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Long Beach, California’s Avi Buffalo will release their second album ‘At Best Cuckold’ via Sub Pop Records on the 8th of September, to be quickly followed by a European tour including the UK and Ireland. Tickets for the following shows are available now.
Friday October 3rd 2014 – Manchester Deaf Institute
Sunday October 5th 2014 – Dublin Whelan’s
Monday October 6th 2014 – Glasgow Broadcast
Wednesday October 8th 2014 – Bristol Thekla
Friday October 10th 2014 – London Islington Assembly Hall
Catfish and the Bottlemen have just announced a list of UK tour dates for later this year in support of their debut album ‘The Balcony’, due for release on the 15th of September on Island/Communion Records. Mary featured the video for ‘Kathleen’ here back in March. You can check their latest single ‘Fallout’ below the tour date listing.
Tickets for the following shows are on sale now.
Wednesday 5th November 2014 – Cardiff Globe
Thursday 6th November 2014 – Portsmouth Wedgewood Rooms
Friday 7th November 2014 – London Koko
Saturday 8th November 2014 – Leicester Academy 2
Sunday 9th November 2014 – Leeds Cockpit
Wednesday 12th November 2014 – Edinburgh Caves
Thursday 13th November 2014 – Aberdeen Tunnels
Friday 14th November 2014 – Glasgow Classic Grand
Saturday 15th November 2014 – Newcastle Academy 2
Wednesday 3rd December 2014 – Manchester Academy 2
Thursday 4th December 2014 – Bristol Thekla
Friday 5th December 2014 – Stoke Sugarmill
Sunday 7th December 2014 – Birmingham Institute Library
Monday 8th December 2014 – Oxford Academy 2
Friday 12th December 2014 – Nottingham Rescue Rooms
Saturday 13th December 2014 – Liverpool Academy
The first half of John’s Sonisphere 2014 review is here.
On a scout around the site, I stumbled upon the opening few bars of what looked like shaping up to be a storming set from The Bronx. Firstly, I’ve got tremendous respect for a band with the credentials they have, doing their own soundchecks. Small things, but, they weren’t being divas. It’s just cool, OK?
When they indicated they were finishing the tuning and the ‘CHECK, CHECK, CHECKING’, they immediately stormed into ‘Kill My Friends’ with a kind of aggression that turned the sweaty confines of the Bohemia Tent into an altogether more hostile environment. The tent was the perfect environment for their set (or from at least what I saw of it), as it allowed frontman Matt Caughthran to get really up close and personal with the crowd. However, if Caughthran got up close and personal with the now extremely unwashed masses of Sonisphere, then Trash Talk frontman Lee Spielman went that one step further.
The generation gap (and tolerance gap) between bands and their respective fans for acts like Trash Talk and The Bronx comparatively to their older compatriots Metallica and Mastodon was epitomised perfectly throughout Trash Talk’s set. Spielman and co.’s unique brand of vitriolic punk is abrasive and primarily there to offend and shock. So to go along with it, it seems only right that Trash Talk’s live set was a whirlwind of aggression, party drug references and moshing. For the entire set, I was stood next to two 50-year old(ish) metal veterans with Metallica and Iron Maiden logos emblazoned on their t-shirts. During the short bursts of rage-filled lyrics, a look of confusion and puzzlement came over the two gentlemen, as the frontman and bassist threw themselves around the stage in a frenzy. Trash Talk are at the forefront of a new brand of stoner metal, where the live shows are characterised by big, brash displays of bile and vitriol, a far cry from the showmanship of Bruce Dickinson and James Hetfield, but still impressive, if not relatively abrasive.
For most of the set Spielman spent his time amongst the crowd. The masses of snapback clad ‘yoofs’ swinging their arms and elbows around and rarely making any connection with anything but thin air. Trash Talk as a band were summed up perfectly by Spielman himself early on in the set: “Short, succinct and to the point”. With most of their songs played out at around 1-minute long, he wasn’t wrong. The circle pits were the most ferocious of the festival, as Spielman ventured far enough back to find me cowering near the sound desk.
Look, I got ‘all up in his grill’:
It was this sense of incredible crowd participation and the ceaseless energy of the band that made this set one of the highlights of the day for me. Whether their own brand of party-punk would go down well on the main stage at a festival is one thing. But in a crowded tent, Spielman bent the crowd to his will superbly. Which warmed me up for something I’ve been waiting around 6 years for.
Glastonbury the weekend previous was a huge milestone for the band. Arguably, the claims they had to ‘prove themselves’ at Glastonbury were completely ridiculous. They’re fucking Metallica and they’ve sold more albums than bloody Arcade Fire and Kasabian combined. Plus, name me a person who doesn’t lose all their shit during ‘Enter Sandman’ and I will go and buy a hat, then eat said hat. They answered the critics, sure. But, in doing so, they produced one of Glastonbury’s finest sets, ladened with as many singalong classics that any Chris Martin or Bono could bring.
So returning to a festival where the band will quite literally lauded as gods was going to hardly be daunting for Ulrich, Hetfield, Hammett, and Trujillo. To spice up their most recent tour and give them an excuse to globetrot without another album, Metallica are touring under the banner of ‘By Request’. Meaning we, the peasantry, get to pick the set. That means one thing. The set won’t be littered with random tracks from the deep, dark depths of ‘Death Magnetic’. Instead, it’ll be jam-packed to the brim with hit after hit.
So with the sun still shining down on Knebworth Park and after a sneak peak of ‘Glastallica’, the legendary four-piece strode on stage with a swagger unbeknown to any other act. They’ve conquered Glastonbury and they were about to defeat Sonisphere. Opener ‘Battery’ was met by a tirade of air drumming, which ceased about two and a half hours later when the band finally left the stage.
Every song was belted out with passion and the audience returned the favour by echoing every lyric back at them, from ‘Master of Puppets’, to ‘Whisky in the Jar’, which Hetfield admitted was his favourite song to play at the moment. The best reaction was reserved for ‘Enter Sandman’, as the crowd bounced in unison to the riff that has become synonymous with the band. ‘One’ was played out with a grandeur you don’t really expect at any metal show. However, for me it was ruined by some pillock next to me donning an Adolf Hitler moustache and adopting a ‘Sieg Heil’ pose throughout. Not funny in the slightest.
The gimmick for the day was that one of the songs was picked by the crowd – coming out on top by a whisker was ‘…And Justice for All’ and finishing off the set we had a rousing rendition of ‘Seek and Destroy’, which stopped any early leavers dead in their tracks so they could throw their horns in the Saturn Stage’s direction.
At Sonisphere, Metallica arrived with absolutely diddly shit to prove. Somehow though, they left proving something. So did the new guard, under the guise of Trash Talk, showing they can put on a show.
But, when it comes to stadium rock and getting a mammoth crowd going – leave it to the undisputed kings of thrash.
Well played boys. (10/10)
By Mary Chang
on Friday, 18th July 2014 at 10:00 am
Glaswegian synth poppers Prides have something very special for us this Friday morning. The trio have chosen to put their own spin on the Cyndi Lauper ’80s tearjerker classic ‘Time After Time’, deciding to take a stripped back route. Listen to the free download exclusively here on TGTF below and if you like it, you can take it home with you too.
Dr. Martens have withstood the onslaught of – and reinvented themselves through – many – if not all – musical eras, fads, and fashions. No doubt ‘60s rockers found them very handy for keeping their feet protected from the tarmac, forcing a sticky gearlever to shift on a careworn Triumph and for kicking mods in the shins. Into the late ‘70s and early ‘80s, punk and the skinhead movement found DMs perfectly matched their aggressive image, even though most punks no doubt went home to their mums to tuck them in with a cup of cocoa at night.
Later on in the decade, as the hardness of punk split into gothic nihilism and dayglo optimism, Dr. Martens could be found on the feet of both groups – the perfect match to both a pair of leather trousers and a floaty flower-print dress. And then came the 1990s, and with it came grunge, a musical movement tailor made for a decent pair of sturdy footwear. Truth be told, there’s barely an era in music that DMs haven’t been associated with, continuing to the present day. So it’s no surprise that the brand has decided to become directly involved in a bit of music promotion.
Now in its second year, the Dr. Martens #standforsomething tour promises to repeat last year’s achievement of “taking some of the most exciting live acts around into tiny venues”. Which makes it sound like they’ve managed to get White Denim to play a phone box, and that isn’t really the case. I’m not sure the venues involved would agree with the “tiny” description – Newcastle’s Cluny 2 has raked seating, a balcony and 160 capacity. Nor is it unusual for the bands involved to play mid-size venues: Eagulls are playing the Cluny on their own headline tour, for instance.
Such pedantry aside, Dr. Martens have come up with an exciting, directional lineup, heavy on bands that feature the words “post”, “punk”, or indeed “post-punk” in their bios. Wales’ Funeral for a Friend have been plying post-punk pop with a distinctly American twist for over a decade now, and the public’s appetite shows no sign of waning. Leeds’ Eagulls are a touch more ramshackle, more punk and less metal, but nonetheless play in the same league.
A pattern emerges when we come to We are the Ocean – distorted, upbeat guitar riffs, insistent, double-tracked vocals and clean-as-a-whistle production. Only their mothers could tell them apart from Funeral. Things take a left-field turn in Los Campesinos! (pictured at top); instead of distorted guitars, there’s violins, any manner of improvised percussion and vocals that are more sung than screamed.
And then there’s the matter of Sydney’s Tonight Alive. Fresh from gracing the soundtrack of the latest Spiderman film, Jenna McDougall brings her impressively toned abdomen and similarly toned vocal cords to the humble environs of Newcastle’s Cluny 2. A combination of laid-back Australian surf style and distinctly Transatlantic musical chops, there’s no doubt that Tonight Alive will bring a dose of glamour to Tyneside – and to be fair to the promoters, considering the auditoria Tonight Alive are used to playing, the Cluny may indeed appear tiny in comparison.
When you boil it down, #standforsomething is nothing more than a short series of unrelated gigs across the country with a rather large marketing budget attached. The bands are already touring the UK: Tonight Alive, for instance, hit London, Birmingham, Manchester and Glasgow, completely independently, before their Martens-sponsored Newcastle date. Similarly, this gig closes We are the Ocean’s and Funeral for a Friend’s tours, whereas it falls directly in the middle of Eagulls’. Nonetheless, a good bit of promotion for some decent bands never goes amiss, so whichever way you slice it, if you’re into DMs, good music, or perhaps even both, there’s no better way to spend a night with your fellow leather enthusiasts. And you might bounce home with a bit of free swag. Catch the tour on the dates listed below and register on the Dr. Martens Web site here to register for tickets.
Saturday 4th October 2014 – Edinburgh Cabaret Voltaire starring Funeral for a Friend
Saturday 11th October 2014 – Cardiff Clwb Ifor Bach starring Eagulls
Saturday 25th October 2014 – Liverpool Shipping Forecast starring We are the Ocean
Saturday 8th November 2014 – London Lexington – TBA
Saturday 22nd November 2014 – Birmingham Flapper starring Los Campesinos!
Saturday 6th December 2014 – Newcastle Cluny 2 starring Tonight Alive
By Mary Chang
on Thursday, 17th July 2014 at 6:00 pm
alt-J have a brand new promo for ‘Hunger of the Pine’, the first taster from upcoming album ‘This is All Yours’, out in late September. (Read my review of the single here.) The video seems unnecessary violent, and it’s as if they’re trying to be metaphorical here, showing physical suffering in place of not always visible emotional torment. One can hope. Watch it below.
‘This is All Yours’, the Cambridge group’s second album, will be out on the 22nd of September on Infectious Music. Previous coverage of the band on TGTF can be found here.
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