Secret Garden Party announce more of their lineup!
Secret Garden Party, a summer music festival in Huntingdon, Cambridgeshire, has just added a new batch of artists to its lineup for 2010. Joining the already announced Marina & The Diamonds, Gorilla Sound Systems and Adelaide’s Cape now are the following folks:
Jolly Boys ft Albert Minott come all the way from Jamaica to make a very special appearance, and the first in decades, on the main stage.
http://www.myspace.com/albertminott
After a number of years planning a new album and something special, indie dance act Delays return and play SGP.
http://www.myspace.com/delays
Reverend and The Makers bring you Reverend Sound System… a mind blowing mix of live instruments, vocals and a whole lot of technology.
http://www.myspace.com/reverendmusic
And the following:
Alex Metric DJ set
http://www.myspace.com/alexmetric
Danny and the Champions of the World
http://www.myspace.com/dannyandthechampionsoftheworld1
Sunday Girl
http://www.myspace.com/wearesundaygirl
Run Toto Run
http://www.myspace.com/runtotomusic
Anna Calvi
http://www.myspace.com/annacalvi
Nive Nielson
http://www.myspace.com/nivenielsen
I Am Arrows
http://www.iamarrows.com/#
Ralfe Band
Trevor Moss and Hannah Lou
http://www.trevormossandhannahlou.com/
Zero 7 DJ
http://www.myspace.com/zero7official
Adam Freeland DJ
http://www.myspace.com/adamfreelandmusic
Filthy Dukes DJ
http://www.myspace.com/filthydukes
Stopmakingme (DJ)
http://www.myspace.com/stopmakingme
Tayo (DJ)
Rachel Barton (DJ)
http://www.myspace.com/rachelbartondj
Takeda sign to Dustbowl Records
“All I know is that we’re keen to avoid letting Takeda become about three people who make music, rather than music made by three people.”
The latest signing from independent Norwich label Dustbowl Records – the outfit responsible for Adelaide’s Cape – has just been announced. The wonderful Takeda will release their debut EP ‘Hufsa’ through Dustbowl on September 6th.
This supremely talented three-piece, hailing from a town just outside Norwich, take influences from a range of different genres. Their unique brand of music combines elements of alternative, fusion, world, ambient, folk and folk rock, forming a sound that they describe as ‘raga rock’. They might be relatively new faces on the Norwich music scene, but this trio are already creating a name for themselves with all the right people.
Takeda’s debut EP, entitled ‘Hufsa’, will be released on September 6th through Dustbowl Records. Details of a launch party for the release and subsequent live dates in support of the release will follow over the summer.
They are currently offering a free MP3 download of a song called ‘A Million Years’ via this link.
Interview | Jeffree Star
Last week, I caught up with androgynous model, actor and singer Jeffree Star at Glasgow’s O2 ABC Acadamy before his sell-out international tour performance.
Sitting on a couch surrounded by Jack Daniels and Oreos, we discussed his debut album, “Beauty Killer”, his progression as an indie artist and the misconceptions that surround his persona. Titled the Queen of the Beautifuls and a self proclaimed “mannequin”, I wondered if I would be leaving in a Louis Vuitton body bag, or if he’d show a glimpse of what’s behind the MAC cosmetics and haute couture.
After two E.P. s and your download-only releases, you finally released your first album, “Beauty Killer”. To compare your newer works to your older tracks, what would you say the main differences are?
I think in the beginning I was just kinda like joking around and just making shit up – y’know, for fun. I wasn’t taking anything really seriously. So for Beauty Killer, I’d toured for two years and worked with a lot of different people. I knew what I wanted to sound like and I had way more production and spent more time on the lyrics too.
You allegedly said in an interview that you had “never really made music that [you’ve] been 100% proud of”. If you had to choose one track, which one gives you warm fuzzy feelings inside?
I think – when I said that – I meant, like, that I wasn’t very happy with it. I love “Beauty Killer” the song. But “Prisoner” was the first song that I actually did for the album, so it was a good way to launch into it all.
You announced on your Facebook and Twitter that you would release your third E.P. this summer, yeah?
I was going to but now I think I’m just going to do a whole new album, so maybe for the end of the year or early 2011. I did three songs before I flew over here, so..
Can you give me any info on them or…? I hear that Ke$ha and Blood on the Dancefloor are going to collaborate with you?
Um, the songs are really high-energy dance music. Oh, I did 3 songs for the new BOTD record so… – and I was gonna be on Ke$ha’s record but I got taken off – [laughs] yeah, I know! – A&R people and all their drama.
Considering your recent iTunes chart success, the recording of the “Get Away with Murder” music video and your sell-out tour, what would you say to people that branded you as generic and mediocre in the beginning?
I’m sure a lot of people didn’t think I’d last this long. They thought I was just this internet thing. But then when it progressed to all my clothing in stores, selling out and all the music – it kinda just shows for itself y’know? So I just laugh at people that talk shit.
– Which brings me to what I’m next about to say: what do you think the biggest misconception of you is – as a performer, as a singer, but most of all as a person?
I think people don’t think that I can sing live because I use backing tracks, too. That’s always what people always talk shit about but I actually do know how to sing. And as a person, everyone just sees what’s on the internet and obviously they don’t know me. Everyone just thinks I’m a bitch, I think. I just get “oh wow, you actually weren’t mean” – people always have misconceptions.
People see you as a bitch and the Ice Queen…But it’s nice to know that there’s someone so successful as yourself and still be human.
Exactly! If people really listen to my lyrics or saw my funny videos, I’m always sarcastic.
So you say you’re sarcastic and that you put on a show. There’re artists, for example, Beyoncé who says she transforms into Sasha Fierce when she performs –
– I think her people tell her to say that. But I love her though, yeah –
– Would you say there’s an element of that to you? Like, there’s Jeffree Star and then there’s Jeffrey Steininger?
I got my name legally changed, yeah, but I’m me 24/7 but when there’s cameras around then I turn up the volume and I act all crazy. And yeah, obviously when I’m filming myself I’m not going to sit there bored.
Everything doesn’t have to be so serious all the time [in the indie music scene].
At the end of the day, it’s all about entertainment and I think a lot of people forget that.
How long have you been singing? What made you want to start and what made you want to do it as a career?
Well the rap group Hollywood Undead, I originally started out with them. I rapped over some of their songs as a joke and I was like – ooh, I really like recording – so some of my earlier stuff is more rappy…but I wanted to be a singer more. I just got singing lessons and – I’m no Mariah Carey – but I can hold my own, y’know? I mean, I’m more of a performer than a singer anyway, so I don’t care.
Now you’ve created a new genre. I don’t know what to call it – sexpop or something. Would you be happy or pissed off if, say other artists started doing what you’re doing?
It’s just annoying when I’ve been doing something for way longer and someone comes out and they do something “different” . It’s just frustrating when other artists have way bigger budgets. Lady Gaga has like $7,000,000 to do a video and they just created her. It’s just so contrived. But her music is great, she’s made number one because she’s got a good team behind her.
What do you think about artists that don’t engage with their fans? You use your own Facebook, your own MySpace, others just get their managers or whatever.
Yeah, I mean, if they were “too famous” maybe they don’t have time but I think that everyone should have time. At least Lady Gaga writes her own Twitter, but Usher – his manager writes his and it’s never anything personal. If they know it’s not you then it’s kinda disappointing.
On the topic of fans, what is your opinion on people that try to imitate your style?
I just think that anyone who wants to be different is great. Obviously it takes a lot of guts to be who you are. I think when people do my exact make-up… Well, I think it’s funny, but I just think they should be themselves.
– But I look at most of your fans out there and they all look the same. They’re trying to be you, they’re trying to be someone that they’re not. What’s your opinion on this subculture? Tough question, sorry.
[laughs] …I know! Oh… it’s like my little army out there though!
Do you enjoy the people that go “oh my god! It’s Jeffree Star!” or do you prefer those that treat you as a person?
I think that some forget that I’m a human being, know what I mean? Or like some people – if I’m out just buying food or something and I have no makeup and I don’t feel well – I’ll be like “ooh sorry, no pictures” and they’ll get bitchy ‘cause they can’t get what they want.
Last thing – three words to sum up how you’re feeling before you go on stage?
Pregnant. Wet. And excited. [laughs]
Star then left me with “lipstick and love”, soon appearing on stage to perform a set consisting of new and re-vamped classic favourites (photos above). As a fan, I’ve always loved his music – but I have rarely found any videos of him live too impressive. Nevertheless, Star’s self-confessed singing lessons rightly paid off, as he delivered an electrically iridescent performance.
Choosing to ignore the standard looks, sounds and outlooks, he injects a new type of life into the independent music scene – like many in the indie world, he too only had passion and a drive for success.
From high school student, to makeup artist, to model, to singer, Star shows that – if you have enough attitude – you can go far. Despite his ultra-vanity and femme fatale persona, Jeffree Star is one of the most human of all celebrities, in every sense of the word: for his narcissism, for his honesty and for his ambition.
Introducing // Takeda
Takeda are absolutely amazing. “Raga rock” says their MySpace page, and an apt description this is. An eclectic blend of folk, rock, alternative, world and fusion music, everything about Takeda just screams beauty, diversity and creativity.
Definitely at the forefront of the Norwich music scene (yeah, there’s a scene now, apparently), this alt-rock trio make everything they do look natural and easy, and there really is something to be said for that. Painfully talented, their mesmerising, multi-faceted and totally gorgeous music is definitely on the rise this year…
Here is a band with an incredible intrinsic musical flair that proves absolutely breathtaking for us mere mortals, and their wonderful tunes garner them much attention from other musicians just as often as unmusical types. Catch them around Norwich over the next few months – they’re an incredible live force too.
I’m happy to say that they sent me over a copy of my favourite track ‘A Million Years’ to share with Culture Revival readers, and you can hear it and download your very own copy via the link below.
You can also hear them performing a stripped down version of ‘I Know’ for BBC Norfolk Introducing by clicking here and become a fan on Facebook by clicking here.
Laura Marling // I Speak Because I Can
There are so many reasons to fall in love with Laura Marling‘s music. The natural lyrical flair, the fragile and stunning vocal quality, and the utterly genius construction and arrangement of every single song. These are the facts that those who have heard Marling – whether first album ‘Alas I Cannot Swim’ or at one of her tremendous silence-inducing live shows – accept without question. The Mercury-nominated musician, still only the tender age of 20, had inadvertently set up very high expectations for ‘I Speak Because I Can’, released today through Virgin Records.
Laura truly has nothing to worry about in meeting those expecations, however, because from the very first listen, it’s clear that her sophomore album has far exceeded them. Effortlessly creative and so incredibly intelligent, there isn’t one song on ‘I Speak Because I Can’ that could be considered a low point.
Opening with new single ‘Devil’s Spoke’, Laura demonstrates a new maturity and (if possible) an even wiser and more interesting songwriting style, that seems to draw on new sources in its influences – certainly her associations with Mumford & Sons and their bluegrass-leaning sound are fluent on this release, as well as a world music feel that replaces the pop undertones of her debut. It’s all done terribly well and everything attempted is pulled off wonderfully. Definite album highlights include ‘Rambling Man’ and ‘Hope In The Air’, but I can honestly say that every track has a genuine appeal.
Given Laura’s romantic history with Noah And The Whale frontman Charlie Fink, and the lyrically painful subject matter of the band’s second album which documents the breakdown of Fink and Marling’s relationship in a most public way, it’s difficult not to make certain inferences between ‘I Speak Because I Can’ and the Noah And The Whale sophomore album ‘The First Days Of Spring’.
‘Blackberry Stone’ is the only track on the album that seems to directly refer to both the relationship and her former band, with the lyrics “I’d be sad that I never held your hand as you were lowered” seeming to point directly to the Noah And The Whale song ‘Hold My Hand As I’m Lowered’ from the band’s first album. If you listen with intent, however, the album seems to explore the breakdown of a relationship with somebody who has become impossible to love, the jealousy of a man who can no longer comprehend friendship on a basic level, and the idea of moving on and finding a new and exciting love that isn’t painful.
This is a truly brilliant masterpiece of an album that goes beyond expectation on every level. Laura’s definitely grown up and moved on – so much for Charlie’s hope that “I’ll come back to you in a year or so”. Bless.
Album Review – Little Red – Listen to Little Red
Reminiscent of the Beach Boys, with their choral harmonies, laid back attitude and school boy romanticism, Little Red are playful and retroesque. The old-fashioned rock band, Little Red’s album Listen to Little Red has excellent bass lines and melodic guitar notes, but their lyrics verge on corny a lot of the time. The third song on the album, Stare In Love, naiively sings “Staring in the face of love.”
Little Red’s forte definitely lies in their guitar and bass playing. The electric guitar in the fourth song on the album, Waiting, is wonderfully funky.
The band enjoy toying with a lot of pop styles; love songs, consumer jingles etc. The debut tune, Coca Cola is a light hearted parody of a soft drink advertisement. “My one and only advice is Coke, Coke Coca Cola and ice.” Listening to it is listening to an incredibly enjoyable advertisment. Their playful concern with the material reality of pop culture is reminiscent of Frank O’Hara’s love of the bric-a-bric of modern life.
The album thumps along with incredibly catchy bass lines and old-fashioned guitar rhythms, but their lyrics are corny. Their love-sick juvenile lyrics are not to everyone’s taste and although the 50′s-style puppy dog romanticism is at best cute, after a few listens, it does grate on your nerves.
I do though, recommend this album for the excellent bass lines, melodic guitar notes and great retro 50′s and 60′s sounds. The song Jackie Cooper sounds like an authentic Elvis song. Or the song It’s Alright is a wonderful knock off of a 50′s romance song.
The impact of illegal music downloads
The issue of illegal music downloads is one that is rife and much-debated in today’s entertainment industry, and with good reason. Advances in technology and communication have meant the way record labels and artists operate has been completely overturned in a variety of ways, from breaking down the barriers between artist and fan, to creating clear opportunities for unsigned artists to advance themselves without the support of a major record label. However, one of the ‘negative’ results of these unexpected and impacting advances has been an outbreak of illegal music downloading through a range of different websites and computer programmes. There are many moral arguments about the negative impact of downloads, but it’s not often that the positive flipside of the argument is considered.
The key problem people have with illegal music downloading is that, in essence, it is a form of theft and shows enormous disrespect for an artist’s work. It seems wrong from a moral perspective because an artist is likely to have worked extremely hard to produce their work, and at early stages – for a musician, when you are unsigned or with a very small independent label – the money earned from recorded music is extremely important to ensuring you are able to continue music work in the future. Equally, it is certainly a form of theft in that it is the intellectual property of an artist being exploited for the gain of others. The ultimate result of an artist not receiving income from their recorded music may be that they are unable to continue funding various aspects of their music career – from studio recording through to their transportation to play music live. All that said, it seems to me that artists aren’t as concerned as one might think about their music being distributed free of charge.
A range of artists – from heavy rock musicians through to delicate singer-songwriter types and traditional folkies – have commented that they “don’t especially mind if somebody pays” for their music (Jon Boden). For many artists, it seems, music is much more about expressing themselves through an art form and enjoying what they do than any moral lawkeeping or profiteering – so many musicians are just happy that people recognise their talent and music. Upon finding out that his latest album ‘Year Zero’ was retailing at a shocking $30 AUS because of a judgement call by his major record label that fans would pay this amount, Nine Inch Nails frontman Trent Reznor told a sellout audience at an Australian gig to: “Steal it. Steal away. Steal and steal and steal some more and give it to your friends.” Some might argue, however, that the only reason musicians like Boden and Reznor are able to speak so nonchalantly about downloads in this way is because they already have successful and profitable careers in music – it doesn’t matter whether they make money via music downloads, because they already have solid fanbases that will pay £15 – £30 to see them perform live, or spend £12 on a CD at a gig rather than – or even in addition to – downloading the songs.
Some artists have even gone so far as to make songs or even entire albums available for free legal download through their official websites or through music blogs – from small independent outlets to the online channels of national newspapers. A good example of this is Radiohead’s 2007 album ‘In Rainbows’, which they made available through their official website for whatever price the purchaser saw fit – starting at 50p for the 12 songs – after dumping their major record deal because of unhappiness with the industry’s morality. Again, however, it seems that an already established band like Radiohead could guarantee a good profit, even if they sold 12 songs for 50p on every occasion, because their massive international fanbase would buy the new album no matter what. Many unsigned or independently signed artists believe that one or two free songs can serve as a way to establish a fanbase and encourage people out to live shows, which seems reasonable, but this still doesn’t allow them to combat those who are illegally downloading more tracks than the free ones they’ve made available.
Perhaps, then, the key issue for artists who need to make money from their recorded music is making sure that their physical products are aesthetically pleasing enough to appeal to fans, encouraging them to buy the CD or vinyl rather than download the songs – legally or illegally. Downloads certainly encourage artists to be more inventive with the presentation of physical products – fans will still buy something physical if it’s attractive, even if they can get the download cheaply or for free. It’s important for fans to feel that the product they are buying is valuable, special and unique. An example of artists taking notice of this development are releases from Laura Marling and Johnny Flynn; Laura’s Songbox Collection featured a copy of her first album in an attractive box-book format with additional art prints and other extras, whereas Johnny Flynn’s first album was released on an attractive pop-up storybook vinyl set. Again, however, these artists did already have solid fanbases that they could rely upon to buy the products. What about those with financial limitations that can’t afford sophisticated and visually pleasing (and consequently more expensive) music merchandise? In this respect, perhaps, it’s better that the musician establishes relationships with new fans through free music downloads than relies upon their fans’ financial flexibility.
Downloads and the internet as a whole have made music massively more accessible than before, and has clearly broken down barriers between artists and fans. The reality of the music industry – whether talking about before or after the introduction of downloads on such a mass scale – is that artists and labels do not make a great deal of money from the average CD release due to the costs of recording and production. Downloads, however, leave much more room for profit, obliterating the need for physical CD or vinyl production, artwork and distribution. Still, however, a very small amount of money from digital sales ends up with the artist – this is an area where labels are able to make notable profit though. Maybe it’s the music industry professionals – those involved in the money-making, management and business side of music – who aren’t happy with free and illegal downloads; it is certainly more their concern than the artists, who seem to just be happy to have a fanbase and appreciation.
For the artist, the ultimate impact of illegal downloads could be considered to be mixed, but I feel it’s mainly positive. Without the security of earning through recorded music, artists are forced out onto the live music circuit, a place where music is far more organic, genuine and intimate for fans. The emphasis of music as an art form falls onto live performance rather than a produced recorded sound, and arguably, as a result of this, means purer musical talent has more of a chance at success and earnings – mainly for live performances. We have to consider, however, that a huge number of people appreciate music without concern for whether that music can be communicated well or in the same way on a stage – this is a reality I don’t feel is right, but one which is quite undeniable. Before the days of recorded music, artists developed their following via live performances, and arguably, music had a purer personality back then, and can perhaps have a new breath of life by throwing the emphasis back on live music now. I feel this is certainly the biggest impact of illegal music downloads as a whole, and I feel it is extremely positive.
Imogen Heap – Single Review – First Train Home
Imogen Heap’s single release First Train Home comes in two very unique versions. The first version and the first song on the single is a fast moving, hip, dance song with funky synthesised beats. The second version of the song is a slower, more measured tune, accompanied with simple piano and fewer synthesised effects.
Imogen’s lyrics are touching and intimate. She sings, “The urge to feel your face, and blood rushing to paint, my handprint.” The beauty of her voice coupled with the simple, but very poetic lyrics, result in incredibly groovy, commercially appealing but also very personal songs about disillusionment with shallow partying. According to Heap, First Train Home was written the moment she returned home at 8am from a party in Brighton admitting that her “heart just wasn’t in” the night. Her chorus mantra, “First train home – I’ve got to get on,” sums up the jist of the brief, lyrical songs.
Her opening lines, “Bodies disengaged / Our mouths are fleshing over / As hiss and echo gain / Irises retreating to ovals of white” are so simple, but very beautiful. Heap’s main strength is definitively as a lyricist.
The close of both versions is anti-climactic and sounds quite produced. Heap should have stuck with a more organic fade out.
Also, the video produced for the single is too self-conscious and distracts from the originality of the song. Heap is uncomfortable and not relaxed enough in the video to sell herself visually to us. It is kind of funny that Heap chose such a commercial and badly produced video for such an anti-materialist song. Nonetheless, bad video choice aside, the two versions of this really original song are definitely worth a listen. Heap is a kooky, personable artist who I will listen out for more in the future.
http://www.imogenheap.com/
Album Review | Swanton Bombs – Mumbo Jumbo and Murder
In a way, sitting down and writing several hundred words seems the wrong thing to do after listening to Mumbo Jumbo and Murder, because this is music meant for jumping up and down to. But writing several hundred words is what I’m here to do, so let’s go…
Swanton Bombs are a duo from London – Dominic McGuinness on guitar and piano, and Brendan Heaney on drums. Mumbo Jumbo and Murder is their debut album, on which they rock out. And how. We start with a track called ‘Swanton Bombs’, a ninety-second instrumental that bounces along in an irresistible welter of noise, before going straight into the first of eleven more songs – and already the tone is set.
This is a fast and furious album: barely forty minutes long in total, with no song lasting more than four (and three minutes or less the norm), the music restless throughout, and McGuinness often delivering his lyrics like there’s no tomorrow. Even though the album is short, the songs tend to feel longer (not in a bad way), because there’s often a lot going on in them, whether it’s lyrics that have a lot of words to be squeezed in, or a flurry of changes in the music. And, of course, there’s no time for any song to outstay its welcome; so there is plenty here to keep you listening.
What Mumbo Jumbo and Murder is missing, though – for me, at least – is the kind of singalong quality that would make it truly flourish. The singles ‘Doom’ and ‘Viktoria’ come closest, but don’t quite get there. So, this album doesn’t take over my head when I’m listening to it in the way that my favourite music does, but it’s still a good album to listen to.
In short, if you’re looking for a concise, rocking set of songs, Mumbo Jumbo and Murder is the album for you – and Swanton Bombs are an act you’ll want to check out.
Video: ‘Viktoria’
EP Review | Girl in a Thunderbolt – Songs for Modern Lovers
It has been quite a while since a song really stopped me in my tracks because it sounded so different, but Norwich-based Maria Uzor (aka Girl in a Thunderbolt) did just that with her EP Songs for Modern Lovers. It’s a pretty dark view of modern love in Uzor’s lyrics, mirrored in the music: ‘Old Bones’ opens with an ominous shuffling beat and plucked guitar, before the languorous-but-menacing vocals come in, building to a crescendo of a single held note against pounding drums – and that’s only the first minute. Extraordinary stuff.
The next two tracks don’t quite have the same impact, but that’s speaking relatively; they’re still great songs in their own right. ‘On the Wall’ has something of a ‘troubadour’ feel, whilst ‘Volatile’ is more bluesy. Whatever the style, though, it’s Uzor’s vocals that shine most brightly; she sings with such a theatrical relish that it’s hard not to get caught up in her sound.
The closing song, ‘Curtains’, shows a different side to Girl in a Thunderbolt; it’s a simpler acoustic number with a gentler vocal style, but the dark overtones are still there. It rounds off the EP in fine style.
All in all, Songs for Modern Lovers is a brilliant set of tracks that thoroughly deserves a place in your music collection.
