Lost and now Found, Jamie T's back with a new album

Following the creation of a 2012 Facebook group entitled, 'Where is Jamie T?' The new godfather of hiatuses, South-West Londoner Jamie Treays is back with a brand, spankin' new album, 'Carry on the Grudge'.

His 2-litre bottle of Strongbow and a house party style of rap is long gone, and replaced with a mature boyish swagger. The first track on the album, Limits Lie, is much cleaner, smoother instrumentally than his earlier stuff, and an emotionally raw way to kick off the album.

In his time off, Jamie T's, clearly had to a lot of time to experiment, one of his key influences being 80's music, and Peter, a moody track definitely has that kinda vibe to it.

His come-back single Don't you Find, is a sombre, bassy affair, and a love song! You can just see this in a tent at a music festival - the album's had some criticism for having a different style to stuff Jamie's put out before, but I mean he's 28 now, probably has a mortgage and his music shows he's grown up a bit.

Carry on the Grudge is a bit The Clash, a bit Kid British. None more so than Zombie, probably the most lyrically poignant track, "I'm a sad sad post teen, caught up in the love machine, no dream, come clean, walking like a zombie." A lethal hook, that's pretty darn catchy. He's not totally ditched his boyish raps, but ironically, the song's about not knowing what to do now his teenage bravado is behind him, adjusting to adult life.

Love is only a heartbeat away, another stand out track from the album, warm bath and kettle chips listening as I'd like to describe it. Very charming, with a folky kind of guitar riff. A song you'd almost expect to find on an Ed Sheeran album.

Jamie recently performed Zombie, and Rabbit Hole on Later with Jools Holland. Rabbit Hole being the weaker of the 2 performances, with Jamie looking like he'd just necked a few pints, but nonetheless it is a great track and one you can really dance to.

Admittedly, his first album, Panic Prevention, was probably his best work, but continuing with that teenage-style now just wouldn't be organic. What I particularly like about Carry on the Grudge is that it's a bit darker, showing the guy's had some personal demons to overcome, and they've been a key influence on his sound.

The 1975 know where The City is

Having been a band for 10 years, something lead-singer Matt Healy rarely fails to mention in a show, two dates (with this being the last of those) at the spectacular Alexandra Palace in north-London were something of closure for the alternative group, The 1975, for now.

To perform at such a unique venue with it's grand exterior, and festival-like foyer, you've not only got to have a great back-catalogue of tracks, something The 1975 have in abundance despite only having released one album. But you've got to have a certain artistic style, that can create an atmosphere to fill the large floor-space It's the bands pulsating live set that does that, and does it well.

Set against their Chanel inspired white, portait backdrop (below), the Manchester originators step out with percussion-fuelled single The City, befitting, to a venue, with views right across the capital. The band then intertwine this household-known track, into Milk, a lesser-known song, about cocaine, that has an anthemic feel to it, with it's almost EDM like chorus.

The audience is on average teenagers, naturally with a lot of younger, female fans, but a sizeable hardcore of mid-to-late 20's males. After a bit of chatter with the crowd, from Healy in his distinct, slowed, yet artistic way of talking, the band then go into M.O.N.E.Y, and So Far (It's Alright), it was at this point, you begin to feel Healy's vocals have improved immensely. This could only lead me to believe he's ditched the chain-smoking, but enough about that, this isn't a tabloid newspaper. 

Matty then introduces their, "newest member of the band", a saxophonist, who provides soulful accompianient for She Way Out and Talk. After an instrumental interlude, by way of An Ecounter, the band deliver songs of more recent acclaim, the very catchy, Radio 1 friendly, Heart Out, as well as Settle Down and Pressure.

It is clear to anyone whose not already witnessed a broad array of The 1975's music prior to the gig, what a wide range of styles and influences the band incorporate in to their sound. Reflecting on this, I recall an interview, with Matty, where he explains this is why they opted to release numerous EP's before their debut-album, because it is such an audacious body of work.

Slower tracks, such as Me, and the beautiful fallingforyou (yes, all one word!) Then give a more serene feel to the concert. Songs that were no doubt suited to the grand, spacious arena at 'Ally Pally'. You, one of my personal favourites, A classic, despite not including it in their album, it is inconspicuous, with many deeper messages, thought-provoking stuff and to me exactly what the music industry needed, and why The 1975 have been welcomed with such open arms.

After another interlude, by way of HNSCC, something you feel is very authentic, and real. Giving you a moment to breathe, and absorb the moment, the band then move in to Menswear. An extremely, powerful track which really stood out as a highlight for me. Esepcially because they played the whole moody intro, lasting of about 2 minutes, before the poignant vocals, something they hadn't done in previous shows.

As some sort of monster-encore, The 1975 had left all their most commercial songs to the end. Testament to how far they've come as a band, having kept their crowd well and truly captivated for well over an hour to do that.

The relentlessly catchy Girls, no doubt got the younger-fans going, which was then followed by the more subdued Robbers, a song that I will confess took a while to grow on me. But it does infuriate me when people describe them as pop, yes their popular, and have a number of memorable melodies, and catchy riffs. But that's down to them as a band honing their craft for so long, and creating an utterly avant-garde sound. Listen to me get defensive, eh!

Ending the night, with Chocolate, and then the absolutely electric Sex, where all of a sudden there'd been a lot more space created to dance, which was handy, and their template rectangles turning red. The band waved farewell to the UK for now. Retreating to create something new, for us hopefully to get excited about.

When that does happen, I urge you to make every effort to go see this band live.

Brummy boys bring back the 90s

Once in a while a refreshing new artist bursts on to the scene and does one of two things - either, introduce the world to a sound that simply has never been heard before (take Daft Punk in the early 90's), and then there's the fresh faces that come and reinvent a sound from a generation before their time - enter, Swim Deep. The Birmingham four-piece of , who a few days ago released their debut album, have brought a Summery feel-good factor to the type of Indie-pop that was last seen of The Kooks.

The album titles origins, Where the Heaven Are We, couldn't have embodied the Indie-rocker lifestyle better if it had tried. Austin Williams, lead-singer describes how the band were stoned in their van in an unknown location, he heard someone say, "Where the hell are we?" While he was looking outside really deep in thought and said, "Where the heaven are we?" After a quick google to ensure the title hadn't been previously taken, 'Where the heaven are we' was born.

With a sound very comparable to Two Door Cinema Club, whom the band incidentally supported on their February 2013 UK tour, the album sounds almost purposefully designed for the festival-circuit. It's bouncy synth-pop right from the off with the almost celebratory-sounding 'Fransisco', Following this is the absolutely marvellous, 'King City', a rousing piece of music, with idealisitic lyrics, perfectly captured by the line, "Fuck your romance, I wanna pretend that Jenny Lee Lindberg is my girlfriend." Both 'Honey' and 'Colour Your Ways' add a moody mix to the album.

The band describe their biggest influence as the weather, writing most of their songs in winter, clearly their creativity can run far more freely calling upon imagination as opposed to reality. 'The Sea' is a superbly written, tranquil track that is so alike something of the Britpop generation, it could have been pulled straight from The Great Escape (Blur's fourth album). 'She Changes the Weather' is the perfect outro, combining a very catchy melodic tune with Swim Deep's rock/pop flavour. Classically captivating that wets the appetite for more from the boys.

Critically, 'Where the heaven are we' has been largely met with praise, with some however disputing the album as simply repackaged pop from the 90s, but the upbeat, yet moody tones combined make it an utterly intriguing, compelling listen.

Glasto 2014 headliners

As the festival season wears on I've been deep in thought as to just who next years Glastonbury's headliners will be. As I watched the wall-to-wall coverage of Glasto this year and of course the historic Rolling Stones set I did wonder, have all the biggest acts been exhausted by world-renowned event? The answer was of course no. Take Eminem for example, the veteran rapper has had arguably the most successful career of the 2000s, with The Rolling Stone (incidentally) describing him as the undisputed King of Hip Hop, yet he has never played Glastonbury. With his eighth album in the pipeline and a headline show at Reading/Leeds this year, surely the time has come for Marshall to sing for the moment in Somerset!

Then there's The Prodigy, the controversial electronic rockers last headlined Glastonbury in 1997, having recently played the likes of Germany's Rock Am Ring, and last years Download Festival, arguably more of a challenge given its metal status.

Strong rumours have also arisen that Michael Eavis might persuade Adele to give up her infamous "no festivals" attitude to live performances for a headline set next year. The Essex diva reprimanded,  "I will not do festivals, the thought of an audience that big frightens the life out of me. I don't think the music would work either." But Glastonbury bosses have proved anything is possible by using all their powers of persuasion to capture the Stones this year for their legendary set.

With Elton John and his band headlining the increasingly popular Bestival at the beginning of September there's no reason the Rocket Man wouldn't delight at Glastonbury. Meanwhile, Foo Fighters and Kasabian are the bookies favourites for next Summer, with neither having ever played at the Somerset farm festival. Daft Punk are massively tipped to appear, but it is unlikely the French duo are a big enough draw to headline.

Here are the Sound System predictions:

Headliners:  
Foo Fighters                              
New Order
Eminem

Rumours:
Green Day
Adele
The Stone Roses
Prince
New Order
Elton John

Oustide Bet:
Oasis
David Bowie
Metallica
Pink Floyd

More than the Music

As I watched the BBC's steadfast coverage at Glastonbury Festival last month it struck me that the music really isn't central  to the historic event. Naturally, any music festival that possesses organisers with enough tenacity to encourage a group of phenomenally successful 70-odd year olds as The Rolling Stones to headline it's Saturday slot means that something has to gone seriously right with it's Main (Pyramid) stage, but in my eyes, it wasn't that that put it a cut above it's up and coming festival competition. It's that Glastonbury really is more than just about the music, and other festivals should take note!

You can enjoy such attractions as the spectacular Arcadia, Shangri La's heaven or hell or even a visit to Worthy farm's very own Arctic Circle thanks to Greenpeace! But it's not just Glasto that's managed to embrace this free-for-all of fun. With the prestigious award of Best Major Festival 2012 at the UK Festival Awards going to Bestival, it is clear the Isle of Wight's once very much secondary music festival has embraced this all-encompassing festival experience. With enough of a line-up to wet the appetite of virtually every music fan this year, with the most dissimilar but hotly anticipated headline sets from Elton John, Snoop Dogg and Fatboy Slim, whilst the festivals infamous Club Dada keeps those hoping for more of a disorientating festival experience entertained! The four-day event also boasts a  fully-fledged amphitheatre, numerous art exhibitions and an inflatable church, and yes you can get married there!

I recall watching one of BBC Three's later-night reports at Glastonbury a couple of years ago an attraction where you essentially had to walk through a house, brimming with very convincing actors to arrive at the core of what can only be described as a very rowdy-rave. But it all does beg the question, how much of all this is really necessary? Pukkelpop, yes the one that was devestated by an horrific thunderstorm 2 years ago, where the stage collapsed claiming 5 people's lives, has sold-out, whilst both Reading & Leeds, as well as Bestival have failed to. With Pukkelpop, offering both the somewhat notorious Eminem and The Prodigy, whilst the beloved XX close the weekend, are headliners all that matters?

Ultimately, it varies from person to person, for some, seeing their favourite artists is absolutely everything, whilst for others, trying and seeing different experiences are what it's all about - personally I'd recommend a festival that offers the best of both!

                                         Bestival's amphitheatre setting in 2012

Creativity is as natural as the sky and the sea, don't force it!

Just as I contribute to this page whenever I feel I have something inciteful to offer, I am of the opinion that the same should be said of music artists. I recall reading an article about the massively successful Manchester-duo, Hurts, following their Glastonbury set 2 years ago which received wonderful plaudits, they described their writing process as a state-of mind. Singer, Theo Hutchcraft stated that he feel "depressed", to be able to write meaningfully, it was that that got me thinking why do some artists remain relevant after a chart-topping debut album and others fade into the abyss of the music archive of unvisted Youtube pages.

Creativity, and the writing process itself must not be forced, artists need to be well, artists. It really is as simple as that. But, it is not simple, that's why to remain relevant and develop a sound that attracts warm critical reception, an artist needs to evolve. Coldplay, immediately spring to mind of a band who have accomplished this with a phenomenal degree of success. Their American counterparts, One Republic did a similar thing to Coldplay's beloved Mylo Xyloto, with Native, creating a new, refreshed upbeat-tempo sound, stirring melodies, combined with Ryan Tedder's  captivating songwriting and the result, was their most successful charting album to date. Both these arena-filling bands took their time, developing their sound, clearly with One Republic's worldwide touring experiences influencing Native, to give it it's atmospheric energy.

Whilst I wouldn't want to single out one, particular genre, it seems alot of hip-hop hasn't embraced this approach. But perhaps it is rap's status-driven environment that has seen Jay Z bring out Magna Carta...the Holy Grail, as a piece of work, far too prematurely and in no way rivalling the sheer revolutionary influence that Reasonable Doubt and the first Blueprint conveyed. He's run of ideas, raps depicting his lifestyle are no longer interesting. To me at least, Jay Z has become inferior to his own protégé, Kanye West, whom has musically innovated throughout his career, reinventing himself into an alternative movement, comparable to that of The Beatles. 

Music is natural, it needs to stay that way, there's never any harm in a break from music, Eminem showed us that following Relapse. 

Daughter debut If you Leave

Earlier in the year the London-trio, Daughter released their debut album, 'If you Leave', but given their distinguishably, refreshing sound I thought it was only right to cover it now. The first thing you really notice about the album is its very subtle, acoustic energy, commanding more thought and depth than a hefty novel.

Lead-singer, Elena Tonra is vocally effortless and it really is that that makes her songs so instantly accessible, combined with the simplicity of the lyrics. Landfill, one of the stand-out tracks on the album really entails the way in which it tenaciously explores a very instincitve side of human relationships. The theme of this is poignant throughout, but really does make beautiful listening, the lyric, "you can steal me awake with your eyes" in the song Touch, shows this poetically. Tonra's vocals flow harmlessly, with the occasional rousing chorus, particularly in the album's undoubted stand-out track, Youth, which is set to be released as an official single next month, contains the records most intense tempo.

The guitaring from both Tonra, as well as lead-guitarist Igor Haefeli, is almost tangible in the way it communicates the passion of the tunes. As the tracks progress, the more upbeat Human is a welcome entry with enough energy to turn on floodlights, with those rippling acoustic bass-lines congregated by a moody burst of drums (courtesy of drummer Remi Agueillia) providing more of an edge. The penultimate track Amsterdam then brings back that very acoustic feeling to the album, with a sort of darker connection, unsurprising given its title. The imagery here is utterly compelling.

After just one listen to, 'If you Leave', it isn't hard to see why Daughter were signed by British independent record-label, 4AD - which also boasts the likes of Bon Iver and the Big Pink on its books. The album itself mainly explores the themes of love and loss in quite brilliant depth and intensity. I was recommended the record because of its unique, engaging energy and it lives up to that description and more. One of those albums that has that very live, natural element, which is so precious.