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By Mary Chang
on Tuesday, 5th March 2013 at 9:00 am
Words by Alex Johnson
Nessie’s going to be rocking out this summer as Rockness is returning to the banks of Loch Ness this year with a killer line up.
From the 7th to the 9th of June, Clune Farm will be playing host to some of the hottest acts 2013 has to offer. The line-up includes some cracking bands and artists such as ska legends Madness, Bombay Bicycle Club and newly anointed BRIT winner Ben Howard. Alongside them will be the Rockness veterans Fatboy Slim and recently announced headliner Plan B.
As wonderful as these guys will make a sunny weekend in the most mysterious banks of Scotland, you could make your weekend even better if you head over to the festival’s competition for 4 days of VIP access here. It’s worth it for the luxury toilets.
Here’s the full line-up as it stands right now:
• Above and Beyond
• Alabama 3
• Alex Metric
• Basement Jaxx (headliner)
• Ben Howard
• Bombay Bicycle Club
• Booka Shade
• Camera Obscura
• Carl Craig
• Ellie Goulding
• Example (headliner)
• Fatboy Slim
• Gary Beck
• Hand Bouffmyhre
• Harvey Mckay
• Jaguar Skills
• Jessie Ware
• Josh Wink
• Julio Bashmore
• Mark Henning
• Netsky Live!
• Newton Faulkner
• Nic Fanciulli
• Plan B (headliner)
• Steve Aoki
• The Maccabees
• The Temper Trap
• The Vaccines
This line up is a glorious melting pot of DJs (Fatboy Slim, Netsky, Jaguar Skills), rappers (Plan B, Example), indie bands (The Vaccines, TGTF favourites The Temper Trap) and indie acoustic solo acts (Ben Howard, Newton Faulkner) with something to please everyone.
Tickets to Rockness are going to set you back £139 for the 3 days and camping. For the rest of the ticket prices and to buy, head here.
Biffy Clyro and Mumford and Sons absolutely killed it last year, but with a line up like this, the Loch Ness monster will have to do something spectacular to stop Rockness 2013 outdoing it.
Is there any point to the BRITs? Granted, it gives a certain demographic of London teenager the opportunity to sting Daddy for the eye-watering £70 ticket price, no doubt getting stuffed with half-term pizza and fructose syrup before spending three hours squealing loudly at microscopic effigies of their latest tabloid-endorsed musical crushes. But beyond that, does any vestige of musical credibility remain within the unhallowed, chart-obsessed recesses of the BRIT Award psyche?
A swift perusal of the nominations, released yesterday, would indicate: maybe, actually. The usual mega-selling suspects are there: Emeli Sandé, Mumford and Sons, Robbie Williams, Olly Murs. But look a little deeper and could there just be enough respect for the breakthrough, even the underground, so that beyond the face paint and lasers, there’s a bedrock of credibility?
Step forward Richard Hawley, the most unlikely of the entire nomination list, proving that the BRITs aren’t immune to a decent bit of ‘70s-throwback guitar action and heart-on-the-sleeve balladry from a bequiffed Yorkshireman. Plan B also deserves a shout for his unflinching portrayal of council estate life in ‘Ill Manors’, which still deserves to make more of an impact than it has.
Jessie Ware gathers two nods, a fine result for her this early in her career, single-handedly making 2011’s Critic’s Choice Award for her namesake Jessie J look ever more ridiculous. The more listeners turned on to her coolly urban soul, the better. Paloma Faith is also up for two gongs – British Female Solo is fair enough, but British Album of the Year for ‘Fall to Grace’, for a collection significantly worse than her début, is deeply suspect. British Group unoriginally throws up two previous Mercury Prize winners: unlikely media darlings alt-J, and minimalist electro-songsters the xx; Muse are nominated for the ninth (and tenth) time, with Mumford and One Direction predictably making up the numbers. A rum collection, if ever there was one, and despite the disparate yet singular talents of each, hardly a state-of-the-nation statement.
The British Single category is too depressing to analyse deeply. Suffice to say a more turgid collection of middle-of-the-road dross it’s difficult to conceive. Any list containing the execrable ‘Mama Do the Hump’ by Rizzle Kicks deserves to be encased in concrete and dropped into a very deep hole. Thankfully each of the British Breakthrough nominees have something to commend them, though surely Jake Bugg is the most extraordinary of the lot; his compellingly grizzled, world-weary, yet uplifting take on vintage blues in his debut album means he should have no problem in lifting the spotted statue next month.
Ironically, there’s far less to complain about the International (read: American) nominees. Perhaps it’s because we expect the USA to do bigness well, it’s difficult to complain about someone like Bruce Springsteen being nominated, although one wonders just how much pride of place a BRIT award would take on the dashboard of his pickup truck.
As always, it’s good to see producers, the guys behind the desk who really make the music, getting their opportunity to shine, although it seems somewhat unfair that Damon Albarn should be sharing their limelight – hasn’t he had enough of it by now? If the Albarn effect can be resisted, Paul Epworth should walk away with this one, although personally I prefer listening to his sister’s output to his. And what of Amy Winehouse and The Rolling Stones, both nominated, neither deservedly? Stop it, BRITs! Pick people who are more alive!
The 2013 BRITs take place on Wednesday the 20th of February at London’s O2 Arena. TGTF will be reporting, either from the event itself, or from somewhere else in London more interesting. Watch this space.
Who should win the British Brits, I reckon?
Male Solo: Richard Hawley
Female Solo: Jessie Ware
Breakthrough: Jake Bugg
Group: One Direction
Single: Alex Clare – ‘Too Close’
Album: Plan B – ‘Ill Manors’
Producer: Paul Epworth
Full list of nominees after the jump.
Continue reading The 2013 BRIT Awards – The Nominees
By Mary Chang
on Friday, 21st September 2012 at 8:30 am
2012 Mercury Prize nominated artist Plan B will be hitting UK arenas in February 2013. Tickets are available now.
Friday 1st February 2013 – Newcastle Metro Radio Arena
Saturday 2nd February 2013 – Manchester Arena
Monday 4th February 2013 – Cardiff Motorpoint Arena
Tuesday 5th February 2013 – Nottingham Capital FM Arena
Thursday 7th February 2013 – Bournemouth International Centre
Friday 8th February 2013 – Birmingham LG Arena at the NEC
Saturday 9th February 2013 – London O2
Monday 11th February 2013 – Brighton Centre
Tuesday 12th February 2013 – Plymouth Pavilion
Thursday 14th February 2013 – Glasgow SECC
Friday 15th February 2013 – Aberdeen Exhibition Centre
By Mary Chang
on Tuesday, 18th September 2012 at 11:00 am
So it’s been about a week since the nominees for the 2012 Mercury Prize were announced. We here at TGTF have been mulling over the options, and here are our early thoughts on who will win this year’s gong.
Mary Chang, Editor (current location: Washington, DC, USA)
With the exception of Leeds band Roller Trio, all of the acts nominated for this year’s Mercury Prize are no stranger are known acts. A large proportion of the 12 nominees are those with high profile debut albums. The releases by alt-J, Ben Howard, Django Django, Jessie Ware, Lianne La Havas, Michael Kiwanuka, the Roller Trio blokes and Sam Lee being considered this year all fall into that category.
Wait a minute, count those up again. That’s eight. You read that right. EIGHT. That’s means without even counting bookies’ odds, there’s a two out of three chance a debut album will be picked. Was this shortlist borne out of the fact that legend PJ Harvey‘s album ‘Let England Shake’ won the honour last year (and it was her second time winning), so the powers that be decided the list should be more heavily weighted to favour newcomers? The nominees should reflect the best of the best, and not because a band has suddenly leaped onto the scene on the strength of on media buzz. Let us not forget Speech Debelle’s win in 2009. Where is that follow-up album, eh, Debelle?
I’m not saying that there is no danger of having sentimental favourites nominated because there can be the thinking that although a band has been around forever and they never have won anything, let’s give them a go this time around, shall we? I am saying that given the importance and weight of a Mercury Prize nomination, let alone actually winning the prize, the winner shouldn’t be the band that has the largest promotional effort. Which, let’s face it, tends to happen with the Next Big Thing band, because thanks to the cynicism of labels, bands are pushed hardest when they are signed and put out their first releases. When the list was released last Wednesday, I groaned inwardly because there is one band on this list whose lead singer’s voice I cannot stand, but I expect to hear him and his band constantly on BBC Radio in the next 2 months without fail, all thanks to their Mercury nomination…
So my vote is for Field Music‘s ‘Plumb’. This is pop, but not in the way you used to view pop. It’s interesting and intricate, with piano and guitar lines that sound like no-one else’s. And more importantly, what they come up with is entirely unexpected. Brothers David and Peter Brewis trade off on lead vocal and drumming duties, adding two additional variables into the mix. They’ve made it okay not just to like but embrace the art rock genre, with its atypical time signatures, flying directly in the face of that urban pop piffle that’s become all too commonplace on radio. And this album has the word “smart” written all over it. Seriously, when was the last time you heard transitional bits in an album that were purposely made into tracks, and they worked? Should they win, I’m expecting naysayers to complain that they’ve been around too long and ‘Plumb’ isn’t as fresh as some of the debut albums that were nominated. Just because something’s new doesn’t necessarily mean it’s good, or the best. ‘Plumb’ is an intelligently written, intelligently made album that deserves this praise.
John Fernandez (current location: Lincoln, UK)
The question on most people’s lips: “where’s the crazy curveball they normally throw at you?” I, for once, found myself knowing all the acts nominated, something almost unheard of over the last few years! When looking at the list the name that jumps out is an obvious one: alt-J have been gathering plaudits far and wide and feel almost as certain to win as the xx did in 2010. You really would be a fool to bet against them, but I never said I was anything but a fool.
My money is going slap bang on Plan B, an artist who over a short career has reinvented himself so successfully. ‘The Ballad of Strickland Banks’ introduced a character and backed him up with some of the most soulful tunes of the past decade, thoroughly thrusting Ben Drew into the mainstream. Now his new album ‘Ill Manors’ is out and he is firmly back to his roots, rapping about financial hardship on council estates and the plight of “Broken Britain”. Plan B says he wants to have the same impact by winning this that Dizzee Rascal’s ‘Boy in Da Corner’ did, and why not? He’s the outspoken voice of his generation.
alt-J are cool and have some killer tunes, but Plan B is representing the underrepresented and should win the Mercury Prize.
Luke Morton (current location: London, UK)
alt-J must be the favourites to win the Mercury Prize this year, and for good reason. Since their inception in 2011 with the ‘∆’ EP, the Cambridge four-piece have been spreading their melancholy, indie pop across Britain to the delight of the mainstream music press including BBC Music and NME.
Debut LP ‘An Awesome Wave’ is a supreme example of the evolution of indie in the UK in recent years, as it flirts with ideas of folk, electronica, art rock and straight-up pop music. It’s been accused of being too pretentious but it’s in fact a perfectly-crafted, 44-minute odyssey into experimental playfulness that has produced the enchanting singles ‘Breezeblocks’ and ‘Tessellate’. There’s a reason the internet exploded at the release of this album, and hopefully it will receive the recognition it deserves.
Martin Sharman (current location: Gateshead, UK)
This year, the Mercury judges have the opportunity to comment on not just music, but society itself. For they have nominated Ill Manors, Plan B‘s uncompromising soundtrack to his eponymous feature film, a collection of grim stories set on a London council estate. This is the real deal: Ben Drew has the requisite first-hand knowledge to make a story of council estate debauchery and violence spring to life, and is reinforced here by collaborators of impeccable credentials. Never before has there been such a vivid piece of work documenting council estate life, and the moral- and morale-crushing struggle for survival which such an environment engenders.
Plan B pulls no punches; there are stories about drugs, violence, prostitution, drugs, gangs, and more drugs, leavened with heavy doses of swearing. No doubt there will be some who dismiss this as nothing more than a tabloid-style “demonisation” of the working class, exaggerating and exploiting their woes for cynical financial gain. Which is nonsense. Everything here has the ring of truth about it: Drew grew up on the eponymous estate; John Cooper Clarke is on board, and he, of anyone, knows his subject; take a wander through the syringes and discarded aluminium spoons of any run-down corner of London’s concrete chaos and then reasses those opinions. This is a more important piece of work than any dry government report on “Broken Britain” – its task is to seep into the consciousness of those lucky enough to have grown up on a manor not quite so ill, and make them aware of what’s going on, often just a mile or two down the road. In comparison, every other nominee appears twee and enfeebled – pretty music, but nothing with the relevance and gravitas of this collection. Richard Hawley fares particularly badly when listened side-by-side, smothering any relevance of intent with several decades’ worth of electric guitar. Ill Manors is the sound of today – however ugly the truth might be. Let’s hope the judges can find the bravery to reward fact over artifice.
The winner of the 2012 Mercury Prize will be announced on Thursday, the 1st of November. For an overview of all the nominees, read this post.
By Mary Chang
on Wednesday, 12th September 2012 at 6:23 pm
The shortlist for the Barclaycard Mercury Prize 2012 Albums of the Year were announced this evening by 6music presenter Lauren Laverne in a special ceremony at London’s Hospital Club. While some of the names on here are no surprise, with bookies predicting their odds for weeks, others seem to be a who’s who of the knife edge between mainstream and indie. And it just wouldn’t be the Mercury Prize nominations without a random jazz album mentioned. Let’s have a look at the nominees…
Not surprisingly to those in the indie blogosphere, Django Django‘s rhythmically dynamic self-titled debut received a nod. The band scored an American label contract this summer. Count on ‘Default’ and ‘Storm’ to get continued airplay all the way up to the night the winner is announced. (Read our coverage on the Djangos here.) So was alt-J‘s debut ‘An Awesome Wave’. I’m sure they expected it; why else would they have booked a tour for *next* May if they weren’t? If the sweaty club atmosphere I experienced on night 2 of the Great Escape this year seeing them (who were then followed by Django Django, I might add) is any indication, their album will be a frontrunner on many indie music fans’ lists.
Continuing with the debuts nominated, the singer/songwriter genre is well represented with entries from the female squeal-eliciting Ben Howard (‘Every Kingdom’), folk newcomer Sam Lee (‘Ground of Its Own’) and Michael Kiwanuka (‘Home Again’). Electro urban newcomer Jessie Ware, who Martin caught at Evolution, appears on the shortlist with her debut ‘Devotion’ released in mid-August. BBC Sound of 2012 nominee and Warner Brothers signee Lianne La Havas, who wowed crowds at the Great Escape and beyond, also received a nod for ‘Is Your Love Big Enough?’ If she wins the gong in November, expect cheesy headlines using the album title for full effect.
Stalwarts of the Northern music scene have been rewarded with nominations as well. The forward thinking of Sunderland indie heroes Field Music‘s ‘Plumb’ released in February 2012 and Sheffield’s bequiffed guitar bandolero Richard Hawley‘s new psychedelic direction for ‘Standing at the Sky’s Edge’ were both recognised on the shortlist this year. The honour of this year’s wild card also goes to the North, via Leeds jazz rock band Roller Trio. Their self-titled album looks, from a distance, exactly like that of Stornoway‘s ‘Beachcomber’s Windowsill’. (Not kidding. Have a look here and compare.)
The Maccabees, having returned after 3 years with new album, ‘Given to the Wild’, also appear on the list, making us seriously wonder how groundbreaking this list can be, with so many ‘safe contenders’. Plan B‘s nomination for third album ‘Ill Manors’ is less dubious, especially in light of Ben Drew’s shedding some much needed light on human trafficking in his video for ‘Deepest Shame’. Good save, committee folks.
The winner of the 2012 Mercury Prize will be announced on Thursday, the 1st of November. In addition to the ceremony itself, there will be a unique ‘Albums of the Year Live’ gig series leading up to the big event. The series will see the shortlisted artists play very intimate gigs. Access to apply for tickets to these gigs will be extremely limited and only through signing up a special mailing list for alerts on these very gigs. Each successful applicant will have access to two tickets; a £5 donation to War Child is required at the time to secure each ticket, with Barclaycard matching every donation pound for pound for their cardholders who use their card when purchasing. Go here for more information.
By Mary Chang
on Monday, 6th August 2012 at 6:00 pm
The social commentary in Plan B‘s ‘Deepest Shame’ about human trafficking just goes to prove Ben Drew is not only talented but willing to push the envelope in what topics he’ll sing about. While it’s not in the same toe-tapping vein as, say, ‘She Said’, ‘Deepest Shame’ follows the same politically charged route as previous single ‘Ill Manors’.