A Desolate Landscape

For the last few years the UK chart is something I have dipped in and out of as it suited me, bobbing my head above the sheltered recesses of the underground when the occasional good tune came along. But recently I’ve been venturing out less frequently and leaving my radio fixed on 6 music. If you have any interest in the music industry you will have heard this all before but it’s dead out there. The chart is a wasteland strewn with boy bands dressed up in Topman’s finest and overdone remixes of songs you vaguely recollect from a better time. Take this week’s chart for example.

The UK’s current number one, essentially the most popular track in the country: Jessie J’s Domino. A far cry from the ubiquitous Price Tag (Oh yeah were in a recession you’re so #relevant) that propelled her into 2011. To me the song sounds like it’s been rejected by Katy Perry and ripped off a Toploader song. From previous posts it may appear that I have some kind of personal vendetta against Jessie J. I don’t, she never bullied me at school or pushed me into an elevator shaft. She just epitomises everything I dislike about the mainstream music of today.Firstly warbling every prolonged note does not make you a vocal gymnast. It makes you sound like Mariah Carey on top of a washing machine. Secondly, releasing statements like “breaking my leg has really given me a new found respect for people with missing limbs” does not make you a kooky zany Princeesque pop star, it makes you an idiot.

One of the most hotly tipped artists of 2012 is Emeli Sande or as I like to call her Emily Sande. I cant help feeling that she wouldn’t be out of place as the backing vocals on a dance track. I know she did exactly this for that learned scholar Professor Green, and she was brilliant. Providing a melodic harmony to counterbalance the yelpings of Green. But that’s just it, she was a pleasant accompaniment. Her voice is just like any other of a backing vocalist. I think we all know Sande is not going to be the next diva, it’s just the fact that there is nothing else out there that she is receiving this much attention. As if she’s the only one to have shown up to a party and to hide their embarrassment the host is spending all their attention on their one guest.

One act I am excited about this year is Lana Del Rey. Aside from the fact that Jarvis Cocker has announced his praise her voice is utterly unique and rich. Some have described her as dull and droney but those are the qualities I like best in her. That sense of wallowing in your own misery yet thoroughly enjoying it. Much the same as how I feel when listening to The Smiths. I guess all things considered she’s not going to take the chart by storm. I’m predicting success in the alternative chart and perhaps amoungst the more sophisticated of the radio 2 crowd. But her album will be one for the bedroom loiters who wrap their vinyl in plastic and read Edgar Allan Poe

Many “industry experts” (basically journalists) have blamed this to the dawning of the internet and the bevy of free music it brought with it. By raising this debate I am aware of the huge can of worms I am opening but I’ll briefly explain my opinion derived from the information I have read. I used to be of the opinion that free music would mark the collapse of the music industry. But have realized it will only rid us of the current system we know today. When television came around in the 1950’s Hollywood studios feared it would be the death of film making as instead of going to the cinema everyone would sit at home in front of their television sets. Well I think we can safely say they were proved wrong. For artists to survive they need to adapt to their changing landscape by embracing new platforms such as Last FM and Spotify. There are more ways than ever before for bands to get their music heard by the right people, in theory the industry should be thriving.

At the risk of sounding patriotic, this green and pleasant land has spurred the likes of The Beatles, Led Zeppelin, Dusty Springfield, T Rex, David Bowie, Kate Bush, The Sex Pistols, The Clash, Queen, The Cure, Oasis, Blur and Radiohead. The list is endless. ENGLAND! We have achieved greatness, it can be achieved again (just not by Jessie J)

Florence and The Machine- Ceremonials

It’s Saturday night. I’m sitting at home being told that my Saturday night “starts right here”, the studio audience are whipped into a frenzy. A mentally ill person sings a Bruno Mars song and is told by Gary Barlow he’s gonna be massive and a famous chav disagrees. Then the guest performer is introduced by an overexcited VT. A statuesque figure graces the stage and there is silence.

The very idea of Florence performing on a show like the X Factor would be sacrilege to some of her devoted fans, but it’s an indication of just how massive she has become, and of course she makes a mockery of the contestants on this ludicrous show.  The performance is to promote her new album which has reached the number one position the very same day. Ceremonials.

It would be impossible for me to review this album without sounding like a gushing fan girl, but I have tried my best, so here goes:

The opener “Only for a night” has a mammoth task at hand. The first song on an eagerly anticipated second album, it could have easily been a dud, but is rather a slow ominous builder. The proverbial drum roll heralding the arrival of something spectacular.

For what is essentially a song about getting rid of a hangover “Shake it out” is a major contributor to the album. It’s clear to see Florence and producer Paul Epworth are fans of the echo. Epworth having previously worked with Jack Penate (prime example of echoey guitar music that isn’t The Smiths) and Friendly Fires the guy is an indie genius. The vocals are stacked high and layered upon like a teetering wedding cake, but the result is an astounding cathartic cannonball of magnificence.

The next track explores a darker subject all together. To fully appreciate “What the water gave me” you should read Virginia Woolf’s suicidenote to her husband as the lyrics reference her tragic death. Florence also draws on the influence of Frieda Kahlo's painting by the same name. The song itself takes on a sombre haunting quality, and the tension is heightened by the monk like chanting before the chorus creating a gothic masterpiece.

Flowing seamlessly comes “Never let me go”. The song moves into an altogether tender mood. Its use of minimal instruments and heavy focus on choral backing are a soothing caress. The soft backing vocals mimic “the arms of the ocean” and the steady rhythmic pattern is a perfect lullaby. Listen to it and feel your insides melt like butter on hot toast.

At first “Breaking down” appears to be a light-hearted melodic pop song strategically placed to pick up the pace and to lighten the mood. But it soon pulls back the cloak and reveals itself to be a story of a sinister creature in the corner of her eye. Florence takes us back to relive repressed childhood fears. The effect of a jovial melody contrasting with such dark lyrics is strangely compelling.

Listening to Florence's first album "Lungs" it would have been hard to imagine an album that equalled it' standard. But Ceremonials excels expectations. Darker themes, various textures of sounds and of course the accompanying choir  In some places they create a gospel sound but coupled with Florence's gargantuan voice and capacity to hold a note for a really really long time, the overall result is always a colossal sound. It's as if she's finished touring Lungs, sat down with cup of tea and thought: let’s just do the same again but bigger.

Edward Sharpe and The Magnetic Zeros, Home

Calling all Mumford and Sons fans. A new country-indie-folk superpower has arisen from the other side of the Atlantic, and its name is Saruman...lol jokes its Edward Sharpe and The Magnetic Zeros.

Their second US single “Home” sounds vaguely familiar upon first listen (often a good indicator of magnificence) and you may even find yourself whistling along to the melancholic opening like your some kind of romantic hobo. The whole thing smacks of sepia coloured summer nights and the echoic vocals are reminiscent of Phil Spector style girl bands from the 60’s, but the communal “hey” fired after each line reminds me of The Good The Bad and The Ugly theme. Having said that, this song would be perfect for those occasions when you’re riding your horse through the desert and stop to gaze meaningfully into the setting sun, or when you’re driving down route 66 in a red Cadillac on your way home for spring break. Maybe that’s just me.

Edward Sharpe (real name Alex Ebert) is accompanied by Jade Castrinos on vocals. He is drawling husky wilderness man to her honey tinged naivety. The magnetic Zeros themselves (of which there seem to be thousands) seem to set the general tone of things, holding back when the couple go all gooey eyed for each other (“chocolate candy Jesus Christ you’re the apple of my eye”) and letting rip again to form Mumford worthy crescendos that lift the spirits like serotonin filled balloons.

The climax does not disappoint, layers of harmonies, trumpets, and marching band drums the Magnetic Zeros go all out for an ending so joyful your heart wants to explode feel like the song has been leading to this magnificent moment all along.

So it’s quite good I guess

R.E.M Split

R.E.M. Split

After 31 years of making music together, the pioneering band have decided to call it a day. R.E.M announced the news on their website and issued the following statement:

  "A wise man once said, 'The skill in attending a party is knowing when it's time to leave,' "

 "We built something extraordinary together. . . . Now we're going to walk away from it."

Best known for songs like Losing my Religion and The One I Love, R.E.M., the band are widely recognised as having brought alternative music to America at a pivotal turning point in the industry; just as post punk turned into alternative. R.E.M. are cited as having paved the way for bands like Nirvana  and Pavement to follow, maintaining the idea that bands can “be big and still be cool”. 

Mammoth Sound

Band Profile: A versatile, eclectic 6 piece band from Tower Hamlets (14 -18 year olds) reflecting the vibrancy and multicultural energy of East London. Fusing their own unique style of hip-hop, jazz, soul, dub-step, drum and base and samba ;accompanied by powerful vocals in English, French and Spanish.


‎1. You describe yourselves as "a perfect concoction of hip hop and Jazz",
and watching your set at Underage Festival, you reminded me of The Specials
mixed with Jamie T who would you say your influences are?

Santarna: Jill Scott, Janelle Monae and Erykah Badu are probably my 3 at the moment
Mack : Jamie T, The Specials (Honestly!) Alex Turner
Cal : J Dilla, flying Lotus
Yves : James Jamieson,
Kenny : Eminem, Wale, Lupe, and Andre 3000

2. I hope I don't offend you too much here, but you look like the most
unlikely group of friends let alone band mates. How did you meet and come to
form the band?

4 out of 5 went to the Same School and we were all involved in music at Morpeth school.
And Mack ... Was at the right place at the right time!

3. How long have you been together for and do you encounter any problems
regarding "artistic differences"?

730 days since mammoth has began ... and its grown from there...
we do have artistic differences at times but we compromise

4. Bizarrely, Jack White has recently teamed up with macabre hip hop duo:
Insane Clown Posse. If you could collaborate with any artist living or dead
who would it be? 

Santarna : Jill Scott and Snoop Dogg
Kenny : Outkast and Soul Brass Rebels
Cal : Kanye West and Aphex Twin
Mack : One direction!
Yves : The Roots and Scientist

5. Who are you listening to at the moment, do you have any recommendations?

Yves - Thunder cats (Flying Loutis Bass players) Solo Album
- The Bug

Santarna - Big Boi - The Album Sir Lusious Left Foot
- Miss Baby Sol - The Album Before I Begin The Journey

Mack - Random Impulse
- Rizzle Kicks

Cal - Hundson Mohawke - Just Brought his EP On vynal!
- Kanye West And Jay z -The album Watch the Throne

Kenny - Sexion D'assaut
- Keny Arkana

6. As contributors to the UK music scene, what do you think of the current musical climate?

Cal : To be honest some of the UK Music About is quite boring and generic but theres a few artists coming from the underground that are making quality music

7. Now festival season is ending for the year do you have any up and coming gigs you're especially excited about

Were focusing on writing right about now but we have a few gigs so keep your eyes and ears about!

8. Where do you aim to be in 5 years time?

At Glastonbury!









Find out more on Facebook http://www.facebook.com/MammothSound

The art of the Cover

With the growing popularity of Radio One’s Live Lounge, and the chart dominance of Glee: the cover version has become something of a phenomenon. You need only look to Amy Winehouse and Mark Ronson’s version of Valerie, or Florence and the Machine’s cover of You’ve Got the Love to see how big a good cover version can become.  

Far from being a lame countdown of the best cover versions ever, this is just a selection of some of my favourites.

Amy Winehouse- Cupid

Original by Sam Cooke.

Winehouse makes a departure from achingly beautiful love songs and gives this soul classic a reggae referb’. Complete with drawling vocals and a steady bass, she may have been better known for the previously mentioned Valerie but I prefer this track because it shows a more playful side to her. Plus the reggae reggae beat is superb.

Tainted Love –Soft Cell

Original by Gloria Jones

If you’ve never heard of Soft Cell before they’re an 80’s synth band who write albums that are like soundtracks to gay sci fi musicals. Tainted Love seems like it was made in a Soft Cell shaped jelly mould it fits them so well. Featuring a fairground sounding organ and Marc Almond’s sultry vocal talents, Tainted Love is by all means an 80’s classic. 

Mumford and Sons, Laura Marling- Joleane

Original by Dolly Parton

In what appears to be a poorly lit barn, the Gods of Parton and folk came together to bring us this foot stompingly magnificent cover of Dolly Parton’s Joleane. Far from drowning in the crescendos of the Mumford’s slide guitar and banjo, Marling’s style of vocal lends itself to country music. The concoction made all the more potent by Mumford and Marling’s onstage chemistry. If only to have been there...

Lady Gaga –Viva La Vida

Original by Coldplay

Taken from the best of all lounges: The Live Lounge, Lady Gaga takes us back to her roots and performs a cabaret rendition of Coldplay’s Viva La Vida. There’s no onstage orgies, or costumes made out of UN. Secretaries, it’s just Gaga and her piano. Its stripped back like this that Gaga reminds us all that she really can sing. She may have fluffed her lines, but she makes up for that my improvising lyrics like “be my Chris and I’ll be your Gweneth” and “I know Yves Saint Laurent no he won’t call my name”. It’s still very much a Gaga performance with dramatic pauses (Presumably where she’s forgotten the words) and “oh ah oh” poker face type noises. To paraphrase Leona Lewis Its at moments like this make you realise what a marvellous creation the Live Lounge really is. 

The Future Heads- Hounds of Love

Original by Kate Bush

I always think the sign of a good cover version is when it’s so different to the original that you are only vaguely aware that you might have heard the song before. Hounds of Love is a good example of this. The two versions are on the opposite end of the spectrum, Kate Bush’s atmospheric masterpiece is transformed into an indie pop song. Nevertheless the Futureheads deliver a punchy version that lives up to the originals daunting standards. 

Under my Thumb- La Roux

Original by The Rolling Stones

Featured on the band’s Sidetracked album, what was a Stones song about “tellin’ yer’ bird what to wear” now becomes a track about venerability and conformity in relationships. With Jackson’s trademark falsetto vocals and a tapestry of funky beats, the rendition is the stuff of 80’s house music. The sound of Jackson’s fragile voice being wrapped in the stronghold of the hook tugs at the heart strings. *Waves fist at Mick Jagger*

A Case of You- James Bake

Original by Joni Mitchell

James Blake performed this cover on a session for Zane Lowe. His album was mercury nominated and is likened to a robotic version of The XX. Despite being stripped back of synths and dub step making machines, it follows Blake’s style of delicacy. The vocal so fragile you feel it will be blown away in a gust of wind, so you savour every moment. The sentiment, “I could drink a case of you” is a touching one, and it’s easy to draw parallels with Mitchell and Blake’s wavering voices. Utterly spellbinding.

 Concrete Jungle- The Specials

Originally by Bob Marley and The Wailers

Released by The Specials when Britain was going through recession and the streets of Coventry were lined with members of the National Front. Much like the rest of The Specials work this cover version still has resonance today. The chilled back reggae beats of Bob Marley are switched to a frantic ska induced panic “the animals are after me” by The Specials.  It’s interesting to see the progression in racial relationships represented so fervently by the reggae and later on ska community.

Florence and The Machine- Halo

Originally by Beyonce

Another product of The Live Lounge here, and in my opinion one of those rare occasions when the cover is better than the original. You can hear that Florence is sounding pretty nervous, but the song is perfect allowing her to stretch her voice and seems to draw the emotion out. The accompanying harps and violins creating a kaleidoscope of sounds that put Florence’s voice centre stage. 

Underage Festival

Underage Festival

Location: Victoria Park, Tower Hamlets

Date: Friday 5^th August

Line up: Bombay Bicycle Club, The Midnight Beast, Viva Brother, Janelle Monae, Crystal Fighters, Miles Kane... (Click for full line up)

Price: £31.50

Bands discovered: Cock n Bull Kid, Yaks, Mammoth Sound and Janelle Monae

If you were somewhere between Mile End tube station and Vitoria park last Saturday you might have noticed the stream of “13 to under 17’s “(ahem) gracing the streets. Chinos and boat shoes holding up traffic, buttoned up shirts and brogues clogging the tubes, you would be forgiven for mistaking it for some kind of indie school trip. Alas no, they were making their way to this year’s Underage Festival to see the likes of Bombay Bicycle Club, Miles Kane and Crystal Fighters, a somewhat lacklustre line up following previous years.

Playing an afternoon slot on the main stage, Miles Kane came on in a suitably retro Nehru shirt and paisley patterned trousers. His 1960’s apparel totally in synch with what he was playing. Each song sounded as if they were a classic Bond theme, and had that distinctive whiney guitar sound that Kane gave to the Last of the Shadow Puppets. For the final song, the crowd were whipped into shape by the gargantuan tune that is Inhaler.

The Midnight Beast played a rocky set, battling technical difficulties with a unique concoction of Beastie Boy style parodies and charmingly juvenile humour, and drew a frenzy of screaming girls. (The phrase Beatlemania springs to mind) Accompanied by two male dancers, a cheerleading squad, comedy props (including a massive Kanye West mask), and with a selection of well loved parodies in their back pockets- The Midnight Beast could do no wrong.

This year’s festival played host to a vast amount of stalls, some selling niche clothing and artefacts, others bespoke cupcakes. But dwarfing these was the amount of charity and promotional tents this year: War Child, Breast Cancer awareness, the Independent’s sister newspaper “I”, the Tate Gallery. The list goes on. The Tate tent ( it’s fun to say it fast) had people making badges from magazine clippings and spray painting tote bags, as well as giving away free travel cases. With a copy of the “I” you got a souvenir canvas bag, a publishing company were giving away free stacks of vampire books. The Olympic torch was even present and available for photo opportunities. Also, an ingenious scheme to get people to tidy up by collecting bottles from around site by enticing them with free t-shirts, ponchos and bags. The amount I invested in a ticket was probably re- gained in the amount of fee stuff I hauled home.

Over on the intimate “Music Space Stage” London based band Mammoth Sound played a high energy set to an excitable crowd. With a distinctive sound that comes from having both a sax player and an MC, Mammoth Sound brought a fresh mix of ska and hip hop to the festival. Definitely ones to watch.

It’s clear to see that Janelle Monae has had a background in theatre. A band dressed in uniform white shirts and bow ties come to the stage, while a circus ring leader hypes the crowd up and announces the star’s arrival. A short film is played before three hooded figures walk on; their backs turned to the crowd and begin to move in a way that can only be described as groovin’to the beat. As the vocal kicks in the middles figure whips round and is revealed as Janelle Monae herself, wearing the androgynous outfit of black trousers white shirt and tie, hair coiffed to perfection. The band are as much a part of the performance as she is, there are dancers an orchestra and a brass section. For a stripped back rendition of Nat King Cole’s Smile Monae’s vocals stun the crowd and dance through the song with ease. Everything is seamless. Her set is perfection.

Underage Festival has been renowned for having its finger on the pulse of the UK alternative scene: Announcing names that you’ve never heard of early in the year, but by the time the summer rolls round you find that most of the line up are the hottest bands on the block, making appearances on Later with Jools Holland and featuring on BBC polls. However this year has seen a lull in proceedings, last year’s indie/hip-hop headliner MIA, replaced by a folksy Bombay Bicycle Club- who frankly (as much as I like them) aren’t a headlining act. Granted the festival hasn’t stooped so low as to delve into the mainstream, it’s maintained its reputation for housing what’s cool and alternative. But it would have been nice to see some bigger names, maybe a touch of Friendly Fires or Hurts would have just brought more weight to the line up. Why not just go the whole indie hog and book Best Coast?

Nevertheless, Underage festival is still perfect for the music obsessed teen seeking that festival experience, you don’t have to be 18, the tickets are relatively cheap, and you get to see a load of great bands in one day.