records of the decade so far alongside Joyce Manor’s discography and the title track seems to be contiuning this trend while tweaking the formula slightly. Singer Brian King has cemented the excitement for many, saying:

The idea of what intensity means is evolving. It doesn’t necessarily mean screaming or jumping around or flailing about or being really loud or playing really fast. In some ways, we’re approaching this like it’s our very first record. We’re removing all the self-imposed rules that led to the songs and the sound of our whole career up until now. When you do that, you can try anything.

Mac DeMarco’s New LP

ETA: TBA

While information on the new LP by the oddball that is Mac DeMarco is relatively thin, its existence has been confirmed with the man himself going onto instagram to say “that’s a wrap motherfucker!”. We haven’t heard a full length piece of work by the canadian artist since his 2014 record Salad Days with only Another One managing to satisfy fan’s cravings. Expect warbled choruses and capoed guitars a plenty when it inevitably drops.

The National’s Untitled New Album

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ETA: TBA

Having been relatively quiet since 2013’s Trouble Will Find Me, Ameircan rock outfit The National have been busy further disecting and rearranging their sound for LP7. Frontman Matt Berninger has stated that it’ll be a huge departure from their last record with reports saying that the band are set to go electronic. Speaking to NME, Berninger said: 

We could probably crank out a great National record in a weekend, but none of us are interested in following up with another record that sounds like ‘Trouble Will Find Me’. That record was a great accomplishment and I’m so proud of it. A lot of songs are going in completely different directions. But that’s a really fun place to be. We’re in the middle of the wilderness, in a rainforest full of really fun noises.

Gorillaz LP4

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ETA: TBA

What better way to finish off this list than with a record many have been eagerly anticipating since 2010. Gorillaz are arguably one of the best bands to come out the UK in the noughties and the Damon Albarn lead project is rumoured to have finished their fourth LP in late october. Not much else is known about the album thoug Gorillaz are yet to disappoint and something tells me that the animated outfit will continue their golden run come LP4’s release.


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