Favourite New Music Discoveries

I'm constantly listening to music but easily forget what I actually liked and what just kind of washed over me, so I thought a new music post was in order. This is partly inspired by a gig I went to in London last week, where I saw a few bands I'd never even listened to before I got tickets. I like opening up to new music, so here are my five favourite recent musical discoveries.

1. Palace

Palace are a four-piece from London, who I literally listened to for the first time today. I reviewed their new track, 'Head Above The Water' and I can't stop listening to it. They're kind of like Foals but with less of the harsh edge, and the vocals are lovely. I'm hoping to see them in October, and fingers crossed getting an interview too!

2. Natalie McCool

Natalie McCool is one of the acts I saw last week at the Sebright Arms. Her stage presence was effortlessly cool and her vocals were incredible. Her tracks are have jaunty pop inflections but aren't limited to merely being categorised as pop. She's pretty unique, and her voice is brilliant.

3. YOUTH

YOUTH was another act last week, and I had a lovely chat with her after her set. Her vocals are killer and her stage presence was so energetic, it was refreshing. Her music combines her amazing voice with fairly simple electronic stuff, but that works to her advantage as it makes the vocals the focal point. She didn't play my favourite track though, but has promised she will at her next gig.

4. Zola Blood

I wrote an introducing article about Hackney-based Zola Blood last week, and I'm still pretty excited about them. My favourite track of theirs is the dreamy 'Play Out', which intricately combines undulating synths and beautiful vocals.

5. Clean Cut Kid

I've had 'Vitamin C' as my go-to morning track all week. It's upbeat, jaunty and just plain lovely. I'm really excited to see what else these guys bring because if this track is anything to go by, they are ones to watch.

I seem to be trying to tailor this blog a bit more towards music, which is probably a good thing. But if I do anything else that's worth writing about, I will probably stick it on here anyway!

Summer Reading List

Although I'm going to be pretty weighed down by the hefty reading lists I already have for my modules next year, I definitely need to find time this summer to read things that I want to read. I'm hoping that I can get myself back into the swing of reading as much as I used to- at least then the plunge into term time won't be quite so daunting.

American Psycho is my first read of the summer. I've managed to read some of it in the sporadic spots of sunshine that I've spent in my garden, and it's style is very gripping. It's pretty intense, but I'm looking forward to finishing it.

I don't think summer would be complete without a proper chick flick - and who better than Bridget Jones? Granted, my love for her did go down a bit during a film adaptation module last year, but I still can't believe I've waited this long to read the third instalment.

I've been meaning to read this sci-fi masterpiece for about a year now. I actually ended up reading another of Dick's novels, A Scanner Darkly, and writing about it for a module. His style is at once effortless and intensely detailed, so the novel that Blade Runner sprang from should be a good read.

Lastly, I need something to fuel my everlasting love for Virginia Woolf. I haven't read anything of hers for a while, not since Mrs Dalloway featuring on one of my modules, so I'm happily going to throw myself into the poetics of this novel.

I'd love to say I'll get reviews up of all of these, but I probably won't...I'll just be content with setting aside time for reading again.

Review: Prides - The Way Back Up

The debut album from Glaswegian trio Prides is finally here. With the album’s lead single, ‘Messiah’ dropping ahead of its release, excitement has been bubbling for the unstoppable force that is the anthemic The Way Back Up.

‘I Should Know Better’ begins the album with punchy beats balanced by Stewart Brock’s consistently brilliant vocals, and a soaring chorus. But Prides do not leave it there. The track is elevated further by its synth counterparts before isolating its vocals, providing an exciting contrast to the anthemic ‘Messiah’. It’s ‘Messiah’ that catapulted Prides into the music world after their performance at 2014’s Commonwealth Closing Ceremony and it remains one of the strongest tracks on the album. ‘Higher Love’ is one of the band’s most recent releases, and its fun opening echoes childhood video game theme tunes.

Prides threaten to “tear it up” in ‘It’s Not Gonna Change’. Its opening’s synth construction reflects CHRVCHES’ work on The Bones Of What You Believe, before it builds to the foot-stomping power found on ‘Messiah’. ‘Out Of The Blue’ enters with a thundering drum, and is one of the catchiest tracks on the album. The band’s strengths lie in their ability to carefully layer repetitive lyrics in their tracks, without making it whiney or dull- which is what works for them on both ‘It’s Not Gonna Change’ and ‘Out Of The Blue’. The album’s title track falls penultimately on the album. Prides sing “We’re closer today and that’s enough”, hailing the album as something of a journey back to the surface. It’s uplifting. Reassuring, even.

Despite the consistent sound of The Way Back Up, there are still a few surprises along the way. ‘Same Mistakes’ is one of these surprises. It shows a softer side to Prides, opening with a carefully picked guitar melody and soothing vocals that showcase their talent behind the electronic work that has made their name. It’s a refreshing the track, providing an interlude from the album’s intensity without being out of place. There’s something beautifully raw about the melancholic ending to the album, too. ‘The Kite String And The Anchor Rope’ takes you by the hand and leads you out with a fading piano melody, making it hard to remember the upbeat excitement of opener ‘I Should Know Better’.

Prides have created something great with The Way Back Up. It’s intense, it’s fun, and it’s full of dreamy synthesisers. If you thought that they would provide an album saturated with anthems like ‘Messiah’, then you were mistaken. This album has diversity, and diversity makes for a winning debut.

My favourite albums of 2015 so far

A lot of publications are showcasing the best that 2015 has offered us in music so far. I'd like to do the same.

Kicking off this list is Wolf Alice's daring debut, My Love Is Cool. After its release, glowing reviews erupted left, right and centre- and mine was no different. I hailed the album as worthy of a five star review for its genre hopping diversity and its raw coolness that make it such a stand out debut.

Favourite tracks: 'Turn To Dust', 'Bros' and 'Silk'.

Summer Camp's Bad Love sparked my attention after watching Beyond Clueless, a highschool movie montage featuring an amazing soundtrack from the band. This was the first album in a while I had got really excited for, and after talking to Elizabeth Sankey on Twitter in the lead up to its release, I was so glad it didn't disappoint (not that I thought it would). The album is full of dreamy pop and excitingly fast-paced lyrics. It's fab.

Favourite tracks: 'Bad Love', 'Run Away' and 'Keep Up'.

Next up is the second album from Lucy Rose, Work It Out. As Rose said, the album is a little bit different- and it is sure to get people dancing. Not that she had anything to prove, but Work It Out shows listeners what Rose is about, and it is certainly bolder and more full of life than her debut. I'm glad she didn't just make a record that was exactly the same as her debut; whilst still maintaining the honesty of her music. The album packs a punch, and I am excited to dance around at her Autumn tour.

Favourite tracks: 'Our Eyes', 'Work It Out' and 'Lone Ranger'.

Another exciting debut to spring is Prides' The Way Back Up. I was lucky enough to get a stream for this album (ahem, records ed perks) ahead of its release at the end of the week. I gave it a lot of time, and it was ace to find diversity in place throughout the album, with a few surprises along the way. Prides have proven that they are ones to watch with this album, combining dreamy synthesisers and punchy beats.

Favourite tracks: 'Same Mistakes' and 'Not Gonna Change'.

When I ran for The Edge's Records Editor, my predecessor asked us all what we thought of Kendrick Lamar's To Pimp A Butterfly. I'd never listened to it (but luckily people still voted for me). Of course, when I went home, I did some research and got quite into the jazz and hiphop fusion that is this album. It oozes cool and makes you feel pretty badass if you listen to it whilst wandering around campus.

Favourite tracks: 'Wesley's Theory' and 'Institutionalised'.

This list is by no means extensive; I've also loved Everything Everything's Get To Heaven, SOAK's debut Before We Forgot How To Dream, and surprisingly, Snoop's BUSH. I'm excited for what the rest of this year will bring music-wise. Even this month is jampacked, with Tame Impala's Currents and MS MR's second album, How Does It Feel both on the way.

Update on...life

It's definitely been a while, to say the least. Whether that's due to business, lack of motivation, being snowed under with assignments or just not really thinking about writing- I don't really know. But the onset of the summer holidays brings with it an overwhelming sense of boredom, though I hate to admit it.

In reality, I actually have quite a lot going for me this summer. I've been lucky enough to get an internship at my university, working in the Marketing and Communications team, and four weeks in I'm loving it. I even got to spend a day handing out free cupcakes last week (which I think is now my ultimate career goal).

Internship aside, the best thing that has happened to me over the past few months is being elected Records Editor for The Edge. This basically means that I get to spend a lot of time writing about music, reading about music, and getting others to write about music. It's the most amazing opportunity and I genuinely feel so lucky to be able to work with such an incredible group of people. It's ace. I also got to interview the lovely Lucy Rose, who was an absolute gem.

Back to the reason I'm actually in Southampton, my degree. Academically, I've probably just had the best year ever. I got to study Women in Hollywood, Film Adaptation and an amazing module called Images of Women. You know when you imagine what English will be like at university; reading Virginia Woolf's A Room of One's Own, slating Freud and learning about great literary women? This module was all of that and more.

There's probably not a lot else to say. But maybe over this summer I will make sure I'm around a bit more and get writing lots (if I can find anything interesting to do/write about, that is!).

For now I will probably throw some reviews I've recently done towards you, so have a read if you please.

Review: The Lion King at the Mayflower Theatre (04/09/14)

Following 15 years at London’s Lyceum Theatre The Lion King is currently doing its first ever tour of the UK, with the first stop being Southampton’s very own Mayflower Theatre. Disney’s award winning musical, brought to life for the stage by Julie Taymor, has now been seen by over 70 million people worldwide and cannot only be seen here in the UK, but in five other countries around the globe.

The Mayflower Theatre set the perfect backdrop for the show, so it is no surprise that with it came record-breaking ticket sales. The fairly small venue allowed for an heir of intimacy as the sun rose on the stage and the audience was transported from Southampton to the Serengeti Plain where Simba’s epic journey takes place.

Many will remember the spectacular opening of Disney’s animated film featuring every animal of the Savannah joining together to witness the presentation of Simba accompanied by Elton John’sCircle of Life. This spectacle was not by any means hindered by the limitations of stage production, audience members gasped as all animals (represented by both costumes and clever puppetry) took to the stage to welcome the new cub. Unlike with other musical productions, The Lion Kingrequired short adjustment to adapt to the puppetry of animals without the easy representation of an animated film. It was orchestrated beautifully, making it easy for the imagination to take over.

The first act of the show takes us through Simba’s journey towards adulthood, including the moving death of his father Mufasa. With much of the dialogue and songs being lifted directly from Disney’s film, this somehow did not detract from the enjoyment. It proves to be quite possible to find great enjoyment despite knowing the exact outcome which demonstrates the splendour of the costumes, dance and performance as a whole. The stampede chase leading up to Mufasa’s death was executed brilliantly, combining row upon row of wildebeest as backdrop as well as dancers to create the tension of the chase. Mufasa’s death was nothing short of heart-breaking, which gives great credit to the actors of father (Cleveland Cathnott) and son.

What truly made the show a success was the masterful use of puppetry, costumes and particularly the masks; many of which were designed by the show’s director, Julie Taymor. Not only were masks used on the characters throughout, but also in representation of the dead Mufasa. With the song He Lives in You, cast members formed a giant lion head from separate pieces that filled the backdrop of the stage. The show seamlessly combined puppetry and live action with some scenes, the most obvious being the fight scene between hyenas and lions, flitting between the two as a showcase of both the actors’ talent and the artists’.

The finale of the show, following the dramatic death of the show’s spineless villain, Scar (Christopher Colquhoun), brought the audience full circle with the Circle of Life, echoing the beginning of the production. Performed with the same precision as the opening, the finale was a great end to the show that cannot be described as anything but spectacular, bringing all of the animals of the Savannah together once more.

Something The Lion King stage production has that the film does not is the inclusion of traditional traits of the film’s African setting. It is Rafiki, the wise baboon (Thulisile Thusi), who truly sets the scene of the Serengeti from the opening of the production with her use of language which is continued throughout with dance and costume. This is definitely something that is missing from Disney’s animated film, and was a great addition to the show.

The only criticism that could be passed was that some of the humour bordered on pantomime comedy which proved a little awkward at times. However, some of the jokes fondly remembered from the 1994 film were topically updated which made the show more relevant to its audience; and example being the swapping of Zazu’s rendition of Merv Griffin’s I’ve Got a Lovely Bunch of Coconuts with The Proclaimers’ I’m Gonna Be (500 Miles) much to some peoples’ dismay! That aside, the use of comedy throughout the production to break the tension of more serious matters made the show absolutely perfect for all ages.

Although The Lion King’s time at the Mayflower Theatre has now sadly come to an end, it is of course continuing its run at London’s Lyceum Theatre, as well as continuing its UK tour in Sunderland, Cardiff and Manchester.

9/10-The Lion King is nothing short of a spectacular transformation of Disney’s childhood favourite, with stunning music lead by Jonathan Gill, and amazing artistry of costumes and puppetry throughout. A perfect musical to be enjoyed by all generations and a credit to the Mayflower Theatre!

Review: Arcade Fire at Earls Court (06/06/2014)

In their first show in London for three years, tickets were sold out for Arcade Fire’s return at Earls Court on both the 6th and 7th June. The two dates serve as a build up to the climax of the ‘Reflektor’ tour at Hyde Park’s British Summer Time on 3rd July- which is also set to be their last London performance of 2014. Friday 6th June saw the band joined by a DJ set from Pulp’s Steve Mackey, and an amazing performance from Owen Pallett who later joined the band on stage for the main event of the evening. They were even joined at one point by Echo and the Bunnymen’s frontman Ian McCulloch for a cover of ‘The Cutter‘ that was originally released in 1983. Those attending the gig on Saturday will be treated to live performances from both Lorde and 2 Many Djs.

The request made by Arcade Fire on their Twitter on Friday, asking fans to wear either fancy dress or formal attire, was taken very seriously by some. Earls Court was brimming with glitz and glamour, and all costumes from robots to princesses, to the lion from the Wizard of Oz. Having the dressing-up element present at the gig made the event truly unique and created nothing short of a great atmosphere- that was raised higher once fans stepped inside of the main venue. Earls Court was decked out in disco balls and strings of fairy lights, and even included someone dressed entirely in a suit made from reflective material appearing on the second stage at certain points of the night. Arcade Fire truly went all-out with the ‘Reflektor’ theme!

As a seven piece band, I can imagine that the stage presence of Arcade Fire is always huge, but Friday and Saturday saw the band as a staggering eleven-strong band. Not only were they joined on stage by Owen Pallett, who had supported them earlier in the night, but previous core member Sarah Neufield and two additional percussionists. Despite the vast number on stage, it was frontwoman (wife of frontman Win Butler) Régine Chassagne that stole the show with a stunning performance. During Afterlife, Régine made her way to the second stage in the venue, that was in the centre of the crowd. Surrounded by dancers dressed as skeletons, the whole crowd turned to watch her and seemed to be totally transfixed by her performance- making her the stand-out member of the night.

Arcade Fire’s two hour set was kickstarted by the title track of their fourth album, ‘Reflektor,’ which was perfect for setting the mood of the evening. All of the band’s visuals corresponded to the theme of ‘Reflektor,’ with the band surrounded on stage by mirrors and a hall full of disco balls. The highlights of the night included ‘Neighbourhood (Tunnels)‘ and ‘Wake Up’ from the band’s first album, Funeral, the title track of ‘The Suburbs,’ and ‘Joan of Arc.’ A personal favourite for me was ‘No Cars Go‘ from Neon Bible. Having said this, every song was performed with the same precision and the experience was amazing.

The band covered a huge range throughout their set from all four of their albums, which can’t have been anything but a treat for the whole crowd. We have definitely been left wanting more, so it’s probably a good thing that tickets are still on sale for their performance at Hyde Park where they will be joined by Jake Bugg, Wild Beasts, Band of Skulls and Future Islands.