The location of Falls Festival is gorgeous. Falls Festival lies about 10 minutes inland from Lorne, a busy little beach town on the Great Ocean Road. The pristine drive along The Great Ocean Road showed off a mouth-watering ocean view. The sun radiated from a bright blue sky, scattered with wispy clouds. The soft blue ocean meandered gently into secluded beaches and rocky outcrops. The traffic moved at a snail’s pace, but there were no complaints. Limbs hung out of car windows, soaking up the blissful day. Lorne is but a slight detour, as we turned inland. Leaving the coast behind us, we climbed uphill into the thick bushland that lay beyond. In little more than 10 minutes we were greeted by friendly staff and gruff pommy security, who emptied our belongings onto the road in search of alcohol and glass. Bah!
The timing of our arrival couldn’t have been any better. We’d lucked-out and scored a prime camping position about 5 minutes walk from the festival entrance. It was close to toilets, showers and the bizarre Pleasure (village) and was sitting pretty well next to the main walkway. As the erection of tents concluded and the first drink was thrown back, Muscles vocals floated by our campsite on the wind “woo, ahh, woo, ahhh”. Any nostalgic excitement was quickly extinguished by rumours that he was doing a piano set. Cue: drink.
We wandered into the entrance on dusk to see the crazed antics of The Cuban Brothers. At the peak of their lunacy one member removed his G-String and yelled emphatically, “Don’t take Ketamine! it will shrink your penis!”, as he stood fully naked with a mangina. The Bamboos followed with deep funk and soul, climaxing with I Got Burned, the absence of Tim Rogers’ vocals unnoticed.
The highlight of the night was undoubtedly Furnace and the Fundamentals. Remixing their way through innumerable covers with a live band, Furnace traversed the entire back catalogue of every epic dance floor-killing song that ever existed with finesse and energy, sending the crowd into complete hysterics over and over again. What an end to the pre-party.
Saturday was the official first day of the festival. The festival area itself is quite compact. The Valley Stage sits at the bottom of a steep hill, flanked on either side by stalls and bars. The Grand Theatre sits on top of the hill – a huge red and white striped tent. Good food and drink was easy to find, and the stallholders were friendly and always keen to chat.
King Gizzard & The Lizard Wizard were the first to get the lazy crowd moving, starting a mini mosh pit with their punk-fused psychedelic rock. Splayed out across the stage seven members wide with the drummer in the centre, the grubby punks rocked out emphatically, as we bounced around in a mess of bodies and hair.
San Cisco provided a small change of pace on the Valley Stage, their sweet adolescent indie pop swooning the crowd like a kiss on the cheek from your high school crush. They sounded great live, in particular their cute-as-hell drummer, whose kit sounded superb. Sigh…any woman who can drum can have my heart. Tight as hell, the crowd sung Awkward and Rocket Ship with gusto. Their performance even allowed an overlooking of the terrible lyrics to Rocket Ship for a dance.
A big shout-out must be made here to the DJs who ignited the fun-filled dance offs that transpired between bands. They really kept a constant flow of energy over the course of the festival.
By the time Bombay Bicycle Club were on, the rain had arrived, making the hill facing the stage a giant slip-and-slide. A group of clever chaps made up of Channel V’ers and Art Vs Sciencers formulated a human tunnel (of legs) on the steep hill facing the Valley Stage. At one point there were 15 people lined up, and the only person who could make it all the way through was Jim Finn (from AVS) whose smooth jacket made him a human juggernaut. The summery vibes of Bombay floated up the hill, sending smiles over shivering bodies. Some tunnellers broke rank to dance to Shuffle, then ran back up the hill for a slide.
The good vibes continued as the rain halted and Django Django arrived in signature matching T-shirts. Opening with the throbbing synths of Hail Bop, they delivered their quirky guitar-driven synth pop from the very beginning with bundles of energy. It was the third time I’d seen them in 2012, and man did they bring it again, the bees knees of dancy synth pop. Playing the bangers from their stellar debut release, they had the crowd chanting, tribal dancing, and jumping for joy to their percussive goodness. Sped up versions of Default and Storm were massive, and Skies Over Cairo and Loves Dart were rapturous. Finishing with the apocalyptic siren of Wor, many were left gobsmacked about what they’d just witnessed.
Day One headliners The Hives arrived. Howlin’ Pelle talked. And talked. And talked. A few bangers were played, such as Hate to Say I Told You So, Walk Idiot Walk, and Go Right Ahead, plus their trademark teaser to Tick Tick Boom. The band turned a bit sour when a few drinks were thrown at the guitarist. Howlin’ Pelle shouted into the crowd, “If you fuckers throw another beer at my brother, I will come down there and kick your arse”. It was probably all talk though, seeing as they did talk a lot.
Day Two was opened by the driving rhythms and guitar riffs of Art of Sleeping. One of the crazy benefits of camping right next to the festival is that there is nothing like being woken by good music, let alone some of the best live music on offer.
A leisurely stroll into the festival on lunch was met (once again) by amazing music. This time Ball Park Music had the stage, ushering a chirpy “cheers cunts” to the audience as I eagerly awaited my bacon & egg roll and coffee.
The real surprise package was inside the Grand Theatre tent where Regular John delivered a sweltering set of hard rock. Their sound delved into 90′s alt rock territory with new single Slume, with a slight Billy Corgan tinge in his voice.
Jinja Safari pulled a large crowd in the Valley, but those expecting their usual antics were left disappointed. There was no stage climbing or Pied Piper follow-the-leader runs. Maybe it’s a sign that they’ve become serious musicians in recent times. As their music matures so do they. Their energy is still as enigmatic as ever, with live bongos and a naked saxophonist banging out tunes.
SBTRKT was one of the most highly anticipated sets of the entire festival. Given the strange time and setting of 6pm on the Valley Stage, SBTRKT arrived to monstrous applause and buzz, with Sampha on vocals and keys, and mastermind Aaron Jerome on live drums. The live drums allowed for some juicy live remixing of the percussive elements of each song. The biggest was Wildfire, which was masterfully mixed, so much so that no one even picked up on the intro until the synths and standard rhythm kicked in. Sampha’s vocals were stunning: so rich during Something Goes Right and Hold On, all the time layering percussion and samples with huge effect, simultaneously giving each song a different sound and feeling. SBTRKT recordings already have monstrous dancy energy, but live they take it to the next level, pushing it up a notch on heavier dance tracks like Sanctuary and Heatwave. Stellar!
Flume could have been mistaken as a headliner – the crowd in the Grand Theatre tent was so tightly packed that it clogged the entrances and squished those inside. People were climbing the fence on the road side through thorn bushes to get a glimpse of the dance music maestro. A warning had to be ushered before he started, it was so full. Opening with the trademark wob wob of More Than You Thought, he tore through his back catalogue. No crowd erupts as massively as they do to Flume. Dance offs were rife. People got low. Bodies flailed to and fro, up and down. There was moshing on shoulders. Hair flailed around like crazy. His latest single with Chet Faker was the most chilled of all his tracks. A new overlay of Kendrick Lamar’s Drank dropped over the top of The Anthem instead of his trademark Biggie Smalls mix.
Many were forgiven for confusing Flaming Chips with The Hot Lips. It was late, and they were both equally hot. Catching the end of Flaming Lips after Flume was tasty, his visual show an absolute ball-tripper to say the least. Singer Wayne Coyne ran around smashing a giant gong, which lit up in blinding flashes of light every time, hordes of female dancers crowding the side of the stage with psychedelic dance moves. Hot Chip were a step away from their psych rock, opening with Shake a Fist. Live, Hot Chip are an entirely different prospect. Their nerd chic oozed confidence as they nerd-danced around their instruments enthusiastically, the bass reverberating up the hill. Their female drummer Sarah Jones absolutely smashed her kit, incorporating some quirky instruments like a Caribbean steel drum, which didn’t look out of place next to DJ decks and guitars. Over and Overwas an unbeatable classic that didn’t seem out of place among new tracks Night and Day and These Chains. Their Fleetwood Mac cover of Everywhere was a nice touch on an awesome set.
The weather on Day Three of Falls Festival sealed the run of great weather, proving to be just as hot as the rest. I began the day on the highest hill to soak it all in. A sea of tents, cars and marquees curved their way across the open fields, encased by tall, towering gum trees. The sun shimmered off thousands of car windows in the valley. Trails of people scuttled along the paths that dissected the human settlements.
First Aid Kit captured the essence of the gorgeous summer day with their stunning Swedish folk music. They appeared on stage young and pretty, with a distinctive Bohemian vibe. Their long, straight hair hang lank over their cute animal tees. Two cute little girls danced around on the stage next to them as they sang The Lion’s Roar and Wolf with guts, their voices belying their youthful appearance. Their influences are far between. They stated a love for ABBA and then finished a song with a heavy riff from The White Stripes.
Sampology brought us into the night with a tribute AV DJ set with some masterful mixing of movie clips that was at times punchy and at times disjointed to account for the speaking of artists. No one really minded the long-winded 20th anniversary speech by the festival organiser and his parents because 2 Door was here to bring in the new year in style.
A beautiful full moon and scattered cloud flanked blue neon-lit trees and a yellow-and-red-lit stage as Two Door Cinema Club arrived to huge applause. From the opening of No One Can Talk, it was clear that they have matured past their age from the young party starters they were off the back of Tourist History. They were so tight at times it was hard to tell the tracks apart from the recordings, from which they rarely strayed, ripping through their biggest hits in Undercover Martin, What You Knowand Cigarettes in the Theatre. They warmed up the crowd for the new year coming with new tuneNext Year, then broke in the new year with banger What You Know. The sky exploded with confetti and hands as everyone indulged in a random or pre-planned snog to break in the new year in class (or lack thereof). Two Door Cinema Club – all class.
Review originally for Music Feeds http://musicfeeds.com.au/gig/falls-festival-lorne-20122013/
Beard, Wives, Denim is the latest full-length release from Perth boys, Pond. It has seen the poppish indie jam outfit tick off a number of boxes, including their first release through a Major record label, as well as a meteoric rise to the top of many people's 'recently played' playlists.
The release came from a not-too-orthodox approach to the recording process. As the boys tell Music Feeds, the team re-located to a farm near Eagle Bay, where they stocked up a small property with all their equipment and lived in eachother's pockets for two weeks, smashing out all the tunes. They found inspiration for this in the annals of rock music, going back to their roots for a record.
The band also discuss how the presence of a major label has changed things. They explain that the best result has come from the exposure that this allows. Still making the same music, the band has found that they've received more traction from the new fans. The upcoming international tour dates have also been attributed to this.
Performing at Fat As Butter, the boys also unveil plans for a new record / LP through Modular.
Multi-award winning blues and roots musician Ash Grunwald is undoubtedly one of the most riveting and talented performers on the Australian musical landscape. Still riding the high of 2010’s award-winning album Hot Mama Vibes
, sixth studio album Trouble’s Door
symbolises a two-year period of change, and a new direction. Ash stated on his website
that the album involved “some of my most personal songwriting”, laying the foundations for “his most internal album to date”.
Back in 2004, Ash Grunwald described his sound as “a cross between old delta blues, and hip-hop-ish modern roots”. Oh, how his sound has evolved since then. A slow transition from flying solo in the formative years to collaborating and working with dubstep producer and side project partner Fingers Malone on this record has allowed Ash to further encapsulate his driving dancefloor rhythms, and explore an eclectic range of sounds and influences that transcend typical genre-tagging.
First single off the album, Longtime, is a killer track, with a guitar hook so catchy and infectious, it’s impossible not to feel incredibly happy and upbeat stomping your foot and grooving out to it. Such a funky sound resonates through the song by incorporating many guitar loops, with varying effects and multiple percussive elements. The vocal distortion in the chorus between powerful lyric, “Thought I was high but I was barely alive”, makes it difficult to distinguish between Ash’s hummed voice and guitar, inadvertently creating an incredibly infectious hook (just try and remove it from your mind box). It’s one of many moments on Trouble’s Door that astounds you as to what incredible things Ash can do with his voice.
To further emphasise this, the way in which Ash unleashes his unbelievable range on tracks such as Ramblin’ Man is quite astounding, his vocals rolling from deep baritone to falsetto so effortlessly. He conveys such raw emotion through his rich and deep voice on tracks Demon In Me, his vibrato reverberating in your eardrums long after the song has finished.
Across the record, Ash complements his voice with expert guitar playing that delves in influences of blues and roots, country, and psychedelia. His use of different guitar effects are one of many elements that give each track their own signature feeling and sound, which is impressive considering he uses the same base instruments for each track.
Ash has this unique ability to capture the listener’s attention with his emotive voice or expert guitar finger work, and take them on a personal journey. The introspective journey Ash undergoes on the title track Trouble’s Door is emphasised by meandering verses that take the mind wandering with psychedelic guitar, an atmospheric backing and eerie echoed vocals, “I used to throw stones at trouble’s door, and once again I was cold and alone”. In trademark fashion, Ash snaps the mind back to reality in each chorus, lifting the tempo with hard-hitting, heavy reverb guitar that creates a real four-to-the-floor dance vibe.
Dubstep producer and side project partner Fingers Malone exerts a subtle dance influence on Trouble’s Door
. There’s the dubstep tempo and synth backing of opening track The Demon In Me
, quirky percussion rhythm of When You Need Em
, and heavy synth and hip hop drum fills of Sail
(a cover originally by Awolnation). The dance vibe has always been present in Ash’s music, but Fingers gives it that extra kick that will make it irresistible to dance to in a live setting.
Interestingly, the album’s release was funded by fans via Pledge Music. Symbolising a new way that artists fund projects, Pledge Music transformed the production process of Trouble’s Door
into a transparent collaborative process between the fans and Ash. The success of this release paves the way for more artists to use Pledge Music as an exciting new way for artists to fund music, with fans involvement. Check it out here
This album is an example of experimentation that has been pulled off with exceptional results. The album is an introspective work, exploring a range of personal topics through an eclectic range of well-executed musical elements. There is not a single dull moment on this record. As the mood shifts with each song, you are pulled into another experience, and there are many to be had. A refreshing listen from start to finish, each song will have you sitting on the edge of your seat in sheer wonderment as to what he will deliver next.
The full album is available to stream completely free here
.Written for Music Feeds
The XX - Open Eyes (Demo)
UK Mercury Prize winning, gothic indie-pop crooners The XX released a demo via their blog (http://xx-xx.co.uk/
) in anticipation of their forthcoming second album. Featuring the hauntingly soft, almost whispered voice of Remy Madley-Croft, Open Eyes creates a dark, brooding atmosphere with its slow tempo and minimal use of echoing guitar and percussion. The follow up to their highly successful self-titled debut is set for release in June to coincide with the UK festival season.
Sleigh Bells - Comback Kid
Comeback Kid is the second single off the forthcoming album ‘Reign Of Terror’ which is due for release on February 14. Containing trademark raw, reverb heavy guitars, heavy bass and electro beats, I can’t help but feel that they have stripped back their sound (however slightly) to make it “less like party music” as stated by guitarist Derek Miller. Alexis Krauss’ voice has a more sugar coated pop sound, and although relying on chaos to get their point across; the song seems to lack that hard hitting edge that was so explosive on Treats. Check out first single Born To Lose here
Pulled Apart By Horses - New Album 'Tough Love' Out Now!
The new album from Oxford post-hardcore lunatics PABH is bound to be a cracker! Having toured excessively off the back of their self-titled debut (My number 5 album of the year!), PABH have not only wowed audiences worldwide, but also snagged Gil Norton (Foo Fighters, Pixies) to produce the album. According to bassist Rob Lee; “(Tough Love) feels more like our first proper album and not just something for self–gratification. Every song on this album has its own personality and really stands on its own.” Judge it for yourself! NME has the album for streaming here, although it only provides a 30-second preview of each song if you live outside the UK (cock tease much!?). Check out the video for shredding single V.E.N.O.M! Their new album 'Tough Love' is out now.
Children Collide - Sword To a Gunfight
A Precursor to their upcoming album ‘Monument’, Aussie indie rockers Children Collide deliver single Sword To A Gunfight. Containing signature guitar hooks and washed out vocals, the track has a slight psychedelic feel to it, and could be a sign of some new influences on a band that have stayed very true to their roots across two stellar releases thus far in their career. In support of the single, they will be embarking on a national tour hitting the Metro Theatre on the 24 March.
With summer upon us, spoiling us with random spots of stunning weather, it got me thinking what are the tunes that will be blaring from our speakers on the way to the beach, by the pool, or just sinking a ice cold beer or seven on the patio? Well here is the most comprehensive seasonal mix your bound to find anywhere on the innerwebs! You'll find upbeat, sun drenched melodies; rhythms filled with bongos, cowbells and distortion, and just plain fun and energetic music in general to pair up with the sun and sweat that is summer!
Click on the link to bring up each youtube clip. ENJOY!
Enough Thunder EP: Track by track
Once We All Agree
- Simultaneously atmospheric and brooding, creating a sense of space with echoing tones and minimalist feeling, yet thoroughly overloading the senses with an array of soundscapes and stunning vocals.We Might Feel Unsound
– It is almost as if Blake
purposely attempts to throw off the listener with his abstract beat patterns and glitch, that he cleverly couples with strange whirring that fades in, out and across the listeners palate which should be erratic, but flows incredibly well; managing to build a sullen mood broken by dulled down bass and snare rhythms.Fall Creek Boys Choir
– Featuring indie-folk hero Bon Iver
, we are treated to otherworldly, auto-tuned overlapping vocals backed by Blake’s
signature disjointed organ broken by a strange noise; (Blake’s search for strange distinctive sounds finally including a dog’s distorted bark), and bizarrely enough two 80s influenced power drum breaks. A Case Of You
– Stripped down to basics of organ and voice, a rare exhibition of Blake’s raw angelic voice with equally as sweet lyrics “your my blood, your my holy wine, you taste so bitter and so sweet I could drink a case of you darling, I would still be on my feet
” the soul and gospel influence exerted clearly here complete with religious reference. Not Long Now
– Ignoring James Blake has an incredible sense of provoking the senses with heavy use of build ups (baring his dubstep origins), and fluctuations in tone and volume. A silence so clear and searching, that the opening of Blake’s
lips and breath become audible and exert a wholly sensual feel unto this soft beginning, until the bass enters taking over the senses, hitting a deep register connecting with the body changing the mood entirely, exerting a dance-floor feel to this brooding piece.Enough Thunder
– Rounding out his EP with a solo track with organ and voice full of echo in full force providing further emotional provocation for the sensory overload that is Enough Thunder.
James Blake's slight shift away from his dance roots is somewhat suprising (no pulsating sub-bass breaks ala Limit To Your Love
, or more dance induced tracks CMYK
, The Bells Sketch
and I Mind
) focusing instead on building atmosphere through a variety of abstract sounds, some which work incredibly well, some which don't (dog barks I'm looking at you). There is no doubting the originality of James Blake's soundscapes, they are incredibly unique and challenge the way we connect with music, both intellectually and physically, which is so exciting. James Blake's self titled debut record was in my opinion the most original record of the year, for these reasons and more. This EP comes across as somewhat of an experimentation, but showcases the physical toils of an incredible mind working far outside of the common musical spectrum.
The entire EP can be streamed here
Approaching this album with an open mind and disregarding their discography is a hard task, considering their complete back catalogue is utterly flawless. Just try and find an average song on any of their 6 previous albums! I haven’t! The album begins with a slow tempo tracks If Not Now, When? Promises, Promises and Friends And Lovers. Each song is lacking intensity in the music, and just roll gently, driven solely by Brandon Boyd’s incredible voice, which scales brilliantly on If Not Now, When and turning to intimacy on heartfelt track Friends and Lovers; acting as the sole precursor for building mood with his brilliant vocal range. Thieves opens with a trademark Incubus guitar riff, melodies and hard guitar driven chorus moments. Isadore just comes off as another love song dedication, there are a lot on this album, too many perhaps, I can’t begin to imagine how many girls he went through in the making of this album.
Switchblade is one of the standouts on the album, where there is constant guitar driven energy, supported by a meandering bass line, but once again it seems like Boyd has avoided hard hitting choruses and break downs in his tracks, to give a more flowing feeling. It takes until track 10 in the form of first single Adolescents, to hear their trademark sound, using delicate guitar melodies, building into big choruses powered by Boyd’s repetition “out of sight, out of mind”. This album was always intended to be different, being six years since their last release of Light Grenades in 2006, on EnjoyIncubus.com Incubus stated: “True to the Incubus legacy, this album is nothing like its predecessor, but still maintains that quintessential Incubus vibe.” However, If Not Now, When? comes off as a Brandon Boyd solo album, the music is lacking the intensity that is ever-present in previous albums, and the songs are solely driven by Brandon Boyd’s incredible voice. Take that away and your left with an album that lacks intensity, energy, any depth and quality in the music, and has very few standouts. Having stated in NME “This new record is different to anything we’ve done. We’re gonna kind of challenge our fans with this one”, I think many fans are, as I have, going to struggle to connect with this one.
There is a moment when you stop and think...shit! What have I been doing with my life!? Well there is this 16 year old British musician that makes me think exactly that. Yes, 16. Every time I hear his music. I'm talking, of course, of Zoo Kid
. Boasting deeply toned vocals with a charming cockney accent, Zoo Kid
crafts magnificent songs laden with a range of emotional teen angst. In Out Getting Ribs
, he conveys this angst through his rustic tone and lyrics "hate..runs through my blood..I was broken down..so much I knew I was lost and down
" which expemplifies rising teenage angst; themes of love and loss belying his age; which are complemented with delicate guitar plucking, building in key moments of the song. There is a low-fi
feel to his recordings, which were recorded by him and two friends in his bedroom, with the muted cough, and inaudible words spoken off mike. Yet the song has an intricate quality, and in its raw state, the song comes off as quite intimate. Zoo Kid's
, other releases are amazing, 7 of which are featured on his bandcamp site http://zookid.bandcamp.com/
. It will be interesting to see how his current material and future material mould into a debut EP or LP. Enjoy track Out Getting Ribs
Scorching guitar riffs, ethereal reverb soaked vocals, backed by a rhythm of monstrous proportions. This describes local songstress Abbey May's new single Design Desire; a thumping track blending blues and hard rock elements, with her trademark vocal blend which adds a unique psychedelic feel to the song. It’s a hard hitting track! Her rock image has plenty of attitude, tattoos and dark clothing encapsulated by her doll-like features. Future pin up? I think so! Abbe May has impressed audiences nationwide, and to promote her third album Design Desire, she will be playing the Annandale Hotel this Thursday the 25th August. It’s cheap, so get down and see the countries next rock star in full flight! Feel the force!
Hunting Grounds (formerly Howl), the 2009 Triple J Unearthed High winners return with their trademark high-octane rock with new single In Colour. Drawing on the sound that made their first 2 EPs, and their live show so energetic and wild, Hunting Grounds fuse their signature sounding double edged guitars with huge choruses which bring throbbing synths and catchy riffs, to create another killer track. Hunting Grounds harness the recklessness of youth through their music, resulting in some of the most energetic music in the Australian music scene. If you haven't seen their live show, you haven’t lived! They are completely out of control! They know exactly how to get the room moving. They support The Living End on their tour, playing a second Enmore show on September 4.
If you haven't heard Gotye's new release, you have been living under a rock. Arguably the hottest talent in Australian music right now, Gotye (originally dubbed Wouter De Backer) wowed Australian audiences with his swooning release with Kimbra 'Somebody That I Used To Know', and now has Australian audiences scrambling for his latest album Making Mirrors: last week’s feature album on Triple J. One of the most outstanding tracks off the record is State Of The Art, which is a song about his innate love for a multi-function Cotillion D575 organ his parents bought him, which made all other technology seem inadequate. If you can look past the incredible voice effects Gotye employs throughout the song, he is basically describing the features "I put the genie bass on, so my left hand can play the choir", over the top of some of the most interesting array of sounds, most of which were created on his ‘state of the art’ Cotillion D575 organ. Always pushing the barriers on the experimental sounds he creates, Gotye has once again created a masterpiece of music. The new album Making Mirrors has already made waves, overtaking Adele as number one on the ARIA Charts (FINALLY!), and completely selling out his October tour, including 5 Melbourne shows AT THE SAME VENUE. Currently the only chance to catch his live show is at Homebake in December! The incredibly well animated clip to State Of The Art is yours to enjoy below, which uses cartoon stylings remeniscent of 20th century Cartoon Network.
Swooning audiences is what the gorgeous Owl Eyes does best. In all aspects of her artistry. Owl Eyes is fresh wowing audiences on her support slot of the Darwin Deez Tour, in particular a clearly moved Deez, who was very vocal in his affections for her "I could think of nothing better than to sit in the park with Owl Eyes and drink cider, and maybe kiss her a little..." but then again who wasn't thinking that! Headlining a nation-wide tour this time round in support of her 'Raiders EP', Owl Eyes plays a FREE gig at Beach Road Hotel this Wednesday the 24th August, and returns to play GoodGod Small Club on Thursday the 1st September. Expect a wide range of indie kids swaying with a glassy unmovable gaze at this one! I decided to put up her cover of Foster The People's Pumped Up Kicks for your listening pleasure, but be sure to check out new single Raiders!
Tyler The Creator has a knack for creating heavy beats that dig in right under the skin, and make you squirm with the uncomfortable topics thrown down: suicide, homophobia, drug abuse in his family; to touch the tip of the iceberg. In his music, Tyler uses a paradoxical personality which has brewed inside him since his childhood, Wolf Haley, which is in the same realm as Slim Shady is to Eminem. Wolf comes across in many songs as an ultra-violent, out of control character who is at war with himself and the world, who takes over Tyler's head and is in Tyler's eyes is "ultra cool". The song Golden comes across as a rough biographical piece where Tyler literally argues against his (dubbed) alter-ego bringing up his problems "why didnt she get that abortion, cause that embryo was morphine" rapping about problems with family and friends, and loosing it mid song "fuck! i killed my fucking friend! fuck!" The ugliness of this piece of art ingrains itself in your brain, the rasp of this skinny skate rat rapper is strangely demonic and is often accompanied by a heavily dubbed voice which amplifies the mood of this album littered with sinful ecstasy. Yonkers opens with a heavy bass and whir which resembles those beats made famous in the 90s, broken by scattered piano notes. The beat is so dirty and the lyrics even dirtier "I'm Wolf, Ace put that fuckin' hole in my head and I'm Wolf, that was me who shoved the cock in your bitch" but also is also desperate "fuck the fame and all the hype G, i just wanna know if my father will ever like me". Goblin as an album is a desperate and hideous beast but will hit deeper than intitially thought. Tyler The Creator's vulnerability as a 19 year old skater comes across quite narcissistic, but raps with the tenacity of rappers 10 years his senior, not to mention the production quality. This is a violently unique piece of work from an artist who can translate his demons successfully into music. Impressive.