Green Day

Still as energetic as in 2005, still as interactive, polished, silly and powerful a presence on the stage.

The entire audience sung along to near every song, swayed arms, crowd surfed, moshed, danced, clapped and serenaded the band throughout their three hour, double entendre encore feast of a performance. The energy was high as Billie Joe regularly dragged audience members up to sing along, dive off stage or take over the band’s instruments - a night after night ritual, rather than a choreographed piece.

Everything feels natural, and though you know these things happen night after night, it feels fresh, genuine, electric and fully breathes of enthusiasm.

Fed from the audience’s energy amix with crazy tearing fans, men dodging security to snog the band and entire verses performed purely by the chorus of 20,000 attending, this is not a chore to attend or to play. This is a priviledge.

They know that, we know that. Now you do.

“Its something unpredictable and in the end that’s right. I hope you had the time of your life”

--Tagged under: green day--

--Tagged under: o2--

--Tagged under: review--

[Flash 9 is required to listen to audio.]

ilovethatband:

Perverts in Love - Banana Leaf

OK, so this is Holly Brook produced by Apathy… I guess that’s the name they go by - Perverts in Love. I had another track by these two called Get High, but I found this a little while ago and its pretty awesome.

I first heard of Holly through something called Fort Minor, which was Mike Shinoda of Linkin Park’s rap album… whatever. She sung the hook on Where’d You Go, which was the only hit single from it, and she had an album called Like Blood Like Honey which was pretty amazing (check out Saturday, What I Wouldn’t Give, Wanted).

Apathy was also on that Fort Minor project on the mixtapes but I knew of him through Demigodz, a rap group collective who mix guns and violence with intelligent humour and have pretty tight beats making them fun to listen to. I’ve always liked Ap’s ear for production, and it comes across great on this.

The beat has quite an asian/indian sound sample to it, with a simple drum layer and wicked Holly Brook vocals. She has a great range, mix of pitch and tone to her cadence and it just kinda kicks ass really.

Really good song. Give it a listen and let me know if you like it. Don’t know if its a demo or if its meant to be coming out at some point but I recon it won’t harm to have a few people hear it here ‘n there.

Whilst sharing many similarities with Jason Mraz - growing up in Virginia and moving to LA to grow as a musician, the same initials and first name, beautiful vocals and a tanned, welcoming and friendly face - Jason Manns is every part his own singer. Comfortable with the crowd in this small intimate venue, The Camden Head, he talks freely and comically about his travels on this current trip, from playing in a Castle for his friend’s wedding - the same that Zeppelin recorded at - to selling out the following night’s show. “It sounds cool, ‘til you think that it only fits 7 people to start with” he quips. Still, the entire room is filled, and all eyes are on him attentively, in this moment.

Jason Manns grew to public attention nationally, and internationally with the growing success of the popular Sci-fi TV show “Supernatural”, which stars longtime friends of his Jensen Ackles and Jared Padalecki, and for which he’s contributed music but his main connections were made meeting fans and playing at the conventions. Never one to shy away from an enthusiastic appreciator of his friend’s talent, I think his warm and mellow way of interacting with everyone has made him someone you have to see live, much like you have to see your friends who are visiting from abroad. It doesn’t even need a second thought.

The set lasted well over an hour and a half, just one man and his guitar. He took audience suggestions, some of which he simply attempted in a capella (Stand By Me), others he accompanied and there was a good mixture of cover songs (Sitting On the Dock Of The Bay, a Michael Jackson song, Kiss, and his awesome rendition of Hallelujah) and original material, such as Journey and I Remember. Transitions didn’t seem to matter because no-one really wanted it to finish but as each treat began, we savoured every second.

As the show came to a close, Jason stayed behind talking to everyone, hugging, signing and taking photographs and trying to remember as many names as he could. He is definitely one to look out for, invite in and give cake to. Below is a video of Jason Manns - Your Eyes. I chose this specifically because of the subtle and relaxed way of the performance. I’m sorry you can probably hear me on it.

--Tagged under: jason manns--

--Tagged under: live music--

--Tagged under: review--

--Tagged under: awesome--

The Chain - Fleetwood Mac and Lauren Zettler

The Chain - Fleetwood Mac

I have always loved Fleetwood Mac, and always enjoyed this song especially the bass line at the end which became synonymous with Formula 1 racing in the United Kingdom but I swear to God, Lauren Z’s bonus track version made me love this song as one of my favourites of all time.

The guitar solo on Fleetwood’s sets it apart in one sense, whilst Lauren’s vocal approach make it a whole different song hitting me with the impact of the words, which are easier to overlook in the overall smotheringly brilliant musical collaboration of all members of Fleetwood Mac…

I could listen to the two back to back and not even really know they were the same song. One makes me quietly reflect on failed relationships, on stopping and asking “Do you love me? If you don’t love me now, then you will never love me again”… she has split it away from F1 which in a sense undermines the song. I hear F.M’s and I think fast races, a fast life. A quick temporary relationship. I think of bed spreads and leaving before you get the name, or number. I think of fast loving, coming and going, being and existing without so much of a purpose as to rush life away.

Lauren’s makes me think of the tragedy of romance, the fatigue of relationships and the most important moment you will ever experience, when you are told by one you care for, that they not only LOVE YOU, but ARE IN LOVE WITH YOU.

The two are separate, and I won’t go into detail, but I love my friends and many musicians, I love songs and I love instances of time. I love experiences and I love memories but to be IN LOVE - that’s with someone, and that’s a whole larger, more joyous and stressful, embarrassing and careful, precise emotion. Chains, keep us together.

--Tagged under: F1--

--Tagged under: the chain--

--Tagged under: fleetwood mac--

--Tagged under: lauren zettler--

--Tagged under: love--

http://www.myspace.com/allisonweiss or http://allisonweiss.tumblr.com/ The tumblr-fiend’s first full length album (that I am aware of) “& the way she likes it” was released just under a month ago. I’ve had it on the iPod for maybe 2 or 3 weeks. I’ve played the songs several times. I believe today was the first time I’ve really /listened/ to them. You know how you’ll have music playing but lines won’t stand out, things won’t cling to you or demand “LISTEN TO ME. WHAT I’M SAYING IS PROBABLY GOING TO FEEL RELEVENT”… I was sort of having this with the album. Nice sound, just wasn’t punching me in the gut. That is until I actually stopped for a minute to listen to The End a second time to make sure I’d got the chorus right… and outstanding it is. I’m Ready Now the album opens with “I’m Ready”. Great up tempo catchy folk-ish song with a subtle drum rhythm and easily learnable chorus. This will be the song that lures you in but strangely enough reminds me of The Ballad of Chasey Lane (Bloodhound Gang) at 2.15 where she says “Are you in or out [Say yes]” which reminds me of “Do you suck for blow?” (spoken) … Ok irrelevent. The two are nothing alike. One’s a comical track about a porn star, the other’s a song about taking a leap for commitment “Hey, don’t act suprised. / I say let’s take the dive /          off this cliff. Yeah, this is it, or could be, anyway.” - this is actually how I try to live my life when able. I like to attempt spontaneous living and be willing to just take that dive and see where I end up. If I get this stuck in my head every time I try to do something without pre-planning, this could be a song for the winter… “Dreams can’t get me close /to you and neither can the coast. / These beaches are no remedy / for missing you to death.” That part really hits home… personal. I can only assume that she writes from the heart. I don’t know her, so you can never tell the full extent of their inspiration. I sometimes write based on films, sometimes on my experiences and often on others around me struggling with the pressures of the world. You don’t come up with “‘Cause I don’t want to be here. / I don’t want to see you / have the time of your life, / the time of your life. / And I just want to let go, / but you had me from the get go. / Have the time of your life, / the time of your life without me.” (I don’t want to be here) without having been at that party, or on that website or login into facebook or a text from a friend… or any of those moments where you see your ex is getting on fine without you. Part of you still wants to be missed, part of you (especially if its bad) wants them to never get over you. It stands out, and it reaches in and holds you, fixing your gaze on the very things you’re trying to avoid. I love it. My mum sings “I just want you to go, over to Tesco, and get some bread and a knife, bread and a knife, and then maybe we’ll go, to San Fransisco, with that bread and a knife, bread and a knife, and some cheese”… I don’t think it’ll catch on. The End “Boy, you make it easy to forget we ever met /All this talk of keepin’ touch, there’s been no talkin’ yet / So tell me when you’re ready, man, and I’ll call you my friend / But I don’t mind / Calling this the end” I think this is the most powerful opening line on the 6 track album. All those “Lets stay in touch”… Sometimes you do, sometimes you don’t. It can hurt a lot. She sounds (even a year plus after writing it) to hold the emotion strongly at heart. Break ups that drag out can do that to you. The final song from the album is a slower pace. I think its about laying in bed with the one you love(/like/kiss or hate) and just letting the day fade away. Very calm, very loving and a great conclusion. Every performance is really organic. From the handclaps on Let Me Go, the acoustic guitar strums to the single-channelled vocals (i.e. not a billion layers, a vocal tuner, a thick thuddy noise to cover the voice subtly etc.,) It could almost be a live album with the banter cut out. Her brother’s guitaring on The Disappearing Act is pretty great. Would make a nice guitar hero track. Its a short album, so you can afford to listen to her four or five times in a day without even noticing the time fly. Its office-friendly, free of swearing, organic, healthy and exorcises your own inner demons whilst expressing her own means of release. It is released independently, and it is definitely worth supporting. Brilliant CD. Go pick it up. Sidenote, when I decided to quote lyrics for this I thought I’d find an actual lyric site for that so I don’t get them wrong. Thanks to the genius of her own web-savvy nature, you can type into firefox “Allison Weiss Lyrics” and lo and behold, you reach http://www.allisonw.com/lyrics - clever. I’d also like to point out how difficult it is to choose a segment of her lyrics from these songs as they aren’t tracks with “one line here or there” worth listening to, but fully brilliant and well organised assemblages of lyrics. She is a natural writer it seems, and one to look out for in the future. Word of warning, do not leave on repeat or it will go through five or so cycles before you remember to stop it.

http://www.myspace.com/allisonweiss or http://allisonweiss.tumblr.com/

The tumblr-fiend’s first full length album (that I am aware of) “& the way she likes it” was released just under a month ago. I’ve had it on the iPod for maybe 2 or 3 weeks. I’ve played the songs several times. I believe today was the first time I’ve really /listened/ to them. You know how you’ll have music playing but lines won’t stand out, things won’t cling to you or demand “LISTEN TO ME. WHAT I’M SAYING IS PROBABLY GOING TO FEEL RELEVENT”… I was sort of having this with the album. Nice sound, just wasn’t punching me in the gut. That is until I actually stopped for a minute to listen to The End a second time to make sure I’d got the chorus right… and outstanding it is.

I’m Ready

Now the album opens with “I’m Ready”. Great up tempo catchy folk-ish song with a subtle drum rhythm and easily learnable chorus. This will be the song that lures you in but strangely enough reminds me of The Ballad of Chasey Lane (Bloodhound Gang) at 2.15 where she says “Are you in or out [Say yes]” which reminds me of “Do you suck for blow?” (spoken) … Ok irrelevent. The two are nothing alike. One’s a comical track about a porn star, the other’s a song about taking a leap for commitment

“Hey, don’t act suprised. / I say let’s take the dive /  off this cliff. Yeah, this is it,
or could be, anyway.”
- this is actually how I try to live my life when able. I like to attempt spontaneous living and be willing to just take that dive and see where I end up. If I get this stuck in my head every time I try to do something without pre-planning, this could be a song for the winter…

“Dreams can’t get me close /to you and neither can the coast. / These beaches are no remedy / for missing you to death.” That part really hits home… personal.

I can only assume that she writes from the heart. I don’t know her, so you can never tell the full extent of their inspiration. I sometimes write based on films, sometimes on my experiences and often on others around me struggling with the pressures of the world. You don’t come up with “‘Cause I don’t want to be here. / I don’t want to see you / have the time of your life, / the time of your life. / And I just want to let go, / but you had me from the get go. / Have the time of your life, / the time of your life without me.” (I don’t want to be here) without having been at that party, or on that website or login into facebook or a text from a friend… or any of those moments where you see your ex is getting on fine without you. Part of you still wants to be missed, part of you (especially if its bad) wants them to never get over you. It stands out, and it reaches in and holds you, fixing your gaze on the very things you’re trying to avoid. I love it. My mum sings “I just want you to go, over to Tesco, and get some bread and a knife, bread and a knife, and then maybe we’ll go, to San Fransisco, with that bread and a knife, bread and a knife, and some cheese”… I don’t think it’ll catch on.

The End

“Boy, you make it easy to forget we ever met /All this talk of keepin’ touch, there’s been no talkin’ yet / So tell me when you’re ready, man, and I’ll call you my friend / But I don’t mind / Calling this the end” I think this is the most powerful opening line on the 6 track album. All those “Lets stay in touch”… Sometimes you do, sometimes you don’t. It can hurt a lot. She sounds (even a year plus after writing it) to hold the emotion strongly at heart. Break ups that drag out can do that to you.

The final song from the album is a slower pace. I think its about laying in bed with the one you love(/like/kiss or hate) and just letting the day fade away. Very calm, very loving and a great conclusion.

Every performance is really organic. From the handclaps on Let Me Go, the acoustic guitar strums to the single-channelled vocals (i.e. not a billion layers, a vocal tuner, a thick thuddy noise to cover the voice subtly etc.,) It could almost be a live album with the banter cut out. Her brother’s guitaring on The Disappearing Act is pretty great. Would make a nice guitar hero track. Its a short album, so you can afford to listen to her four or five times in a day without even noticing the time fly. Its office-friendly, free of swearing, organic, healthy and exorcises your own inner demons whilst expressing her own means of release. It is released independently, and it is definitely worth supporting. Brilliant CD. Go pick it up.

Sidenote, when I decided to quote lyrics for this I thought I’d find an actual lyric site for that so I don’t get them wrong. Thanks to the genius of her own web-savvy nature, you can type into firefox “Allison Weiss Lyrics” and lo and behold, you reach http://www.allisonw.com/lyrics - clever.

I’d also like to point out how difficult it is to choose a segment of her lyrics from these songs as they aren’t tracks with “one line here or there” worth listening to, but fully brilliant and well organised assemblages of lyrics. She is a natural writer it seems, and one to look out for in the future. Word of warning, do not leave on repeat or it will go through five or so cycles before you remember to stop it.

--Tagged under: allison weiss--

--Tagged under: review--

Listen to my music, but don't be honest

--Tagged under: feedback--

--Tagged under: criticism--

--Tagged under: review--

--Tagged under: compliment--

--Tagged under: growth--

--Tagged under: success--

--Tagged under: music--

You only give them 30 seconds, i'm the full 5 minutes

--Tagged under: myspace--

--Tagged under: low bitrate music--

--Tagged under: samples--

--Tagged under: sharing--

--Tagged under: piracy--

Sing my song with me

--Tagged under: fan interaction--

--Tagged under: facebook--

--Tagged under: myspace--

--Tagged under: artist and audience--

--Tagged under: music--

--Tagged under: itunes--

--Tagged under: writer--

The Clik Clik, Dan Black and Milke in Hoxton

Quick bit of Geography. For those of you not based in England, Hoxton is North London. Nearest tube is Old Street. In Hoxton you will find many glorious bars to drink at, to hear music and to see the trendiest, calmest, friendliest and sometimes craziest of people outside of Camden. Don’t be put off by the outward appearance of some venues - its what’s inside that counts, and in many cases the inside has the sound systems, the swanky bars (I’m bringing it back) and the entertainment, colour and mood that many London bars lack. For one, it doesn’t feel intimidating to enter. None of these “shoes/suits/look like you’re a businessman with no sense of individual fashion outside of cufflinks” regulations that we all so love. Simply go as you are… well you should probably wear some clothes but you get the point.

Last night (27/8/08), I checked out The Hoxton Bar and Grill. Friends of mine, The Clik Clik, were headlining an evening and from what you’ll hear on their page, their iTunes or in their live shows, its pretty catchy stuff. They’ve gotten rave reviews from Hadouken! (who actually took them on their national tour), Alphabeat (again, another national tour as a result) and Zane Lowe of Radio 1 (who is one of the most bad ass Radio DJs known to man) and this was their second show since returning from a two week residency at the Ibiza Rocks Hotel.

We arrived early (around 8.30 or so) and immediately got caught in the happy energy of after-work drinks from a nice variety of people. Settling with a Kirin (and fighting away the urge for Sushi) we began to soak in the atmosphere as the bands finished up soundchecking, before ushering ourselves past the queues and into the performance room around the back. Two large daunting doors, thick enough to suppress the sound, blocked any noise from leaving and the floor was already packed - complete thick with it. The site says a 400 capacity crowd space but it was just a sea of hairstyles and barely moveable. Not my favourite time but great to see unsigned acts drawing a good crowd.

The openers were a sort of 80s style electro pop act called Milke who were a great energy and gave me the occassional vibe of secretly filming a porno to some of the pulsating choonage (not me personally, but the amount of cameras there you never know HOW the afterparty went down). I can’t remember specifically how each or any of the songs went, just that I enjoyed their show and bounced a fair bit throughout (whenever I wasn’t spilling my pint and pissing off those around me).

They were followed on by a guy called Dan Black, who has been given the priveledge of Zane Lowe’s single of the week, due to his cover of Notorious B.I.G’s Hypnotize (go to the page and give it a listen/watch the video). Now the first impression of Dan is that he looks like a mixture of Freddie Mercury, Mika, Mark Ronson and the frontman from The Killers, all wrapped up in some -too tight to breathe- jeans. He had a band with him - a guy with live cymbals and electronic pads + laptop, a guy on a keyboard (and then bass) who really reminded me of one of the band members in the film Almost Famous, but who played seriously great riffs, and another on keyboard and trigger samples. All four sung harmonies together with Dan taking lead. Dan himself was either vocals/dancing or on his guitar and from the get go, the mood lifted into a more party-electro-pop vibe.

The whole band’s bodylanguage was that of a constant flirt, both with the audience and amongst themselves. The rhythms were subtle, yet strong and it built in momentum throughout. They moved from song to song so swiftly that by the time Hypnotize was on, the only thought in my head was how similar the drums sounded to Umbrella (which scarily enough, it actually uses). This is one of the better covers I’ve heard this year. You wouldn’t even realise what song it was til the chorus, and even then it only sounds like he’s borrowing aspects of lyrics til the second verse kicks in and it becomes apparent that this is actually an epic recreation of a classic track. Definitely worth checking him out at somepoint, though I couldn’t find any songs on iTunes, he did say that he is planning to get a 7inch out sometime soon, but I think he just wanted in my pants.

And so we conclude with The Clik Clik. Vibrant energy, happy smiles, and tonnes of youth to spare sees this four piece from Saf Landan bringing the indie-grime-pop-rock prowess to a much wider stage than Madame Jojos could ever imagine. They break straight into the set with Can’t Take You Anywhere, the band’s first B-side (to My Dunks, the song Zane Lowe played). The realistic and essentially raw lyrics of “whenever you get drunk, you are an idiot”, and “you’re immature and hard to bear, I can’t take you anywhere”, we’re given a glimpse into how frontman Stefan is sometimes regarded. I think I read or watched (youtube is an excess of information that is easily consumed and forgotten) an interview where Stefan said he had written the song as a response to how he was viewed by friends when drinking irresponsibly. Its not preachy, just direct and to the point.

The follow up is their 2nd single (and the video can be found on their YouTube page) Did You Wrong. Simple story - boy and girl are friends. Boy ‘fucks up’. Boy apologises. Girl forgives. Boy repeats. Boy tells girl to stop forgiving. Boy and girl celebrate that their friendship is important/good enough that even though he fucks up, she always forgives (and probably vice versa). “Now how can I ever answer you, if forgiving me is all you do?” This is probably one of my favourite songs of theirs. The rest of the set order is a bit of a blur but included Girlfriends, Little L, This is Life, a new song who’s name I keep forgetting but is a bit of a grower, Went to a Party (but I was feeling sober, so I couldn’t move) and still omited to include My Dunks. Good times though. The cowbell on Girlfriends is more than reason to attend a show, let alone the chance of hearing someone fit hyperchondriac-a-something-or-other into a sentence without sounding ridiculous.

--Tagged under: dan black--

--Tagged under: the clik clik--

--Tagged under: milke--

--Tagged under: hoxton--

--Tagged under: live music--

--Tagged under: review--

Reading Festival 2008, Dizzee Rascal, Queens of The Stone Age, Rage Against The Machine, 8 Fold

When most people have asked me how Rage Against The Machine were on Friday night at Reading, I have been reluctant to really review them. To be honest, I preferred Queens of The Stone Age, Dizzee Rascal and dancing around with multiple beers, but by the time Rage hit the stage and played, I was closer to grass stained then amazed. I just… sat. Got a cup of tea, a half pounder cheeseburger (you have to take the risk once or twice in life, and uncooked beef from a festival is one risk too many) and sat to listen to Zach get political whilst Tom and the rest do their thing.

One thing I’ll say, is that Tom is every bit as good on the record. To be honest, they all sounded brilliant, though my main fault I found with this show, was that Zach, amidst a rant the length of the English Channel, told us we could “…be free of Tony Blair…”

I was quite glad of this revelation, because I had been under the impression that secretly he was still prime minister a year after stepping down for Gordon Brown, and Zach confirmed this outdated senile moment of mine with impressive reasoning. After all, we’re being oppressed and lied to. It only makes sense that its Tony Blair secretly in a laboratory underneath the earth’s crust right? Right? No… I didn’t think so.

Friday morning was a bit of a rush. A can of lager on the train, a mass of conversation with passer bys, some hugs and helping friends find friends. Maria and I spun straight for the main stage in time for Dizzee Rascal’s set to begin and I’ve never seen such a change in my surroundings. We had walked into an area who were really anti-him, and whilst I don’t think this would’ve been the best of ideas, at a festival you have to try something different, so we hyped our area up and got the gun-shots (noise, not bullets) going. I danced a lot to that set, nearly lost my shoes and crashed outside of it to get my second drink of the day. I can’t even think who else we saw on the way towards Queens… I think The Enemy, Libertines? (can’t remember the band name but it began with an L and had a song that literally goes “da dum da dum da dada dum, oh you must be a girl with shoes like that…” I accidently launched Louis’ beer half way into the crowd when spinning like a helicopter and by the end of that set decided I’d take things calmer.

Photos courtesy of Alice. Dancing courtesy of Jon/Louis Entertainment.

Now for those who haven’t seen QOTSA, or aren’t familiar, then yes, they are that “3s & 7s band from Guitar Hero and Rock Band”, though they are much, much more than a commercially accessible rock group. They are, to quote Mr Mills, “the balls”. They are amazing. They have the right mix of fan interaction, cliche statements and rebellious cheer that make for great fronting of a band. Josh Homme is brilliant. Their line up changes less frequently than Nine Inch Nails but borderline more-so than Pussy Cat Dolls. Their songs have a raw edge that still glows with polished finesse. The lyrics will hit you but the guitar solos will really get you moving and if Little Sister, Regular John, Avon, Sick, Sick Sick, or 3s & 7s don’t motivate you to move your ass and jump about, then you are dead. I don’t mean that metaphorically, I mean, I will send Louis over to kill you. Leave your address in the comments.

Sunday evening, I ventured to see 8Fold down in Guildford, at The Boilerroom. Whatever you’ve heard about that place is probably true. It has an airlock that leads to the beer garden, they make beautiful noodles in a box and the alcohol is reasonably priced. Let me also make it clear that if you mention tea at a show, the Brit in me freaks out. So when a band like 8Fold play, I am intrigued and interested. Fronted by a rapper with great interaction and high energy, this jazz-funk-rock group are a perfect mesh of music and lyric. With humourous content on a song about Brew “What do you say when I say TEA? YES PLEEEEEEASE” and serious mixtures discussing the negative content of television and media programs and outlets on Click Click (not to be confused with the pop-indie band The Clik Clik). They got the crowd moving, had a prize for best dancer and swam through songs with ease. Definitely recommend seeing them if you get a chance.

--Tagged under: rage against the machine--

--Tagged under: live music--

--Tagged under: reading festival--

--Tagged under: queens of the stone age--

--Tagged under: 8fold--

--Tagged under: dizzee rascal--

--Tagged under: music--

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