Middle Boop

The Middle Boop Blog is Dead! Long Live Middle Boop Mag

2011-03-16T09:12:00.002Z

As some of you may already know, we here at Middle Boop hq have been plotting and scheming, developing the new site Middle Boop Mag. With a sleek new look allowing the you
to access all of our information easily and more of an emphasis on news, honest, quality reviews and art, we hope to offer our readership something a little different.

Thanks for reading and being a part of our humble blog over the last year and a half. The new site is now live so have a look, check things out and let us know what you think!

Middle Boop Mag.

Enjoy,

Gordon.

PJ Harvey - 'Let England Shake' (Universal/Island)

2011-03-05T13:41:00.002Z

This is a peachy album, I like it. Basically PJ Harvey has recorded acoustic piano music with a few bars, instruments and some drums thrown in. In regards to the title i’d say England only shakes because it's pissed all the time but Let England Shake has a melancholic feeling to it with some of the chord changes. I wouldn’t say that’s very unusual for this type of music. Not an awful lot I can say, but it's nice.

I had it on shuffle by accident, ‘The Glorious Land’ started and I liked this from the start.
It made me feel like summer was coming, but I'm not sure how the military horn fits in, and although it’s not a very military sounding song, it’s an all round good track.

"The last Living Rose", this one made me thing of "Wild Thing", only less heavy. I was caught out by the sax that kicks in, which I wasn’t expecting. It also slightly reminds me of MGMT, in a very nice way. "The Words That Maketh Murder" follows a similar style.

"Bitter Branches" came on next, strong sound for an acoustic album; PJ Harvey has a booming voice aided by a shit load of reverb I might add.
This one made me drum along on my laptop, I felt like it should kick in with distorted guitars and big drums but it ended instead, fairly short at 2:29.

Many of the songs are similar, I am only picking up on the ones I think have something good to offer, "Written On The Forehead" is one of them.
Imagine lying down in a field with some tinnies and some friends on a nice summer’s day, and then getting horrendously drunk and burning down a house.

I like this album, not something I would normally listen to but it’s definitely worth your time and money. I can imagine listening to it with a massive hangover.
There we have it then, buy this album and add it to your hangover playlist; I guarantee you will feel better after. I know this for obvious reasons.

Words: Tim Bascombe

British Sea Power @ The Forum 27/02/2011

2011-03-04T10:31:00.002Z

On Sunday I had the pleasure of seeing a band who probably rank amongst the top of the ‘bands I’ve been to see live an unhealthy amount’ category. I think this may have been the 7th (or possibly 8th) time I’ve been to see them put on a live show of some form, whether it be their own intimate gig, at a festival or playing the local sweaty student night club.

Previous shows have been nothing short of spectacular, combining onstage theatrics such as members sitting on one another’s shoulders whilst jousting a giant bear named Ursula with their guitars, to some musical accompaniment from the London Bulgarian Choir.

Sunday’s show at The Forum didn’t have any of the above. Aside from a large screen which occasionally had some imagery of wild life (you guessed it - mainly birds) to accompany certain tracks, plus the usual spattering of onstage foliage, there were no gimmicks or cheap thrills. This is by no means a criticism, it’s just after all these years I’ve been to British Sea Power’s shows, I’ve come to expect a unique factor to be present, be it musically related or aesthetically pleasing. I guess that’s my fault for having certain expectations.

The set itself was predominately influenced by tracks from their most recent album Valhalla Dancehall, which encompassed approximately one third of the playlist. This worked just fine and all the new tracks sounded great live, however in all honesty I couldn’t quite get into the live rendition of ‘Living Is So Easy’. It just didn't seem to translate as well live as it does on record which is a great shame yet inevitable, what with it being the least traditional style on the new record, mainly revolving around keyboards rather than the usual guitars.

All the previous albums aside from Man of Aran got a look in at some point throughout the night, with a selection of crowd favourites such as Remember Me, It Ended On An Oily Stage and No Lucifer being well received by an increasingly elevated audience. Sadly the usual climactic epic prog rock closer ‘Lately’ from debut album ‘The Decline of…’ didn’t get a look in, which I have fond memories of deafening me back in 2008.

I guess the natural progression of a band releasing more and more albums will inevitably lead to the exclusion of certain tracks from setlists, especially when promoting a new album. All in all, a solid set from a band proving to be increasingly adept, and apparently, more mature. Some mild disappointment on my behalf from the unusual lack of showmanship. Maybe that ship has sailed.

Words: Neil Phillips

Photo: Hamish Bredin

Vessels - 'Heal' Video

2011-03-03T12:58:00.002Z

Vessels - Heal from Vessels Band on Vimeo.

A mesmerising, Space Odyssey-like trip; from their upcoming record Helioscope

Trevor Jackson 'Nowhere' Opens 3rd March at KK Outlet

2011-03-02T23:59:00.002Z

One of the most infamous designers in modern music design, Trevor Jackson opens his new show tomorrow at the fantastic KK Outlet. 'Nowhere' features his design and photographic work. This is one not to miss.

KK Outlet, 42 Hoxton Square, N1 6PB

ATP Nightmare Before Christmas curated by Caribou, Les Savy Fav & Battles

2011-03-02T11:01:00.004Z

Are you excited? Are you scared? Are you feeling festive?

ATP have announced the curators of their creepy Christmas fest that is Nightmare Before Christmas, held over the weekend of December 9th-11th at Butlins Holiday Centre, in Minehead. The three acts headlining and picking the bands for the event are Battles, Caribou and Les Savy Fav.

Each band will take a day and select 14 acts to storm the stage. Les Savy Fav start on the 9th, Battles take the 10th and Caribou round out this motley trio on the 11th.

Tickets will be on sale from Thursday 3rd March for £170 room only and £180 for self catering.

Girls Names - 'Séance on a Wet Afternoon' Video

2011-03-02T00:19:00.000Z

GIRLS NAMES - Séance on a Wet Afternoon from Girls Names on Vimeo.

Cold Cave announce European tour and free Download

2011-03-02T00:06:00.003Z

To mark the release of their third album Cherish The Light Years (out April 4th) Cold Cave have announced a handful of European shows.

March
29th - Start The Bus, Bristol
30th - Brudenell Social Club, Leeds
31st - Stereo, Glasgow
April
1st - Ruby Lounge, Manchester
2nd - Ifor Bach, Cardiff
5th - The Lexington, London (The Quietus Night)
6th - De Kreun, Kortrijk
9th - Jack Daniels, Barcelona

Download 'The Great Pan Is Dead'

Smith Westerns tour the UK with The Vaccines

2011-03-01T23:55:00.002Z

On the run up to the release of their album 'Dye It Blonde' out on 2nd May, Smith Westerns will be touring with The Vaccines on the following dates.

Sunday 3rd April - Manchester, Ritz
Monday 4th April - Bristol, Anson Rooms
Tuesday 5th April - Glasgow, ABC
Thursday 7th April - London, Electric Ballroom
Friday 8th April - London, Electric Ballroom
Saturday 9th April - Birmingham, HMV Institute

Oceansize split up

2011-02-26T13:35:00.004Z

The band regretfully announced this news on their website. But like they said, check out some of their other musical projects. Cos they're awesome!

TV on the Radio unleash new track 'Will Do'

2011-02-25T23:16:00.002Z

TV On The Radio - "Will Do" by Interscope Records

Esben & the Witch Interview "It Comes Down To Conviction."

2011-02-25T00:24:00.005Z

Having recently reviewed their outstanding album, I was particularly excited to interview fellow Brightonians Esben And The Witch. I met band members Rachel Davies, Daniel Copeman and Thomas Fisher over a glass of wine to find out a bit more about them.

Tegan MB: I've been aware of you guys for just over a year now. Is it fair to say you're a new band? There was a lot of press last year but how long have you actually been around for?
Rachel: We've been together for about two and a half years, three years now.
Daniel: Rachel's been saying two and a half years for about half a year now.

Tegan MB: Has the band always had the same line-up?
Thomas: I met Daniel about three years ago when we first started out; we just spent afternoons writing songs, working on drum loops with a drum machine and then Rachel joined us about two months after that. We always knew we wanted to add a vocal element to what we were doing and we went from there really. Daniel organised a gig for us fairly soon after that at the Freebutt.

Tegan MB: How do you feel about the Freebutt closing down?
Rachel: We're really sad about it; it gave a lot of people a really good opportunity, especially for bands like us.
Thomas: We played a lot of support shows there while figuring out what songs were good, what ideas were good, and how we wanted to go forward. We couldn't have done that without the support of a venue like that. It's a real shame.
Daniel: It's sad that for bands like us, just starting up, there won't be that kind of support.

Tegan MB: Even though the atmosphere of your music is quite otherworldly in many ways, do you think that there's anything about Brighton that's influenced or rooted your aesthetic?
Thomas: Geographically maybe, especially at this time of year: the sea, the cliffs, the downs. It's quite a spectacular place at times. All of us enjoy experiencing that, so I think that kind of infuses with the music.
Rachel: We all met in Brighton. It's quite a creative place and I think inevitably it's going to affect things.
Daniel: I think it's more about the people you meet in Brighton, the pace of life and to actually live in it, more than the town itself. I mean, it's impossible not to be aware of your surroundings, and it'd be foolish to claim that it had no bearing on the music.

Tegan MB: I've never actually seen you guys live and, obviously your music is quite theatrical, so I was wondering if that was matched by your live performances? Also, if it is, do you ever worry that people might think you're taking yourself a bit too seriously? Is it, maybe, a bit tongue-in-cheek?
Daniel: Yeah, it is quite theatrical-
Thomas: It's not tongue-in-cheek though... (laughs)
Daniel: No, it's not. We do wonder whether people think we're taking ourselves too seriously.
We're not going to do it any other way. You can't hide because someone, somewhere, doesn't like what you're doing. I think it comes down to conviction. It's the same with anything; if you genuinely believe in what you're doing, and if you personally think that it's good and it's appropriate, then you don't really have to justify what you're doing to anyone else. The only time you have to justify what you're doing is when you don't believe in it, that's when you start to question it, I guess. We try to put on a show.
Rachael: We try to make it a bit more personal. The live shows we appreciate are the ones that are a bit more all-enveloping, you know, with the lighting, and with the whole atmosphere.

Tegan MB: Have there been any changes to the way you do things since you signed with Matador?
Rachel: Nothing drastic, more of a gradual progression really.
Thomas: We've gradually become better musicians, hopefully (laughs).
Daniel: We've been really lucky in that, even though we've been signed to a label like Matador, we're still able to continue with what we've always done. With every other release, we recorded the album at home. It gives us the opportunity to go to the studio to record the vocals; whereas we always recorded the vocals in my bathroom, which is not ideal. If you're trying to push an album across continents, you should probably have the vocals recorded somewhere other than a bathroom.

Tegan MB: I think part of the reason why you guys deserve the attention you've been getting is because you've been loyal to this original aesthetic. So I guess there's not much chance of you guys taking a massive new direction?
Rachel: I wouldn't rule out doing something that was a little more left-field. But I think if we did, it wouldn't be a conscious, “Right, let's change things suddenly”. I mean, if it happens, it happens.
Thomas: It will happen naturally because the moment you go about planning in advance, it becomes a really horrible, unnatural process. There's obviously a bit of short-term planning that goes into how we want things, but we don't want to think too far into the future.
Rachel: It's a much more organic process.
Daniel: Invariably with anyone, in any situation, you'll have a lot of ideas; it's usually the ones that are timed right that end up coming to fruition, rather than when you hold on to an idea for a long time hoping you'll eventually get a chance to do it.

Tegan MB: I think, in a way, your album seems quite controlled...
Daniel: I suppose they're different things, though. You control your output, always. You don't just want to let everything go; it's much better to have the quantity lower and the quality higher. I think the difference is thinking about what you're going to do and thinking about how you're going to present it; knowing which bits you think work best.
Thomas: They're two different things. The aesthetic's one thing, whereas the composition of the album is something totally different. And that is something we spend a lot of time over, because we know we want the album to work; we want the artwork to fit with the songs; we want everything to follow properly. But the aesthetic is something we don't pay much attention to. There was no great plan with that – it's just left to surround the album.

Tegan MB: I wanted to ask you about being short listed for the BBC Sound of 2011 poll. How helpful do you think those kinds of things are for a band, and also, as a kind of taste-maker for the public?
Rachel: Well, it's incredibly flattering to be on the list. We were totally surprised by that, we really, genuinely weren't expecting it. I think they're helpful for bringing attention to artists that might not necessarily get as much otherwise.
Daniel: It's been very useful for us in that an absolute shed-load of people who had no idea who we were until that happened-
Rachel: (Laughs) -who were probably thinking, “Why the hell were they on that list?”
Daniel: I worry that, in our situation anyway-
Rachel: It creates an expectation.
Daniel: It kind of makes people think, because of the company that we're in, that we're gonna be more... straight up. It feels odd sitting alongside Jessie J. That's not to say those people aren't great; it's just that I'm not sure it's a sphere that we ever thought we'd be in.
Thomas: It's better that people judge us for the records and the songs we've released, rather than just solely for our inclusion on that list.
Daniel: It's in human nature, basically, to want to make a list for everything. We like to itemise things and that's not going to stop, regardless of your views on it. I've picked up a lot of great stuff from end-of-year lists though; some of them are good (laughs).

Tegan MB: So what's next this year then?
Rachel: Well, the album comes out on the 31st of Jan, so we're going to be touring for that
Daniel: We're going to see how far afield we can play. We've got a gig coming up in Brighton too. We haven't played in Brighton for over a year, so it's going to be scary. It's different when you're playing in front of people who have no idea who you are. You can be a bit more confrontational, and really put everything into it. But it's different when there's a suspicion that you might be playing to a bunch of people you know.

Tegan MB: Do your families ever come to your gigs?
Rachel: They've been to a couple of shows in the past; not in Brighton, but they've been to a few.
Daniel: My father came to one and got very drunk off our rider, and was being very vocal during our set. But in a lovely way!

Words: Tegan Rogers

Battles announce new album!

2011-02-24T22:36:00.003Z

Battles are to release their long awaited follow up to Mirrored on June 6/7th.
Warp records this evening announced that the record is to be called 'Gloss Drop' and features collaborations from Yamantaka Eye, Matias Aguayo, Kazu Makino and Gary Numan. The tracklisting is this:

1. Africastle
2. Ice Cream (Featuring Matias Aguayo)
3. Futura
4. Inchworm
5. Wall Street
6. My Machines (Featuring Gary Numan)
7. Dominican Fade
8. Sweetie & Shag (Featuring Kazu Makino)
9. Toddler
10. Rolls Bayce
11. White Electric
12. Sundome (Featuring Yamantaka Eye)

Tripwires announce Debut Album

2011-02-24T21:56:00.003Z

Tripwires have announced details of their debut album 'SPACEHOPPER' which will be released on CD and digital download via Club AC30 on 23rd May 2011.

The band will be touring with Does It Offend You Yeah through March and April including a London show at Heaven on 4th April.

Tripwires also headline The Lexington on 21st April.

Tracklisting is as follows:

1. Spacehopper
2. Positive Thinking
3. Shimmer
4. A Sunshine Overdose
5. Clusterfuck
6. Paint
7. Spring Snow
8. Catherine
9. I Feel Sick
10. Microphonic
11. Diet
12. Cinnamon
13. The Golden Age

Sufjan Stevens Announces First UK And European Tour In 5 Years

2011-02-23T13:01:00.003Z

After last years critically acclaimed album ‘The Age of Adz’ we are very happy to be welcoming back mr Sufjan Stevens to our shores later this year to play a huge amount of shows all over Europe including two dates at the Royal Festival Hall and Brighton's The Great Escape.

European Dates:

29 April: Bergen Grieghallen www.bergenfest.no / www.grieghallen.no / www.billettservice.no
30 April: Oslo Folketeateret www.folketeateret.no
1 May: Copenhagen Vega www.vega.dk / www.billetlugen.dk/home
3 May: Stockholm Cirkus www.cirkus.se / www.ticnet.se
General sale: 25 February - www.cirkus.se / www.ticnet.se /
5 May: Warsaw Teatr Polski www.teatr-polski.art.pl/ www.ticketpro.pl
6 May: Leipzig Centratheatre www.schauspiel-leipzig.de/ www.karsten-jahnke.de
7 May: Berlin Admiralspalast www.admiralspalast.de
9 May: Paris Olympia www.olympiahall.com / www.avosbillets.com
10 May: Brussels Cirque Royal www.cirque-royal.org / www.livenation.be
On Sale 25 February
12 May: London Royal Festival Hall
General Sale: 2 March - www.southbankcentre.co.uk / 0844 847 9911 /
13 May: London Royal Festival Hall (see above)
14 May: Brighton The Brighton Dome (presented by The Brighton Festival and The Great Escape)www.brightondome.org / 01273 709 709
16 May: Gateshead The Sage
General Sale: 25 February - www.thesagegateshead.org / www.gigsandtours.com / 0844 811 0051
17 May: Dublin Olympia www.mcd.ie / www.ticketmaster.ie
ON SALE 25 FEBRUARY 9AM
18 May: Dublin Olympia (see above)
ON SALE 25 FEBRUARY 9AM
19 May: Manchester Apollo
General Sale: 11AM 25 February - www.gigsandtours.com / 0844 811 0051
21 May: Eindhoven NL Muziekcentrum www.muziekgebouweindhoven.nl
22 May: Essen DE Colosseum Theatre www.colosseumtheater.de
24 May : Ferrara, IT Teatro Comunale www.ferrarasottolestelle.it / www.ticketone.it
26 May: Barcelona Primavera Sound www.primaverasound.com
27 May: Barcelona Primavera Sound www.primaverasound.com
30 May: Porto PT Coliseum www.coliseudoporto.pt / www.ticketline.pt
ON SALE 24 FEBRUARY, 10AM GMT
31 May: Lisbon Coliseum www.coliseulisboa.com / www.ticketline.pt

Deerhoof - Deerhoof Vs Evil (ATP)

2011-02-23T12:51:00.003Z

Despite what I thought I knew about Deerhoof, which is admittedly very little, I was surprised with their latest. Deerhoof Vs Evil still contains what you would expect from this band; quirks, loops, squeaky fresh vocals and a general avant-garde energy, but it also offers something else.

Proving themselves as worthy technicians as well as musicians, Deerhoof worked every angle of the album, creating a singular vision of what they think it should sound like. The result feels raw, yet polished; a slice of garage rock with a twist of Deerhoof.

Despite the ranges in genre, the tracks are linked with a child-like innocence, both in lyrics, vocal delivery and song titles. Satomi Matsuzaki’s voice perfectly fits this aesthetic, always sounding sincere and playful in equal measure. Even when things get heavy, the band never sound anything less than fun, which is my biggest compliment. Deerhoof Vs Evil is the perfect summer record and I can’t wait to put it on whilst wearing my short shorts and sunglasses.

Album highlight, No One Asked To Dance is bittersweet and pretty. Stripped of electronics and led by a fast moving acoustic guitar, this is the black sheep of the album, sounding like nothing else. The song offers two minutes of sweet charm and emotion, giving the listener something to bite in to. In contrast, Secret Mobilization offers a slice of cool, sounding almost like soul, but with grimier guitars and a very heavy breakdown. These heavy breakdowns are a frequent Deerhoof fixture and they use them very cleverly, always giving the songs a rush adrenaline if needed. Album closer, Almost Everyone Almost Always has a spacey shoegaze sound, but ends rather abruptly. I was expecting an adventurous, even epic, end to the album, but was surprised by this modest, but enjoyable piece.

To describe Deerhoof Vs Evil as humble, may sound stupid, but it’s accurate. Songs never wander, instrumentals are lean and they say what they need to say without leaping too far into obscurity. Falling into their ‘twee pop’ side, the album is a reminder that art rock doesn’t have to be dull. In fact, having fun is the coolest thing in the world, so why not indulge?

Words : David Campion

Wild Beasts Announce New Album and Tour

2011-02-23T10:16:00.003Z

It has to be said, after the huge success of 2009's Two Dancers, Wild Beasts new album entitled 'Smother' has to be one of the most hotly anticipated albums of the year and we here at Boop central can't wait.

Smother is released 9th of May and will be followed by a series of intimate shows.

Thu 5 May UK Newcastle Gateshead Old Town Hall
Fri 6 May UK Glasgow Oran Mor
Sun 8 May UK Leeds Brudenell Social Club
Mon 9 May UK Leicester Y Theatre
Wed 11 May UK London Wilton's Music Hall
Thurs 12 May UK London Wilton’s Music Hall
Fri 13 May UK Gloucester Guildhall
Sat 14 May UK Sheffield City Hall Grand Ballroom
Sat 6th Aug UK London Victoria Park – Field Day Festival

Sparkadia - Mary (The Royal Palms remix) Free Download

2011-02-23T10:10:00.001Z

Sparkadia - Mary (The Royal Palms remix) by Anorak London

Gold Panda - 'Marriage' Video

2011-02-23T10:05:00.000Z

Marriage from Gold Panda on Vimeo.

Cut Copy - 'Need You Now' video

2011-02-21T19:33:00.002Z

Cut Copy will also bring their blinding live show to the UK on the following dates:

Thurs 3 March – Glasgow - Death Disco Special @ The Arches
Fri 4 March – Galway – Raddison (free outdoor festival)
Sat 5 March – Manchester – Now Wave @ Gorilla
Sun 6 March – London - The Forum

Queens Of The Stone Age to perform self titled album in full

2011-02-21T19:24:00.002Z

Queens Of The Stone Age are to play a bunch of UK & European shows for May including London Roundhouse on May 17th where their amazingly brilliant eponymous debut album will be performed in its entirety.

These lucky cities will see them play the album:

02/05/11 Cologne - E-Werk (tickets from: www.eventim.de)

03/05/11 Brussels - Ancienne Belgique (tickets from: www.proximusgoformusic.be)

04/05/11 Groningen – Oostersport (tickets from: www.ticketmaster.nl)

06/05/11 Stockholm – Cirkus (tickets from: www.ticnet.se)

07/05/11 Oslo – Sentrum (tickets from: www.billettservice.no)

08/05/11 Copenhagen - Vega (tickets from: www.billetlugen.dk/home)

10/05/11 Munich – TonHalle (tickets from: www.eventim.de)

11/05/11 Zurich - Komplex 457 (tickets from: www.komplex457.ch)

12/05/11 Graz - Schlossberg Castle (tickets from: www.oeticket.com)

14/05/11 Eindhoven – Effenaar (tickets from: www.ticketmaster.nl)

15/05/11 Amsterdam – Paradiso (tickets from: www.ticketmaster.nl)

17/05/11 London – Roundhouse (tickets from: www.seetickets.com)

19/05/11 Dublin – Olympia (tickets from: www.ticketmaster.ie)

20/05/11 Glasgow – Academy (tickets from: www.triplegmusic.com)

21/05/11 Manchester - Academy (tickets from: www.gigsandtours.com)

23/05/11 Paris – Olympia (tickets from: www.avosbillets.com)

24/05/11 Antwerp - Trix (tickets from: www.proximusgoformusic.be)

25/05/11 Strasbourg - La Laiterie (tickets from: www.avosbillets.com)

26/05/11 Dudingden - Kilbi (Festival) (tickets from: www.starticket.ch)

28/05/11 Budapest - Petofi Hall (tickets from: www.livenation.hu)

29/05/11 Prague - KC Vltavska (ticket link TBC)

30/05/11 Warsaw – Stodola (tickets from: www.ticketpro.pl)

Tickets will go on sale this Friday.

J Mascis solo record and European shows.

2011-02-21T19:15:00.004Z

J Mascis will play intimate European shows in support of his first ever solo album, ‘Several Shades of Why’. Mascis will perform at Cargo in London on April 14th, following the release of his new album through Sub Pop on March 14th.

Theres are the joints you can catch the Dinosaur Jr man

European Dates in April:

13th - Dublin, Whelans
14th - London, Cargo
16th - Paris, Point Ephemere
17th - Milan, Bloom
18th - Rome, Circolo degli Artisti
20th - Antwerp, Trix
21st - Amsterdam, Sugar Factory
22nd - Madrid, Moby Dick
23rd - Barcelona, La (2)

Also you can check out this hillarious video interview with Mascis.

Radiohead - 'Lotus Flower' Video

2011-02-20T12:43:00.000Z

Field Day 06 August 2011

2011-02-19T08:56:00.005Z

Hard to believe it’s mid February already isn’t it? Before we know it the summer and all it’s basking glory will be upon us. Here’s something else to look forward to... Field Day

This year’s line up looks to be just as good as last year, if not better :

Actress / Ariel Pinks’ Haunted Graffiti / Cocknbullkid / Ducktails/ Electrelane/ Factory Floor/ Gruff Rhys/ Hype Williams/ Jamie Woon / John Cale/ Konono No.1/ Mark Kozelek/ Matthew Dear/ Mount Kimbie/ Omar Souleyman/ Oneorthix/ Point Never/ Pearson Sound (Formerly Ramadanman)/ Roska/ Sun Ra Arkestra/ The Horrors/ Tortoise/ Trophy Wife/ Twin Shadow/ Wild Beasts/ Willy Mason plus many more T.B.A

Love Inks: Debut single 'Blackeye' out March 28th

2011-02-17T22:55:00.002Z

Check out Austin, Texas three-piece Love Inks. They will release their debut album this spring, but before that, their debut single 'Blackeye' is a highly infectious dreamy pop jem that will hit the streets on March 28th through Italian label Hell, Yes!

We'll bring you album details when they're announced, but in the meantime, you can check out 'Blackeye' below.

LOVE INKS "Blackeye" by HellYes

Thomas Tantrum 'Sleep' video - out March 27th

2011-02-17T22:48:00.004Z

Here's the brand new video from Southampton's Thomas Tantrum.

Cut Copy - ‘Zonoscope’ (Modular)

2011-02-17T19:55:00.004Z

In contrast to such inviting artwork, the first track seemed to offer a rather vanilla introduction to Cut Copy’s new album, ‘Zonoscope’. However, this Aussie group go on to unleash the sweetness, syrups and sprinkles to deliver a knickerbocker glory of tunes for their third album.

Fans of their previous material will be hooked from the start, as this album follows their last, ‘In Ghost Colours’ with bright eyes. Whilst they maintain their symbolic electro beats all the way through ‘Zonoscope’, it is the slightly tamer tracks that make it stand out from the previous. Each song flutters between extreme genres of the ‘80s; dashing their iconic synth pulse with shoe-gaze sounds it is a promising mix that is comparable to a LCD Sound system Jesus and Mary Chain mash-up. It is an unlikely unison that Cut Copy execute well.

Though old fans may enjoy, it is plausible to think that following this record, 2011 will offer up even more to this band. The album puts forward the bouncing energy of what bought them to fame, flirting with other eras and sounds that will be sure to land them a few more fans this year.

The highlight of ‘Zonoscope’, for me, was the third track, ‘Where I’m Going’, which standouts out on the album for its sprightly, ‘60s pop melody. It seems that even the lyrics reflect this- ‘all you need is a dream and a lover too’.
Despite this, it is arguable that some of the tunes within the album lack originality within the music itself; there are moments that are suspiciously similar to known songs from the past. Having said this, it is a common occurrence which is seen from many artists, and therefore perhaps a dismissible flaw. On a whole, the album comes together nicely, offering you something that is familiar to the ears, yet tickles the brain.

‘Zonoscope’ concludes with ‘Sun God’, an epic fifteen-minute track that is as versatile to be suited for a warm summer day with your friends, or a long and dirty night out. It is fair to say that Cut Copy, have grown from their initial style, maybe only very slightly, managing to cultivate their sound, and with a hint of something colourful.

By L. E. Dee Robson

Brown Recluse - Evening Tapestry (Slumberland)

2011-02-17T18:30:00.001Z

Psychadelic pop is an oddly beautiful form of music that can split into two possible disparate directions; either wonderfully jaunty 60s pop rock or spiralling, swirling freak-out psych alongThe Flaming Lips line of outlandishness. Brown Recluse are a five piece from Philadelphia who combine a little of the two approaches to this uniquely exhilarating genre of pop music to forge a decadently luxurious sunny sound on their latest effort 'Evening Tapestry'.

Ambient, mystical sound swells in the first moments of opening track 'Hobble To Your Tomb', before a sweetly sung slice of indie pop (albeit interlaced with whirring, child-like electronics) grasps hold and leads you on a merry-go-round of jaunt and joy. The aforementioned introduction is somewhat subdued compared to the majority of a record that prefers to sit in a memory of sunshine rather than the bite of winter, recalling a Beach Boys for the 21st century, full of surf rock guitar patches and buoyantly beating percussion.

There are sparkling spots of sonic sunshine scattered throughout the record, evident in the likes of 'Summer Showers', a track that starts life with the quaintly serene vocals of Timothy Meskers. He possesses a rarely found softness and deftness in his vocal meandering, sauntering up and down scales with utter ease, drifting into dream territory with a bittersweet air and aura. 'Beautiful Light' is a stopgap in the midst of the album that highlights the blatant and bold comparisons between Brown Recluse and the 60s psych bands, who utilised classical composure to craft loving pop songs that toyed with the ideas of harmony to update and renovate pop music for a new youth suddenly gripped by rock and roll fever.

I am not quite sure if we are in anything comparable to this in 2011; rather true rock music is something that has been twisted, turned, transformed and trampled on so many times, people have been turning to electronics, computers and warped representations of rock to satisfy the primal urge that kick-started when Elvis started shaking his hips on stage (of course, it all started back with the blues but, for white, mainstream America, Elvis was basically Satan with a quiff). Similar to such luminaries (and obvious influences) as The Zombies and Phil Spector, they keep the length of their musical manifestations down to around the three minute mark; this is the tried and tested rule of gripping pop music and the half hour running time of the record, though brief, surely does flutter by in the blink of a lazy, daydreaming eye.

As the record winds down, after another jingling gallop in 'At Last', we find a lounge-like quality in amidst the psychosis, reflecting a sound that resembles The Shins on acid; all glimmering radiance with an underlying pensiveness in the retreating rhythm of 'Paisley Tears'. The finale bookends the tale of an Evening Tapestry with 'March To Your Tomb', a more defiant approach to heading towards the grave as folk-led riffs, a surprisingly effective dash of organ and the baroque pop vocals map out the longest track so far, perhaps allowing the band to play themselves out in an oodling manner; carefree yet concise, and with a sense that this is the end of their tale (for now) and that someone, somewhere, will live happily ever after.

Words : Adam Parker

Foo Fighters - 'White Limo' video

2011-02-15T19:17:00.002Z

This could be just about the best thing the Foo's have done in years.

Autechre to release 'EPs 1991-1992' on April 11th

2011-02-15T18:59:00.002Z

Warp Records will release Autechre’s ‘EPs 1991 – 2002’ on 11th April 2011.

This 47 track collection brings together material from the bands EP releases (now mostly out of print) from between these years.

For more details on these releases and details on how to buy, check out the link from the excellent BLEEP website.

Radiohead New Album!

2011-02-15T15:48:00.004Z

Ok so by now everyone in the world probably already knows about this but we thought we would announce it anyway. The fantastic Radiohead are to release their new album entitled 'The King Of Limbs' this Saturday, basically without any pr or leaks, it's just going to be there.

Find out more here

J Mascis announces first ever solo album and free download!

2011-02-14T14:57:00.003Z

With ‘Several Shades of Why,’ Mr Masicis' first foray into the world of the solo album, he has worked well to strip everything down and release an album full of catchy acoustic numbers.

See for yourself with this free download of 'Is It Done’

‘Several Shades of Why’ is released on February 28th.

Vivian Girls - "I Heard You Say" Video

2011-02-14T14:52:00.002Z

Super Receptor Presents: Iceage

2011-02-14T11:14:00.003Z

Middle Boop has teamed up with the fantastic music Blog Super Receptor run by Mr Al English of Youthmovies fame in bringing you news of some of the best bands that, basically even we at Boop towers haven't heard of yet. Go forth and discover.

If January has you on auto-pilot then Copenhagen’s Iceage should snap you out of it like a stubbed toe.

Though their ages should be irreverent the fact that these four Danes are making such excellent noise in their teens marks them as talented as The Murder Of Rosa Luxemburg at their prime.

The music sits somewhere between DC hardcore and British punk but filtered via weirdness. The songs are all velocity but skewed and prone to shoot off at unexpected angles.

Their debut album New Brigade is available on Dais in the US and Escho in Denmark.

http://www.daisrecords.com

http://escho.net

http://soundcloud.com/escho/sets/esc16

http://iceagecopenhagen.blogspot.com

Asobi Seksu - Fluorescence (Polyvinyl)

2011-02-14T10:49:00.004Z

NYC two-piece Asobi Seksu make prettily archetypal shoegaze songs ( I was going to say nu-gaze but it makes me want to barf) made atypical with schizophrenic vocals and playful eighties electronica. They are easily comparable to My Bloody Valentine with their sloping upbeat intros, and Yuki Chikudate’s warbling, echoed vocal instantly exposes her to be a Cocteau Twins fan. These observations come easily with most ‘dream pop’ releases, but there are stronger links here to the pop than the dream. Although Fluorescence is as hazy and mellow as a sunny afternoon spent on mushrooms, the gossamer-thin atmosphere of the album floats around a core of strong, catchy pop music. A strong resemblance to Strawberry Switchblade and Saturdays=Youth era M83 makes this release stand alone as something with more substance than many of the dreamy, layered, effect heavy, releases that are bound to flood the indie charts this year.

Coming up is aptly named, there is a youthful 80s exuberance to the track which would fit nicely amongst Psychedelic Furs and Simple Minds in a John Hughes movie. Trails has some pretty impressive operatic-style vocal gymnastics.Perfectly crystal took me back to my teenage bedroom, the wispy vocals echo like a memory, and secures it as a track to come back to time and again. Love Will Tear Us Apart drums and guitar feature on clanging cacophony of a track, Leave The drummer Out There. The album is varied and not afraid to take chances, and some of the best parts of Fluorescence are where guitarist James Hanna experiments with a more joyful sound, and Chikudate turns her hand to singing in Japanese. Sigh sees high pitched little-girl vocals turn into womanly ooh-ing, and erratic keys become scratchy Johnny Greenwood guitars. It is a trilling pop hit, in the vein of Arcade Fire, and it’s fabulous. Moreover,Trance Out, with its punky J-Pop intro and danceable melodies shows the versatility the band is capable of. Some tracks are a little draining, and seem to go nowhere (Counterglow, Ocean) but overall, this release is a delight to behold. Come February 14^thI will be eschewing the purchase of chocolates or soft toys and spending my money on the clear pink vinyl edition (available for pre-order through their MySpace page), and I suggest you do the same.

Words : Maya Boustany

Dignan Porch to release new EP on March 8th

2011-02-13T20:47:00.002Z

From Tooting in South London. Dignan Porch have announced details of their new EP titled 'Deluded' which is due for release March 8th, on Captured Tracks records.

Artwork is displayed above and the tracklisting is as follows:

1. Flame (Intro)
2. Yards
3. Like It Was Again
4. Stream
5. I'm A Saint
6. I Threw Myself From Tower Bridge
7. Footsteps in the Snow
8. Surge

Dignan Porch's garagy fuzzy tones are well worth checking out live too, and you can catch them at a couple of shows in the near future at

February 27th - Old Blue Last, London
March 21st - The Hope, Brighton

The Megaphonic Thrift announce London show

2011-02-13T20:42:00.002Z

The Megaphonic Thrift announce a London show to celebrate the re-release of their debut album 'Decay Decoy' out on 21st February. The band will play at The Barfly in London on Friday 12th March.

Middle Boop Designer of the Week : Stephen Chan

2011-02-11T00:29:00.006Z

The fantastically talented Stephen Chan has had my head spinning recently with his mesmerising artwork. Seemingly able to create extremely detailed illustrations with ease, Chan has so far created work for the likes of Digital Arts, Ammo Mag and a whole host of exhibitions.

Gruff Rhys - 'Sensations In The Dark' Video

2011-02-11T00:24:00.000Z

Danielson - 'Grow Up' Video

2011-02-11T00:22:00.000Z

Middle Boop Radar : Plant Plants

2011-02-10T23:10:00.004Z

Not too much is known about Plant Plants, in fact even trying to google their name proves to be a laborious task but what we do know is this: They create absolutely amazing music!

That sort of glitchy, minimal techno that people like Gold Panda and Pantha Du Prince have been famed for recently except much darker than Panda and more raw than Pantha.

The three tracks on their myspace (All demo's) offer us a mere taste into the mostly unknown world of Plant Plants. 'Hands That Sleep' proves the real highlight, with soflty echoed vocals, thundering loops and jangly guitar lines.

Oh yes, these guys are well worth checking out

http://www.myspace.com/pl4ntpl4nts

Austra – 18th January 2011 – Old Blue Last

2011-02-10T01:14:00.003Z

This is Katie Stelmanis’ first visit to the UK with Austra and only her second ever UK show, the first being at the Windmill in Brixton only the previous night. Tonight Katie and her band, including the Lightman sisters (of Tasseomancy) on backing vocals take to the stage in a packed out Old Blue Last.

As the band sink into opener ‘Darken Her Horse’, layers of sparkling star like synths build up and Katie’s voice begins to immediately demand attention as the crowd hush and start concentrating on the stage. Before too long a steady beat is pounding and the song builds into a soaring, chorus before the tune fades back into the sparks that began it.

Following this is ‘Lose it’, arguably one of the catchiest songs of the year. Surely deserving of a single release at some point, the descending, vivacious vocals in the chorus deserves full concentration on the first listen. As the song continues the majesty of Katie’s song writing becomes clear as layers of vocal lines weave over each other, ending with three different lines on the final chorus all creating sonic revelry.

The layering of these vocals is the real power in Austra’s cannon, live there are three singers, with Katie taking centre stage and one of the Lightman sisters on either side. The twins provide an alluring back drop for Katie centre stage as they dance identically on either side the visuals become immeasurably haunting for almost the entire set. Inevitably Austra get to their incredible debut single ‘The Beat And The Pulse’ builds out of rumbling bass into a marching juggernaut of a tune, sending the crowd into a frenzy as Katie’s incredible vocals blast out of the PA.

The PA is the only gripe of the night in fact, as the band already sound too large for the Old Blue Last’s relatively meager speakers. The band go on to Heaven supporting Hercules & Love Affair the next night, I can only hope they soar into headlining these kind of shows themselves, they definitely deserve it

Words : Michael Woods

Suuns - "Pie IX" Video

2011-02-10T01:10:00.001Z

Pie IX by Suuns from Secretly Jag on Vimeo.

Moon Duo announce album 'Mazes' - out April 18th

2011-02-08T20:12:00.002Z

Moon Duo have announced the first details of their official debut full length album which is called 'Mazes' and will be released on April 18th on the Souterrain Transmissions label. This follows on from last years brilliant 'Escape EP'.

And to wet your appetite for this release, we're giving you the title track to listen below!

Moon Duo - Mazes by souterraintransmissions

Ducktails - Ducktails III: Arcade Dynamics (Woodsist)

2011-02-08T17:30:00.003Z

With the ever increasing encroachment of technology in all corners of the world, from our everyday lives to the way in which art is influenced, created and released unto the public, a vast part of artistic endeavour either looks forward, attempting to develop a new strand of thought and creation, or harks back, drawing upon outdated ideas and styles in order to sound distinct, different and fresh, especially to a young audience raised in a world of digital formats and instantly accessible media. Nostalgic decade and genre reruns are two-a-penny nowadays, from the new rave nightmare to the day-glo 80s revival, but an actual physical return is rare outside of select circles, such as the world of Ducktails, the original pseudonym of Matthew Mondanile, guitarist of Real Estate. His initial solo offerings consisted of stripped back tape cassette recordings, full of fuzzy indistinction and undefined riffs that crackle their way through the thin line of tape that spins and clogs in a physical sensation that is all-but gone in the world of MP3s and USBs.

Whilst such a musical ideology is initially captivating in its simplicity and archaic allure, the unfortunate deficiency of availability of a cassette player, as well as the hazy hum offered forth, provides an automatic barrier for certain segments of a possible audience. Real Estate are a psychedelic pop band who peddle surf rock melted into an aforementioned haze, and it feel’s as if Ducktails has taken on the aura of his band’s work by blending his blurring murmurs with melodic choruses, surf-led, genial guitar and vocals that sweeten the recipe into a surprisingly saccharine spirit on ‘Ducktails III: Arcade Dynamics’.

The opening piece of the record, ‘In The Swing’, bumbles its way into life thanks to a stuttering percussive start and an endearing riff that shuffles it’s way throughout. This ambling approach evokes an instant warming of the heart, sounding far too understatedly joyous to dismiss with a sarcastic sneer. The music feels like a big hug from an old friend, thanks to the tremulous, tender twang of the tracks and the soft fuzz coating the recordings, recalling long lost summer memories from a longed-for youth. ‘Little Window’ contains a tambourine accompaniment that elevates the atmosphere to a much sunnier climate, almost bouncing it’s way higher and higher with each shake and rattle.

‘Killin The Vibe’ is a masterstroke of a lazy, hazy track, using a tropical guitar line and repetition to its utmost, recalling the best of Best Coast and Panda Bear. And, coincidentally, this is made all the more exquisite by the addition of Panda Bear for an alternative version of the track at the end of the album, adding in a big dollop of upbeat vocalisation to provide the cherry on top of the Ducktails cake. ‘Porch Projector’ leisurely sprawls out into a meandering manipulation of sound, breezing it’s way through a blustery, sleepy tone that brings to mind a world of stoner dreampop. This last hurrah of the album is a reminder of the origins of Ducktails, disconcerting and disjointed yet merging into a ten minute treat that creeps along with a comfy, cosy warmth and an improvisational attitude that demands an admiration that simply can’t be gleaned in the highly-glossed, over-produced, three minute pop hits that litter themselves throughout the chart listings.

Words : Adam Parker

Seefeel – Seefeel (Warp)

2011-02-08T17:25:00.004Z

One Steven Paul Jobs, everyone’s favourite Bond villain-a-like and all-inventing creator of things-we-didn’t-know-we-even-needed, is at least partly responsible for a good many changes in the way we as a society think. Some such changes are undoubtedly good things; for example, bestowing upon graphic designers the ability to do their work (because everyone knows that, despite the fact there are plenty of PCs out there the technical equal of your average MacBook, designers just can’t work on anything with a smug little ‘Start’ button staring out at them from the bottom-left). Some are unquestionably bad – no one, bar perhaps Alan Partridge, can make one more want to throw out a lovely new roll-neck in a fit of fashion-related self-doubting. And some are more of a mixed bag.

The iPod revolutionised the music world, and it’s clear we’re ostensibly the better off for it. But the portable music revolution, as in history’s other great leaps forward (the French; Industrial; number 9), was also responsible for a number of innocent casualties, with one glaring great sea of metaphorical aristocrats’ heads towering like a gory colossus above the rest – the long-playing album.

In this terrifying new century of instant individual song downloads, on-demand films and butter that’s somehow spreadable straight from the fridge, the poor, clapped-out old LP as a statement of artistic intent is in its death throes. Finding ourselves in a situation strangely reminiscent of the early 1960s, the single – or, rather, now, any track cherry-picked from an album or best of – again reigns supreme.

Which is why it’s so ridiculously refreshing when you do eventually hear an album like Seefeel’s Seefeel, crafted in the tradition of those mythical post-Sgt. Pepper days of yore when albums were created to be listened to from start-to-finish, and savoured like a real ale twat does his pint of freshly-poured Stagnant Puddle. There will be no singles lifted from Seefeel, because there are no singles to lift; it’s an unashamed 52-minute journey meant be digested as one cohesive whole. It’s just a crying shame that, musically, it isn’t a bit more listenable.
For a group who haven’t released an album in some fifteen years (excepting last year’s comeback EP Faults), Seefeel feels like surprisingly familiar territory. Continuing from almost exactly where the robotic shoegazers and Warp protégées originally called it quits in the mid-‘90s, Seefeel serves up more of the same trademark ambient minimalism and otherworldly, slowly-evolving soundscapes that first brought them to the prominence during that historic grey area that lie between the dance explosion of the late ‘80s and the impending ascendance of Britpop a few years later.

And yet, on first listen, it’s still a remarkably and unexpectedly disconcerting experience. Seefeel’s claustrophobic layers of hypnotic, looped guitars, droning synths and fat, dub-styled bass, processed and squeezed into distorted dissociation, combine to create a sonic collage that sounds unnervingly alien, and frequently non-human. Drums are sparse, boxy and unpredictable, and singer Sarah Peacock’s off-kilter, treated vocals wander in and out at random, as they do resembling uncannily the sound emanating from the turntable of an evangelical panicker looking for Satanic messages in a copy of Led Zeppelin II played backwards.

But it’s this lack of any human quality or warmth that proves to be the record’s undoing. Whereas the druggy weirdness of previous Seefeel outings – especially critics’ favourite and magnum opus Quique – sounded empathetic and inviting in a post-rave, giss’-a-hug kind of way, Seefeel is cold, metallic and distant; more K than E. In a way, it’s the aural equivalent of a relatively realistic blow-up doll; you can appreciate it superficially and aesthetically – love it even – but it doesn’t really matter. Because it’s dead inside, and it doesn’t and can’t love you back. You get the picture.

But, of course, none of that’s really very important. Is it a good album? Is it bad? Would I recommend it to a friend? Yes. Maybe. Probably. Who cares? Seefeel is a cohesive album as a piece of art, dammit, and it’s glorious! God save the LP! Viva la (counter-) revolución!

Words : Jon Chapple

Vessels - Helioscope (Cuckundoo Records)

2011-02-07T10:09:00.003Z

I must admit this post-rock quintet hailing from Leeds have never surfaced on my musical radar before. Helioscope is the second full length release from the lads since forming in 2005, the first incarnation being White Fields And Open Devices back in 2007.

Helioscope is mainly an instrumental affair, with certain elements not sounding too unfamiliar to fellow post-rock progressive peers such as Glasgow’s Remember Remember with their progressive looping time signatures, or Texas’ Explosions In The Sky with their epic, swirling guitar riddled crescendos. All the post-rock trademarks you’d come to expect are here with most tracks building up and escalating into layer upon layer of feedback infused guitars, droning in the background with persistently crashing drums like a wall of sound coming tumbling down on you, (see opening track “Monoform”).

The record is relatively heavy – but not so much in a Mogwai way; more along the lines of some sort of metal band you might have listened to growing up whilst still discovering your musical preference. One of my criticisms would be the over use of power chords, normally in the climatic stages of a song, such as “Art/Choke” or “The Trap”. The addition of this sound doesn’t do justice to the prelude we’ve been sitting through and ultimately builds up towards a disappointing end, like the musical equivalent to Lost.

When the sparsely used vocals do come into play, they sound incredibly polished and add a refreshing counter balance to the music. “Recur” for example displays some vocal talent and shows the boys can clearly hold a note and harmonise together, like The Beach Boys met 65daysofstatic for a jam. A collaboration with solo artist Stuart Warwick on “Meatman, Piano Turner, Prostitute” adds some welcome variety to the album, offering some delicate, haunting vocals to accompany the atmospheric synths and intricate drumming.

I’ve had to revisit the album a couple of times in order to form a bond with it, and I’m pleased to say I’ve been able to see through the obvious influences and appreciate the album for what it is – a well crafted, post-rock record which occasionally reaches epic heights. Whilst it doesn’t bring anything particularly new to the table, it adds another positive notch in the bedpost of the genre.

Words: Neil Phillips

Chilly Gonzales @ The Borderline 06/02/2011

2011-02-07T08:31:00.011Z

Last night, half Jewish half Canadian self-proclaimed “musical genius” Chilly Gonzales played the incredibly intimate Borderline on Tottenham Court Road in aid of HMV’s Next Big Thing.

Posters upon entering stated “Chilly Gonzales, the musical genius gracing the stage tonight, would appreciate it if all attendees could keep quiet throughout his performance”. I’d always heard Chilly was quite the prankster, so I took this with a pinch of salt and assumed he wouldn’t get all diva-esque on us…

By the time Chilly Gonzales had graced the stage in his usual performance attire (that would be a dressing gown incase you’re wondering), the crowd were ready for a slice of the electro piano funk brilliance that was released last year in the form of Ivory Tower (one of my personal top 5 albums of 2010). The majority of the show was a solo performance from Chilly, with a combination of tracks from the new record, a couple of old ones and some medley jams in-between.

Chilly gave a tongue in cheek step-by-step guide as to how he created the Apple advertising campaign favorite “Never Stop” – yet joked despite appearing on the technology giants advertisement campaign, how he has failed to blow up. This followed with Chilly getting an iPad out and actually performing the song on it there and then. How’s that for an endorsement? This wasn’t without a technical glitch which led to the poor sound man getting an onstage grilling from a frustrated Chilly who broke into “Take Me To Broadway” to kill some time.

The evening would not be complete without the ever charming Chilly telling anecdotes in-between songs. One tale told how fellow Janadian rapper Drake took “The Tourist” from “Solo Pianist” and proceeded to use it on a free mixtape which circulated the internet. Despite the entire song being used with nothing more than the sound of a champagne bottle being opened at the end of it, he never got any credit. He went on to say he actually met Drake due to his father living in the same block of apartments which led to him getting “musically raped again” when he ended up performing the track in person for Drake.

Prior to the encore (which was a song about Nazi’s with Chilly playing a pair of bongos) the show ended with Chilly getting some onstage support from a drummer and three young ladies on backing vocals for the performance of newly released single, “You Can Dance”, which cemented why Chilly was performing there in the first place. As the man himself put it:

“I’m a man of the times… living in the Barbara Streisand era”.

Chilly Gonzales will be performing at KOKO on May 5th.

Words: Neil Phillips

The Lion and the Wolf give away free EP

2011-02-06T20:50:00.002Z

The Lion and the Wolf, from Southampton, is giving away a free self-titled 5 track EP to download exclusively on his blog. Details available on this link.

A message from Death From Above 1979

2011-02-04T20:01:00.002Z

My biggest live music regret was missing these guys at Reading Festival 2005 due to "clashing" with an artist I thought i'd have less chance of seeing again. How wrong was I... or so I thought.

After appearing on this years Coachella Festival line-up, this is the official conformation we've been dying to hear from the band. Sebastian wrote this on their blog. Now come and play some UK shows please! With love.

Ariel Pink's Haunted Graffiti to headline KOKO

2011-02-03T21:28:00.003Z

Without a doubt, Ariel Pink's 'Before Today' album was one of the key highlights of last year and due to its success, we welcome the crazy four piece back onto our shores next year with their biggest UK show yet.

May 13th 2011. Keep it in your diary.

Those Dancing Days - 'I'll Be Yours' Video

2011-02-03T20:44:00.000Z

Taking it back... #12

2011-02-03T15:10:00.005Z

...to 1992.

Or the case of this live performance on Later With Jools Holland, I think 2006(?)

One of my favourite Later performances with REM performing this stunning vocal/piano version of 'Nightswimming' from their Automatic For the People LP.

Just take a moment, watch this, shed a tear. Do what you gotta do.

The White Stripes call it a day.

2011-02-02T18:35:00.004Z

Jack and Meg White have announced today that they, as a recording and performing artist are to split. The announcement was made on thier label Third Man Records' website.

All the best guys!

Gruff Rhys – ‘Hotel Shampoo’ (Onvi Records)

2011-02-02T15:19:00.004Z

Gruff Rhys has been constantly been on the forefront of creating flawless music. Go back to 1996 when I could hear my dad playing a recorded cassette of Fuzzy Logic, the Super Furry Animals have always been there abouts throughout my music listening youth to this present day. And when his Neon Neon collaboration with hip-hop producer Boom Bip came out of the blue three years ago, it proved that Rhys can make anything sound great. However, out of his musical projects, his solo work has often only been sparsely pounded through my ears. Still of course much appreciated but out of everything he’s done I would be honest to say is the least of his work I’ve divulged in.

Here we have Hotel Shampoo, his third solo record to date and the follow up to 2007’s 'Candylion'. First and foremost, what’s great about this new record before I’d even listened to it was the title’s reference to Gruff’s habit of collecting shampoo bottles and other complimentary items from hotels while touring. As demonstrated in this brilliant short film. http://www.youtube.com/watch?v=kZLUS7rnzFQ

Onto the LP itself, produced by long time friend and collaborator Andy Votel, the record begins with the exquisite lead single ‘Shark Ridden Waters’. Which those of you who ever listen to BBC 6music over the past couple of months will know exactly what this track is about. For those of you who don’t listen to much radio, basically it’s a beautifully orchestrated piece of sample-led style pop that ultimately sets the tone of what is to come.

In what is a much sombre feel to the album, Hotel Shampoo showcases a variety of instruments from woodwind, brass and strings as opposed to electronic bleeps and beats that are demonstrated in much of Rhys’ other work, with the exception of perhaps ‘Christopher Columbus’ and ‘Rubble Rubble’. In tracks such as ‘Vitamin K’, ‘Take a Sentence’ and the wonderfully alliterated ‘If We Were Words (We Would Rhyme)’ there is very much the feel and influence of Burt Bacharach style love songs. The bossa nova swing of ‘Space Dust #2’ is a gorgeous duet of easy listening pleasure featuring El Perro Del Mar’s Sarah Assbring, while ‘Patterns of Power’ reminisces us of what Gruff is used to in the Super Furries.

For me though the standout on Hotel Shampoo is the feel good and upbeat ‘Sensations in the Dark’, breaking away from the mid-tempo ballads of which stands out like a sore thumb because of this and is very much worthy of its future single material.
All in all Gruff Rhys has come up trumps yet again, where he goes back to basics yet displaying an overwhelming sense of musical creativity. Hotel Shampoo is an easy listening record that is by no means middle of the road, with thirteen compositions of sheer talent and modesty that wouldn’t feel out of place fifty years ago, neither do they today. All hail Sir Gruff!

Words: Freddy Rothman

James Blake - 'The Wilhelm Scream' video

2011-02-02T13:38:00.006Z

Official Video, taken from the eagerly anticipated album of the same name, which we reviewed here. Released March 7th. Hype.

Napoleon IIIrd - The Unknown Unknown (Live At Hoxton Hall)

2011-02-02T00:17:00.000Z

Napoleon IIIrd - The Unknown Unknown (Live @ Hoxton Hall) from Brainlove on Vimeo.

Amplifier - The Octopus (Ampcorp)

2011-02-01T22:14:00.004Z

Amplifier's third studio album ‘The Octopus’ hath arrived for your audible pleasures; Some 2 years in the making the magical moment has come to submerge your ears in an epic auditory journey combating fallen empires, time continuum & dark matter.

In true prog rock style the Mancunian triplet have hit us with a double album checking in at a respectable running time of over 2 hours. Enter stage left into a new dimension of Space Rock, for this record has many tentacles to boast as the journey of the Cephalopod begins…

Opening track ‘The Runner’ has an ambient Dark Side of the Moon-esque' feel to it and a smorgasbord of effect laden sounds. An electric piano rears its previously un-used keys on a few tracks, apparent on ‘Minion’s song,’ harmonising gently with Sel’s multifarious vocals.

‘The Wave’ is a stonking tune, with remnants of an alternative industrial influenced riff..

As we all sing 'Another Dimension, another dimension' - hail to the space cadets!

The video is something to get a bit trippy to in HD. Check it here.

http://www.youtube.com/watch?v=mixPxkJswHA

‘Interstellar’ is a story travelling faster than light and ‘Planet of Insects’ is reminiscent of their Eponymous first albums vibe. ‘Trading Dark matter on the stock exchange’s’ jangling guitar intro rapidly reverberates allowing the rhythm to breath life into the bass groove.

Followed by a progressively crafted composition in ‘The Emperor’

‘Interstellar’ is a story travelling faster than light, time travelling to the ‘Fall of the Empire’ - Atmospheric, engaging, the heart’s beating double quick now!

‘Oscar night Embryo’ is a reflective acoustic track, complimenting the fine dynamics of the antecedent soul alleviating tones!!

Every Amplifier fan will be getting a large helping of what this band do best on their new chef d'oeuvre, with a well produced original sound and a revelation into the prospects of galaxies far from here, new instruments, bolder sonorousness and an all round superb effort in album numero III. Go forth now and experience ‘The Octopus’ (‘’,)

By Joe Head.

The Go Team - Rolling Blackouts (Memphis industries)

2011-02-01T22:10:00.003Z

Boasting a heavily inspired, near ADD sound, which ranges from tuneful garage rock to Bollywood-sampled pop; The Go Team are a pleasant oddity. Originally conceived by guitarist Ian Parton, one can only imagine the transformation the music took once the rest of the band was finally recruited. Led by the charismatic, bubbly presence known as Ninja, The Go Team are a force to be reckoned with on record and an even bigger hazard when it comes to the stage; their highly visual, highly entertaining onstage antics resemble primary school gymnastics rather than rock star posturing. Shoegaze this ain’t.

Third album, Rolling Blackouts, is more of the same, in the best way possible. The band boast such a loose sound that there is a lot of room to explore musically, without having to abandon their roots altogether. Such playful titles as T.O.R.N.A.D.O, Bust-out Brigade and Lazy Poltergeist fit into the bands canon with ease; they are playing in their comfort zone and they are playing very nicely. Often sliding into Japanese bubblegum pop, via epic film-like scores, the constant inspiration and optimism The Go Team encourage is both refreshing and effective. Album highlight, Read to Go Steady, is characteristically melodic, catchy and emotive. These songs are life lessons; simple, but wise.

Last record, Proof of Youth, featured a collaboration with hip hop legend Chuck D and this time round, The Go Team attach themselves with another great slate of artists; Satomi Matsuzaki[Deerhoof], Bethany Cosentino [Best Coast] and French female artist Soko [apparently nothing to do with Southern Comfort]. Working with such diverse, exciting musicians is all part of the bands delicious flavour; adding vibrancy to an already vivacious album.

Words : David Campion

Harrys Gym - What Was Ours Can't Be Yours (Splendour)

2011-02-01T22:08:00.006Z

Norwegian 4-piece Harrys Gym (that is not a grammatical error, well it is but not in Norway and they are sticking with their native apostrophe rules) release their second album, What Was Ours Can't Be Yours, at a time when the world’s so bloody messed up even the birds and fish are chucking in the towel and giving life the finger. This is perfect for Harrys Gym because there’s a constant atmospheric chill around WWOCBY that should make everyone from graduates in the dole queue to your Dad moaning about the price of fuel feel an affinity with the Nordic indie sulkers.

Front woman Anne Lise Frøkedal sounds A LOT like Bat For Lashes’ Natasha Khan. Back in 2005 she would have shone through as an angel-voiced ethereal songstress. Now, she is projecting her fragile honey tones into a market packed to busting with pretty girls singing in a soft folksy drone. It’s not bad, it’s just boring.

Other band members Erlend Ringseth (keyboard), Bjarne Stensli (drums), and Ole Myrvold (bass) are a little more interesting in their style. The songs on WWOCBY vary in genre. Beat-driven first track Old Man, cries out for re-mixing from the likes of Skream or Gold Panda. There is much to be enjoyed in the goth-folk of Mountains and Siouxsie Sioux-esque, Next Time. The Visitor uses tribal drumbeats reminiscent of Kate Bush’s The Dreaming, but with Toothpaste HG veer into middle of the road easy listening reminiscent of the band nobody

wants to be compared to, Keane.

If you can dismiss the filler, parts of this release are captivating. But dips into Nineties electronic-indie (think Everything But The Girl, or Snake River Conspiracy) and dull soft rock tracks, reveal HG’s dated maturity. There is a current prevalence of indie bands clutching at both a teenage sound and aesthetic, Harrys Gym are not doing this. This doesn’t make them bad, it just highlights their slightly dated sound. Like one grey hair on a mane of lush black. They’re the sort of thing you could put on whilst your Mum was over in the faith there would be no swearing and she might even say, “Oh this is nice, reminds me of Clannad/Enya/Annie Lennox.” (Delete as applicable). I thought I was bored of tracks about the beach, teenage boyfriends and riding bikes in the summer, but apparently I’m not ready for music this age appropriate just yet. Too many days spent listening to Wavves, Vivian Girls, and BYOP have turned my ears age discriminating bastards.

Words : Maya Boustany

Gruff Rhys will launch 'Hotel Shampoo' at.... err, a hotel.

2011-02-01T12:25:00.002Z

Gruff Rhys will mark the release of his forthcoming new album, Hotel Shampoo, by taking over an entire hotel.

The special launch event takes place on 13th February at The Gresham Hotel, Blackpool. Guests lucky enough to secure reservations will receive: a ticket for a concert in the ballroom, featuring Gruff Rhys, Y Niwl and DJ H Hawkline; bedroom for the night of 13th February; breakfast on the morning of 14th February; and a signed CD copy of Hotel Shampoo.

Reservations can be made immediately via www.gruffrhys.com and the following packages are available whilst stocks last:
- 8 x single room packages at £62.50 each
- 10 x double room packages at £125.00 each (£62.50 per person)
- 11 x twin room packages at £125.00 each (£62.50 per person)

Gruff Rhys’s Hotel Shampoo album is released on 14th February.

An genius idea that only Sir Gruff could come up with.

Vivian Girls announce new album + free download

2011-02-01T12:01:00.002Z

Vivian Girls have announced details of their third album titled 'Share The Joy' which is due to come out on April 11th. It'll be their first record on new label Polyvinyl.

In honour of this news, the Brooklyn trio are giving away a brand new track 'I Heard You Say' for free!

The Go! Team hit the road this week!

2011-02-01T00:32:00.003Z

This week The Go! Team go on tour in support of their eagerly anticipated third album Rolling Blackouts which was released yesterday.

If you have seen these guys perform you'll know they're a sensational live band. So if your in these cities make sure to catch them at these venues.

FEBRUARY

03 // GLASGOW, Oran Mor
04 // EDINBURGH, Liquid Room
05 // ABERDEEN, Lemon Tree
06 // NEWCASTLE, The Cluny
08 // LONDON, Heaven
09 // CAMBRIDGE, The Junction
10 // BIRMINGHAM, Birmingham Institute
11 // BRISTOL, Anson Rooms
13 // FALMOUTH, The Princess Pavilion
14 // BOURNEMOUTH, Old Fire Station
15 // OXFORD, Academy 1
16 // BRIGHTON, Concorde 2
18 // LEEDS, The Cockpit
19 // MANCHESTER, Academy 2
20 // LIVERPOOL, Academy 2
21 // NOTTINGHAM, Rescue Rooms
24 // NORWICH, Waterfront
25 // SHEFFIELD, Academy 2
26 // LEICESTER, Academy 2
27 // CARDIFF, Millennium Music Hall

Lower Dens extend UK dates with Deerhunter in March

2011-02-01T00:21:00.002Z

Having recently supported Beach House in the UK, Baltimore’s Lower Dens will return to the UK supporting DEERHUNTER on their UK tour in March.

Last year they released the album Twin Hand Movement and you can check out 2 tracks from that LP below.

Lower Dens by GOLDSTARPR

Also check out this stunning rendition of Batman.

And of course, these are the all important UK dates with the wonderful Deerhunter;

25-Mar IRE Dublin The Button Factory
26-Mar UK Belfast The Stiff Kitten
28-Mar UK Glasgow Oran Mor
29-Mar UK Leeds The Irish Centre
30-Mar UK Manchester Sound Control
31-Mar UK London Shepherds Bush Empire

Middle Boop Top Tips For 2011

2011-01-31T11:01:00.019Z

Last year was the first time Middle Boop had ever run a 'Top Tips' article and I'm pretty happy to say we must be doing something right as the choices we made mostly went on to have a very successful year. For instance, First Aid Kit went from playing tiny pubs to melting the hearts of a large amount of people in pretty sizeable venues, Pantha Du Prince played pretty much every credible festival going and his debut album ended up on many end of year lists and Esben And The Witch signed to Matador, supported everyone from Foals to The XX and have just released one of the most hotly anticipated débuts this year.

So what does 2011 hold in store in the realm of alternative music? Well judging from our humble list below I hope you'll agree that the following list of bands are about to start causing a stir in certain scenes and even though none of these bands will exactly be tipped to play Wembley in the next year or so, they will be emphasizing just how amazing the alternative music scene is at the moment....Pray silence please for Middle Boop's 2011 Top Tips!

Anna Calvi

We get more musicality coming into the album with the track “Desire”. Furthermore, Calvi really opens up her voice and displays the vocal power and range that she possesses that fully justifies her nomination for the BBC’s ‘Sound of 2011’ poll. It also enthrals me further that Anna is a home-grown British talent. She sounds like what we have been crying out for; a female vocalist that has that ‘edge’ about her. This is something that I don’t think we have seen since the days of Blondie or Suzi Quatro. – Barclay Quarton

Braids

Signed to influential Canadian indie label Flemish Eye, which has produced the likes of Women and Chad Van Gaalen over the last few years, Braids music is soaked in echoey beeps and glitches. With strange time signatures and heartwarming vocals, hopefully we’ll see Braids playing this side of the pond sometime this year as they will go down so well over here at the moment.
Braids

Chad Valley

Being the charmingly astute music lovers that you are, you may have already heard of Hugo Manuel, the man behind Chad Valley singing in his other band Jonquil who have started to gain a great little following. If you have, good for you, chances are you'll enjoy Chad Valley, if not...Well, chances are you're going to enjoy it regardless as this sickeningly catchy retro synth driven pop is just what you need to get over the dark nights and freezing weather. – Gordon Reid

Grouplove

Big anthemic choruses, instantly lovable vocals and feelgood songs galore. Grouplove already sound like they’ve mastered the art of writing a decent pop tune. Their single colours is out now and chances are you will have heard it and loved it. – Gordon Reid

Iceage
The music sits somewhere between DC hardcore and British punk but filtered via weirdness. The songs are all velocity but skewed and prone to shoot off at unexpected angles. – Al English

Iceage - New Brigade from iceage on Vimeo.

Idiot Glee

James Friley, AKA Idiot Glee creates beautifully multi layered vocal harmonies using seemingly minimalistic instrumentation to create their haunting 50’s influenced pop. Début single ‘All Packed Up’ will have fans of Grizzly Bear going nuts and B-Side ‘Don’t Drink the Water’ just resonates greatness. I really hope we hear a lot more. – Gordon Reid

Idiot Glee

James Blake

In case you’ve been living in some form of cave / rock dwelling / panic room and haven’t heard the recent hype around James Blake, allow me to fill you in. He attended the prestigious Latymer School in London whilst recording compositions in his bedroom. After a successful launch of debut 12” ‘Air And Lack Thereof’, along with a cover of Leslie Feist’s ‘Limit To Your Love’, national radio coverage and a whole lot of blogging ensured that this was the beginning of a blossoming career for the young musician.

The music itself is a combination of minimalist, down tempo, electronic compositions fused with Blake’s delicate and often soulful voice. Frequent use of an auto tuner on Blake’s voice may cause a divided opinion amongst listeners but with a feature on just about every ones to watch list this year, we found it hard to resist putting him in ours as well. – Neil Phillips

MNDR

We could sense that a buzz was building around this New York City electro synth-pop duo from witnessing Amanda Warner undergo an eccentric and spell bounding performance at London’s Lexington last August. Having already toured and collaborated with Mark Ronson on his latest album we’re expecting MNDR to send waves crashing further, on a worldwide scale. – Freddy Rothman

Ringo Deathstarr

Any band with a name like Ringo Deathstarr is always going to grab my attention, and with music that sounds like My Bloody Valentine if Kevin Shields actually had a sense of humour, this Austin trio have certainly whet my appetite with their fuzzed up, noisy pop.

Their début album 'Colour Trip' will be out in February. We can't wait. - Adam Parker

Seams

Bedroom producer James Welch aka Seams has been recording countless EP’s, singles and remixes over the past year or so. His most recent available offering, ‘The Tourist EP’ shows you why we’ve not just got another Four Tet or Gold Panda on their hands. As much as we love those guys too, Seams will draw on atmospheric post-electronica that will just whisk you away to another world. A debut LP is expected before the end of the year. – Freddy Rothman

Trophy Wife

Oxford three piece, Trophy Wife. Both singles Microlite and The Quiet Earth show the signs of a band with true potential. The songs are softly built up around dancey drum beats and crisp delayed, jangly guitar lines with delicate vocals sounding very much like they’ve taken influence from their Oxford counterparts Foals, who they toured with last year.Trophy Wife are writing an EP due early next year so hopefully they will take this time to build upon the sound they are already creating and evolve it further. – Freddy Rothman

Veronica Falls

The London based 2 boy-2 girl quartet make blissful, pounding Dream-Pop music and have had tongues wagging all across the capital. Although they have been touring extensively since 2009 and have released 2 of the best singles of 2010 in ‘Beachy Head’ and ‘Found Love in a Graveyard’, we can expect more shows and hopefully their debut album in 2011 which we simply cannot wait for. - Freddy Rothman

Yuck

Less “Yuck!” and more like “Fuck!”. A solid debut from a young band with a lot of potential and a great future ahead of them. 2011 will be a good year for Yuck. – Neil Phillips

The Cave Singers Announce Tour, New Album And Share Two MP3s

2011-01-29T13:03:00.003Z

Heartwarming Seattle acoustic trio Cave Singers have announced their new album, 'No Witch' Out February 28.

To accompany this, they have a selection of shows coming up in May

May 20 Newcastle, Cluny 8pm, £10 adv

May 21 Glasgow, Stag & Dagger @ Stereo

May 22 Bristol, Fleece 7pm, £10 adv

May 23 London, Hoxton Bar & Kitchen 8pm, £9.50 adv

Check out some great new tracks here

Black Leaf

Swim Club

Jeniferever: New LP and Dates in April.

2011-01-26T22:16:00.002Z

Swedish darlings Jeniferever are to release their third album, titled 'Silesia' through Monotreme Records on April 11th. For a sneak preview of Silesia check out the wonderful 'Waifs & Strays' here;

Jeniferever 'Waifs & Strays' by Monotreme Records

In addition. The fourpiece will be touring the record in the UK on these dates:

Monday 11th April, The Lexington, London
Wednesday 13th April, Captain's Rest, Glasgow
Thursday 14th April, Brudenell, Leeds
Friday 15th April, York, Fibbers
Saturday 16th April, Buffalo Bar, Cardiff
Sunday 17th April, Fleece, Bristol
Tuesday 19th April, Brighton, Green Door Store

James Blake - James Blake (Atlas/A&M)

2011-01-26T14:12:00.003Z

Incase you’ve been living in some form of cave / rock dwelling / panic room and haven’t heard the recent hype around James Blake, allow me to fill you in. He attended the prestigious Latymer School in London whilst recording compositions in his bedroom. After a successful launch of debut 12” ‘Air And Lack Thereof’, along with a cover of Leslie Feist’s ‘Limit To Your Love’, national radio coverage and a whole lot of blogging ensured that this was the beginning of a blossoming career for the young musician.

The music itself is a combination of minimalist, down tempo, electronic compositions fused with Blake’s delicate and often soulful voice. Frequent use of an auto tuner on Blake’s voice may cause a divided opinion amongst listeners. Personally, I think it works at times and at times it doesn’t. There’s a sadness and a longing in his voice which, when digitalized, particularly on ‘I Never Learnt To Share’, makes me wonder about what the love child of Bon Iver and Daft Punk might sound like.

When Blake isn’t hiding behind an auto tuner, he does have a decent voice. Combined with a shimmering bassline like on ‘Limit To Your Love’, he adds a sensitive quality to an already well delivered song, whilst reinventing it and adding his own emotional touch. ‘Give Me My Month’ uses the depth of Blake’s voice and verges on sounding like Tracey Chapman. Again, a fusion of styles I wouldn’t have expected to find myself enjoying, yet I feel drawn to listen to again.

I think sparse would be an appropriate word to sum up this venture. Tracks such as ‘Lindesfarne 1’ feature no music as such, just Blake with his auto tuner and the occasional ping in the background. Experimental, or just plain mental? Acting as a prelude to ‘Lindesfarne II’, it begins to make a little more sense once a beat is introduced and a few extra layers creep out at us. From the humble ‘Wilhelms Scream’ to the fragile ‘Why Don’t You Call Me’, to the closing acapella led ‘Measurements’, Blake maintains the minimalist, glitch fuelled semi-dub step approach consistently throughout the album whilst managing to create a different emotional response with each track.

This album definitely won’t be to everyone’s liking. What with all the recent hype, anyone would be hard pressed to live up to the relentless expectations of the average avid music fan. It is, however, an honest and bold introduction into what will hopefully evolve into a fuller, more developed sound from the young and talented James Blake. Definitely one to watch.

Words: Neil Phillips

Yuck - Yuck (Mercury Records)

2011-01-26T08:38:00.004Z

2011 will be a good year for Yuck. Having built up a reputation for themselves online through their website and the blogging community over 2010, they’ve released their first full length, self titled album on Mercury Records.

I was introduced to Yuck when I saw them open for Built To Spill and Dinosaur Jr at the Shepherds Bush Empire in the summer of 2010. I have to admit - I wasn’t particularly blown away at the time, however I did wander into the last track of their set - the seven minute drone-a-thon ‘Rubber’ (which in hindsight is a contender for my favourite song on the album).

Having had a chance to go home and hear the singles released that year, I was keen to hear the full record in its entirety. Now the time has come. From the first front-to-back listen, I was impressed. The album possesses a healthy mixture of songs; nonchalantly wandering from the lo-fi, solo driven opener ‘Get Away’ to the casual, acoustic chilled out nature of ‘Suicide Policeman’, before climaxing on the aforementioned drone heavy ‘Rubber’. And it works.

The band’s line up see’s former Cajun Dance Party vocalist Daniel Blumberg taking up vocal duties once more, with the aid of his younger sister adding some occasionally needed depth on backing vocals. The brother / sister duo works best on stand out single release ‘Georgia’, a certified golden lo-fi pop nugget. With guitar work that feels as if the silver fox that is J Mascis himself may have written, it’s difficult not to draw comparisons. Who wouldn’t want to be compared to the grunge guru after all?

As stated earlier, the album does differ in tempo throughout. Most notably directly after ‘Georgia’ we are presented with ‘Suck’, possibly the slowest and most ballad-esque of all tracks on the album. It’s on tracks like this we fall into helplessly romantic territory (“I was burning with desire / You can never put out my love for you”). It’s never too much to stomach though as the romanticism is always in an aloof cloud of slacker haziness, distracting enough not to be accused of being overly sentimental (see follow up track ‘Stutter’ or ‘Shook Down’).

Immediate comparisons that come to mind would have to include a roster of US slacker alternative rock from the past decade, including Pavement, Dinosaur Jr and The Lemonheads. The album is both charming and relaxing in its laid back approach, occasionally slapping us in the face with some chord shredding and heavy distortion that balances out from all the mellow shoe gazing.

Less “Yuck!” and more like “Fuck!”. A solid debut from a young band with a lot of potential and a great future ahead of them.

Words: Neil Phillips

Cloud Nothings - 'Should Have' Video

2011-01-25T23:50:00.001Z

Anna Calvi - Anna Calvi (Domino)

2011-01-25T17:00:00.005Z

When this album was sent to me by Middle boop HQ with the pretence that it was their album of the year so far, I knew that Anna Calvi et al. must pack quite a punch. However, as a critic, I will always have my cynical head strapped onto my shoulders and thusly approached this album with the same circumspection as I do with all albums. However, I must say that I have come to same conclusion as my peers; this album is pretty damn good indeed.

The self titled debut album commences with an incredibly atmospheric track in the form of “Rider To The Sea”. Beautiful in it’s simplicity, the single guitar sound pregnant with reverb heralds in what is to be a very moving album.

The first track segues faultlessly into “No More Words” where we are introduced to Anna’s creamy, rich and soothing vocals. Even after only a couple of syllables have been sung, I am imagining this to track is being performed in an artistic Hollywood film with Calvi waltzing around her audience in a divine dress tempting any red blooded male who crosses her path.

We get more musicality coming into the album with the track “Desire”. Furthermore, Calvi really opens up her voice and displays the vocal power and range that she possesses that fully justifies her nomination for the BBC’s ‘Sound of 2011’ poll. It also enthrals me further that Anna is a home-grown British talent. She sounds like what we have been crying out for; a female vocalist that has that ‘edge’ about her. This is something that I don’t think we have seen since the days of Blondie or Suzi Quatro.

“Suzanne and I” is a very haunting number and only serves to build up that hard demeanour that we are being treated to. Anna Calvi is backed by a steady rhythm which gives her the ideal platform to unleash her vocals in a fashion that would even rival the great Kate Bush to name a few.

We go back to the beginning of the album with ‘First We Kiss’ where Calvi shows us once again that she can be soft and sultry as well as being able to seamlessly transition into her gripping alter-ego.

There is something about the song; “The Devil” that I just love. It is like the song is stepping out of the album and into the rain to contemplate life whilst holding a takeaway cup of coffee. Surreal similes aside, this is one of my favourite tracks from the album.

We are further tormented and haunted by Calvi’s rockier side with the song “Blackout”. It is very much a standout live track that will surely get you singing along at one of her shows; she is touring at the moment by the way people (hint, hint).

“I’ll be Your Man” is a rather quirky number. I would describe it as a dirty blues song that clashes with a classic reggae beat. Not that it is in any way detrimental to the overall sound. It just proves that there are many strings to Miss Calvi’s bow and in “Morning Light” we are further treated to her vocals being thrust in the spotlight once more whilst the music cradles the vocals as competently as they have been doing all album long.

The album concludes with the “Love Won’t Be Leaving”. This track feels like the culmination of the ideas, styles and musicality that Anna Calvi has performed in the previous songs and these all meet in this track. I have got to say that I am more than impressed. If you though that music was stalling with creativity recently I urge you to procure this album and prove yourself wrong.

Words : Barclay Quarton

Frankie & The Heartstrings - 'Hunger' Video

2011-01-25T16:12:00.001Z

Domino unveil the 'Domino Baggu'

2011-01-25T11:56:00.002Z

Everyone likes bags, right? Well if you like bags and Domino Records you'll be pleased to know they are to unveil a new range of limited edition Baggus.

The environmentally friendly Baggu is effectively a bag based on the iconic plastic grocery bag which aims to reduce people's usage of disposable bags by being lightweight and easy to keep on hand for any errands that may arise throughout the day. And obviously, they’re perfect for carrying your vinyl in too.

Naturally it helps that they also happen to be rather good looking, which can be credited to none other than photographer and artist, Jason Evans, the man responsible for designing beautiful album covers for the likes of Four Tet and Clinic.

A modern take on the classic Domino record bag of old, the Baggu is priced at £9 and available in the following colours:

Electric Poppy with blue print
Indigo with pale blue print
Peacock with yellow print
Smoke with yellow print
Black with white print

The Domino Baggu is available exclusively through Dom Mart: http://www.dominorecordco.com/uk/bags/18-01-11/domino-baggu-bags

Ringo Deathstarr Announce New UK Tour Dates

2011-01-25T10:18:00.003Z

One of Middle Boop's ones to watch for this year, Ringo Deathstarr have announced some tourdates to go in conjunction with the release of their début album 'Colour Trip' on 14th February 2011.

Check out single 'So High'

Ringo Deathstarr February UK Tour Dates:

Saturday 12th - Glasgow, Stereo

Sunday 13th - Sheffield, Academy

Monday 14th - Manchester, Ruby Lounge

Wednesday 16th - Brighton, Komedia

Thursday 17th - London, Lexington

Esben And The Witch - Violet Cries (Matador)

2011-01-24T21:17:00.003Z

There certainly is a great deal of pressure weighing on the six shoulders of Esben And The Witch. Having emerged from relative obscurity at the turn of the year, the Brightonian three-piece find themselves, on the eve of 2011, ranked among Matador Records' prestigious roll-call, with only their upcoming release to silence the sceptics. Of course, those who have been following the band's heady ascent will know that such a challenge lies in capable hands – due in no small part to the band's strict and self-assured allegiance to a unique aesthetic. Violet Cries realises all the startling ambition of the band's preliminary releases, combining their by-now-signature predilections for moody, gothic ambience, psychedelia and melancholia in a truly accomplished creation.

Every track on Violet Cries is exquisitely constructed, carefully crafted to create at times a sense of unnerving agitation, at others mournful poignancy – but always building on the overwhelming, almost ineffable atmosphere of the album: a kind of somnambulistic malevolence. Attempts have been made to liken Esben And The Witch to other acts like Bat For Lashes or Portishead, but while – granted – vocalist Rachael Davies does sing a little bit like Florence Welch in a K-hole, and the beginning of the song Marine Fields Glow does evoke that other female-fronted three-piece from a town beginning with B, Violet Cries proves, to me at least, that its creators really are a peerless act. That aforementioned track, for example, uses those Beth Gibbons-esque vocals to original effect, adding reverb to merge it with the tidal rise and fall of the musical accompaniment, creating a song that is much more subtle, gradual and elemental than a Portishead track.

Album highlights like the captivating Light Streams prove that Esben And The Witch can be more experimental when they want to, however. Starting out quite conventionally, the track goes on to incorporate a hypnotic prog interlude and a chorus of chants and wails complete with kitschy Ghostbusters-style warped scary voices. Not many bands could pull of a refrain like “We will cut the sun from its moorings!” without sounding like they're taking themselves far too seriously, but in the surreal, slightly foggy parallel universe of Violet Cries, it works, and even unsettles. Elsewhere, on tracks like Chorea, which contains quite an up-beat riff, and Eumenides, which plays out to a trance beat, the band pass that all important test, proving that while they're not one-trick-ponies, they're also adept at putting their own original spin on whatever style they turn their hand to.

Violet Cries really is an exceptional album: measured, mesmerizing, and (when you can hear the lyrics behind the reverb) profound. I know it's only January, but I'm certain we've found one of the stand-out albums of 2011.

Words : Tegan Rogers

British Sea Power – New Slang 13/01/11

2011-01-24T12:07:00.004Z

Imagine the worst club you’ve ever been to. Sticky floors, horrible decor, etc. Now fill that with fantastic music, reasonably priced drinks and masses and masses of drunk, horny and confused indie teens and you’ve got the New Slang clubnight, tonight playing host to one of the most infamous live bands in the British rock scene at the moment, British Sea Power. Famed for their emphatic live performances featuring members going nuts, jumping into the crowd, climbing rigs, dressing in animal costumes, military uniforms and generally doing things you wouldn’t normally expect from a mercury nominated band. Tonight was a much more stripped down affair, minus all of the on stage antics and seemingly a lot of energy. This did not detract from the actual music too much, although I did get my hopes up expecting at least one guitarist to freak out and smash stuff up.

Saying that these sort of club nights are often tough gigs mainly because half of the people turning up are just there to ‘go out’ and have no idea who the band actually are, lead singer Yan did try to evoke more of a response from the crowd which probably didn’t go down as well as hoped although they did have an allegiance of loyal followers crammed down the front who didn’t stop dancing the whole gig. This instance was a great opportunity for me to stand to one side of the main crowd, take in the music and reacquaint myself with a band I hadn’t given as much time as I probably should have done over the last few years with a set full of highlights from their five albums.

Having received a promo of their latest offering Valhalla Dancehall a few weeks prior and being impeccably impressed, I was eager to check out the new material just as much as the old. They opened with the first three songs off of Valhalla back to back, which got the night off to the right start with frantic guitar lines, pounding drums and mental lyrics, very reminiscent of their first triumph ‘The Decline Of British Sea Power’ and certainly showcases a return to the more hard edged, fast paced rock songs of the debut. The encore included Zeus and they ended with Carrion, one of the quieter songs from the first album signifying a gig that, although the music was excellent, it was British Sea Power going at half speed.

Words : Gordon Reid

Photos : James Perou

Middle Boop Single of the Week - Belle and Sebastian I Want The World To Stop (Rough Trade)

2011-01-23T16:38:00.002Z

It’s amazing to think Belle & Sebastian have been going since 1995. Arguably one of the best and most influential contemporary indie bands, they are back with their eight studio album 'Write About Love' very soon and with it, a whole host of charming indie pop tunes including their second single ‘I Want The World To Stop.’ This effort is what we have come to expect from the one time Brit winning band, witty lyrics, a fast paced pop tempo and subtle yet solid orchestration. What ‘World To Stop’ show us is a maturity in their craftsmanship that can only come from spending years perfecting their art. Belle & Sebastian are a very unique band and brilliant band, this offering is a great showcase as to why.

Twin Shadow 4AD Session

2011-01-21T20:51:00.000Z

Treefight For Sunlight (Bella Union)

2011-01-20T16:37:00.001Z

If the dreary, post-new year winter blues are setting in and you’re in need of a morale boost, I would suggest you turn your ear towards the refreshing chamber-pop inspired release that came my way this week in the form of Danish quartet, Treefight For Sunlight.

‘A Dream Before Sleep’ is a subtly grand opening track with it’s repeated cascading piano and lush harmonies. Kicking off with the surreal line “All the nurses are going to leave me” is fitting, as it sounds and feels like we are escaping from reality and begin a journey into the vibrant universe introduced by the aptly titled “You And The New World”, layered with playful guitar riffs and spiritually uplifting vocals.

A new world it is indeed. I wasn’t entirely prepared for the beautifully crafted, multi-layered aural voyage of harmony riddled, echo soaked vocals and piano laden melodies. ‘The Universe Is A Woman’ is a cosmic delight that takes us on a dreamy voyage reminiscent at times of a less obscure and more conventionally structured Animal Collective.

‘They Never Did Know’ is the first track on the album to open with a guitar steering away from the predominantly synth / piano heavy direction it opens with. Alarmingly similar to ‘Bigmouth Strikes Again’ for the first couple of seconds (sorry but I never did take to the The Smiths), it soon finds an amicable pace and a home on the record.

The nature of the record is fully unleashed on ‘Facing The Sun’ which is nothing short of joy personified. With xylophones accompanying a higher than ever vocal effort strangely reminding me of The Sleepy Jackson’s Luke Steele it’s hard not to forget how miserable it is outside (it probably helps I’m writing this with my curtains drawn tightly shut). There is a certain deliriously trippy charm to this record, as seen on later tracks ‘Rain Air’ and ‘Riddles in Rhymes’, bought to life with a varied use of instruments.

And what better way to wind the record down? The psychedelic and jubilant ‘What Became Of You And I?’ sounds like ELO, The Turtles and The Beach Boys are holding hands, flying a magic carpet over a rainbow whilst smiling like Cheshire cats on ecstasy. Which almost makes the final track ‘Time Stretcher’ seem a tad out of place, with it’s melancholy lyrics “Everything about me / Seems to disappoint me” and relatively down tempo pace (comparatively anyway).

As the Danish lads sing “Time is never ending / Slowly I’m descending” with the combination of a wild unhinged flute spiraling out of control and a crash of the piano keys, we’re sadly at the end of our occasionally chaotic and relentlessly positive journey. It seems the nurses are coming back to drag us back into reality. Shame really.

Words: Neil Phillips

Laura Veirs at the Union Chapel in February

2011-01-18T23:45:00.002Z

Bella Union sweetheart, Laura Viers will be returning to Europe for a number of shows during February, including London for a performance at what is dubber her 'spiritual home' the Union Chapel.

Tuesday 22 February – LONDON – Union Chapel
Tickets: £15

Anna Calvi announces 2nd Bush Hall show

2011-01-18T23:31:00.002Z

The wonderful Anna Calvi, who has also released her stunning début album via Domino this week is already well and truly doing the rounds and has managed to sell out a date at Bush Hall in April. Her tour now looks like this.

Thu 27th Jan: London, Hoxton Hall, headline show, *album release show* – SOLD OUT

Friday 4th Feb: London, Barfly: HMV Next Big Things – SOLD OUT
Weds 23rd Feb: Dublin, Workmans Club, Ireland
Thu 24th Feb: Sheffield, Harley
Fri 25th Feb: Nottingham, Bodega
Sat 26th Feb: Birmingham, Hare And Hounds
Sun 27th Feb: Glasgow, Arches
Mon 28th Feb: Manchester, Deaf Institute
Wed 2nd Mar: Brighton, Komedia Bar
Fri 4th Mar: Bristol, Cooler
Tues 26th Apr: London, Bush Hall, *extra date added*
Weds 27th Apr: London, Bush Hall – SOLD OUT

Beach House and others added to ATP curated by Animal Collective festival

2011-01-18T23:26:00.002Z

As if the lineup wasn't sterling enough already, the good people over at ATP have only gone and announced even more fantastic acts which include Beach House, Highlife and Ear Pwr.

The lineup so far looks like this:

ANIMAL COLLECTIVE / BIG BOI (Outkast) / BEACH HOUSE / TERRY RILEY / THINKING FELLERS UNION LOCAL 282 / GANG GANG DANCE / LEE SCRATCH PERRY / ATLAS SOUND / ARIEL PINK'S HAUNTED GRAFFITI / BLACK DICE / MEAT PUPPETS perform Up On The Sun / THE FROGS perform It's Only Right & Natural / IUD / OMAR-S / PRINCE RAMA / SPECTRUM / DENT MAY / GROUP DOUEH / THE BROTHERS UNCONNECTED / DERADOORIAN / ZOMBY / VLADISLAV DELAY / MICACHU AND THE SHAPES / TEENGIRL FANTASY / DRAWLINGS / TICKLEY FEATHER / ORTHRELM / ERIC COPELAND (Black Dice) / KRIA BREKKAN / THE ENTRANCE BAND / HIGHLIFE / EAR PWR / FLOATING POINTS / MICK BARR / SUBLIME FREQUENCIES DJs + Films

See you in Minehaed...

Lia Ices - Grown Unknown (Jagjaguwar)

2011-01-18T11:18:00.002Z

A beautiful lone female voice rings to signal in Lia Ices’ Second full length album ‘Grown Unknown’, sure there are plenty of golden voiced female singer-songwriters out there. However, once the sighing counter harmony comes fluttering out of the speakers as the first track ‘Love Is Won’ progresses, it becomes clear this is something worth paying attention to.

Lia’s 2008 debut ‘Necima’ was released on small label Rare Book Room records, so this is the first chance many UK listeners will be able to experience her music as this release comes our through the excellent JagJaguwar imprint.

Stand out track ‘Daphne’ slowly builds up out of a standard finger picked folk song into something quite heart melting as strings swell and counter harmonies build up. Around the half way mark an interruption of swirling noise leads to a stomping piano hook that makes you think the album’s about to go all Kate Bush, which would be entirely welcome. Though this is not the case, the suitably epic vocal swells provided by Justin Vernon (yes, him again) that lead us to the end of the track are suitably compelling.

The track ‘Grown unknown’ begins with a fantastic rhythmic hand-clapped intro that also promises an exciting break from the album’s grounding in slow balladry, but once again the track does not really deliver the Feist like pop promise that the intro sets us up for, merely moving into a pleasant but repetitive guitar pattern doesn’t really lead anywhere but to repeat of the intro that proves less exciting when used again as a chorus.

Overall the album offers a pleasant but slightly underwhelming experience. Some genuinely excellent ideas and songwriting give the impression that once Lia develops the more adventurous ideas that sprinkle this album she could be unveiling an avant-garde pop genius as her writing progresses with future releases.

Words : Michael Woods

La Sera – La Sera (Hardly Art)

2011-01-17T20:32:00.002Z

Vivian Girls are one of my favourite bands of late because they are a little heavier, a little darker, a little rockier than the other acts making Spector inspired twee-pop. Which is why, by all intents and purposes, Katy Goodman’s candyfloss and teacups side project La Sera shouldn’t have engaged me as much as it has. It is a dream record, in more ways than one. Her voice is rasping silk, woven in and out of maudlin drums and Beach Boys guitar. It is less Shangri La’s and more Sandy Shaw. A summer afternoon 45” with a picture of a teddy bear on the cover played by a little girl on a pink plastic record player. Get the picture? It’s soft, it’s cute, and it doesn’t apologise.

Comparisons will come thick and fast at this time of femme-pop market saturation. La Sera will remind you lyrically of First Aid Kit, musically of Warpaint, and vocally of Metrics’ Emily Haines or Giant Drag’s Annie Hardy (but 10 years ago before the rock and roll lifestyle gruffed her up). There are also heavy notes of shoegaze artists Cocteau Twins and My Bloody Valentine. Personally I found the ‘all girls together’ sleepover vibe, and light as a feather breathy singing, harked back to Girls Together Outrageously and Tyrannosaurus Rex, respectively. It is probably closest, however, to everyone’s favourite new band, Best Coast. This might sound schizophrenic, but in taking from the past, La Sera documents well the signature sound of 2011.

Picking out the best songs on this album is hard, and here in lies the one fault with La Sera, repetition. You could easily say that messing with a perfect system is needless, and there are shifts in mood here, but they are small to say the least. Single Never Come Around is upbeat playful pop. You’re Going to Cry is archetypal sixties girlgroup with its layered vocal and dreary subject matter. Hold is a psychedelic trance-like euphoria, evoking flower fields, maxi dresses, and mushrooms. Dove Into Love is heartbreaking and romantic, as is much of the album.

After falling in love with Vivian Girls I didn’t think I could feel any more gratitude to them than that I’ve been harnessing since the release of 2009s Everything Goes Wrong, but my love affair with Katy Goodman has been rejuvenated with this shot of girlish flower power romance, and I’m swooning at the thought of spending 2011 holed up in a love-lorn idyll with La Sera.

Words : Maya Boustany

Cloud Nothings – Cloud Nothings (Wichita)

2011-01-17T20:28:00.002Z

Following seven or eight good listens to one-man lo-fi-athon Cloud Nothings’s eponymous first punt at music stardom, I’ve catapulted him into a respectable but decidedly un-Earth-shattering fifth place in the Dylian League, my much-admired and widely-respected league table of favourite Dylans. This, predictably, puts Mr. Nothings below Moran, Thomas, mythical Celt Aldon and the rabbit from The Magic Roundabout, but still comfortably ahead of Dizzee Rascal, Drew Barrymore’s character from Charlie’s Angels and thoroughly unnecessary new Rugrat Dylan “Dil” Pickles.

However, before we press on with the rest of the review, I must first present you with a very serious question: do you enjoy pop punk music, and/or look back upon its short heyday with fondness? Does the thought of grown men with spiky hair jumping around in shorts cause you to go all misty-eyed? Do you pine for those glory days at the turn of the century when a legion of tattooed cretins staged a mass Freudian regression into bawdy, obnoxious second adolescences filled with power chords, sweat socks, metal pastiches and dick jokes? Of course, this is a review, and – other than shout at your computer screens, which won’t work – you’ve no way to answer me, so I’m just going to assume that your response would be something similar to mine; i.e. a statement along the lines of: “No, thanks. I’d sooner take a trip back to September 1939. In Poland.”

With that all that neatly settled, I’ll now explain the logic behind young Mr. Baldi’s underwhelming new entry in the League’s mid-table. Almost all the songs on Cloud Nothingsshow plenty of promise. Some have hummable melodies (‘Not Important’; ‘Rock’), some create an appealing atmosphere (‘Forget You All The Time’; the Stooges-alike ‘You’re Not That Good at Anything’) and some simply have DB doing a thoroughly convincing Brian Wilson impression (well, just one: the lovely ‘Understand at All’, which effectively features as its chorus the middle Wilson’s part in ‘You Still Believe in Me’). There’s flashes of intelligent ‘90s Britpop throughout, with parts bearing more than a passing resemblance to ‘Drowners’-era Suede. Songs are short and refreshingly energetic, often bordering (a little uncomfortably) on punk, whilst, beneath the layer of scuzzy mud that passes for production, there’s a competently-plucked, appealingly derivative Smithsian jangle holding the whole thing together in floppy-fringed style (well, I say Smithsian; Marr stole it all from Jim McGuinn, who in turn nicked it from George Harrison, who, of course, famously pilfered it from God himself).

So what’s the problem? “All that sounds fantastic!”, I hear you cry. “Surely it must be more appealing than an obscure character from a confusing mediæval Welsh myth-cycle?” You’d think so, but nope. Here’s the thing: it’s all a bit pop punk.

Let me explain. You’ll be happily listening to a song – nodding your head; tapping your foot; contentedly digesting one of the many positives listed above – and then, out of nowhere, like an uninvited guest using the new shag pile as an ashtray, Dylan will turn into pre-gay Billie Joe Armstrong and write the whole thing off. And it just keeps happening. ‘Not Important’ opens with a perfectly listenable, if slightly generic, Brit-indie intro before it’s ruined by some truly grating Dookie-whining; ‘All The Time’ features a tender chorus, wise beyond its years, sandwiched between two irritating verses buried under an avalanche of power chords; and nothing’s wrong with the melodic, harmony-laden ‘Nothing’s Wrong’ (geddit?), other than the fact it sounds like Less Than Jake.

I do feel like a bit of a bastard even slightly criticising Cloud Nothings, because it’s clearly the work of an talented, dedicated young musician with a (mostly) impressive list of influences, who I’m sure will go on to do great things; I only wish it sounded a bit more like the cover. Smiths-182 just isn’t something I ever needed to hear.

Words : Jon Chapple

Earth – Angels of Darkness, Demons of Light I (Southern Lord)

2011-01-17T20:09:00.002Z

The word Earth is an evocative term, summoning up all manner of imagery; So what do you feel, recall and imagine when the word is uttered? Mounds and clumps of dirt squelching and smushing beneath your feet as you trudge through an Autumnal field. Or the 3^rd rock from the sun, a spinning globe of elements suspended in the Milky Way galaxy, containing just the right recipe to form us and our fellow life forms. How about a musical variation on the term Earth? Earth, Wind & Fire, the funktastic 70s group? Or ‘Earth Song’, the bombastic whining sprawl of a pop song from Jacko at his most wacko? Scrap all of that, because this is all about a certain doom droning, band spawning, jazz tinged, experimental foursome known simply, and irrevocably, as Earth.

Formed as a group who combine doom with gloom and craft something with a slow, steady fire burning in the pit of their sonic stomachs, they have progressed throughout their 20 year career into a band intent on wandering through the wastelands of sound, taking snippets of this and cuttings of that to piece together an epic tapestry that sprawls itself out leisurely and lovingly. Riffs were aplenty in the last offering from the gang of motley music makers, back in 2008, but the avant garde mindset has taken hold somewhat on their new record ‘Angels of Darkness, Demons of Light I’ (indicating that this is the first part of something rather expansive), the title of which recalls all the dooming, glooming razzmatazz you ever expected from the investigational stalwarts.

The success of a record such as this depends entirely on the tastes and open mind of the listener, so mired in unconventionality and an array of archaic styles that melt together. It is most certainly not something to suddenly pick up and blast through a single or two, in four minute nuggets of accessibility. Instead, this is a prolonged exposure to an ideology to dissolve into, allowing the entire piece to envelop you rather than bluntly dancing away the embers in a short, sharp blare of noise and guitar. The opening crashing caterwaul of ‘Old Black’, dropping into ominous electric guitar offerings, sets the tone for the thunderous reverberation to come, culminating in a twenty minute mellow drift through the title track to wind down a record that shuffles from uneasy listening to dreamgazing via a glut of effects and genre trials.

Earth and its members (especially frontman Dylan Carlson) have led a fraught existence so far, stepping in and out of drug disasters, involving themselves intricately in the life of Kurt Cobain and ebbing and flowing in and out of musical existence ever since 1989, leaving behind a range of EPs and albums that showcase the tenacious talent on offer when the group put their minds (and instruments) together. ‘Angels of Darkness, Demons of Light I’ is a beautiful bit of brave music making in the current climate, oozing with a sensuality that borders on the dreamworld, but the lengthy timeframe and experimental avenues sometimes become a little too much for a pair of little ears to take. This is a record for those with time. Time to sit, listen, soak it in and accept that, sometimes, music needn’t be logical.

Words : Adam Parker

James Blake 'The Wilhelm Scream' Live at Maida Vale

2011-01-14T15:57:00.003Z

Everyone's been hyping up this fella. So here's a taste of what James Blake has to offer from the February 7th release of his debut self titled LP.

Check out this video of 'The Wilhelm Scream' live from a session at BBC Maida Vale Studios.

RIP Trish Keenan

2011-01-14T14:58:00.006Z

It is with great sadness that Trish Keenan from Broadcast passed away at 9am this morning just a day after it was announced that she was in critical condition after contacting Pneumonia over the past few weeks.

In a statement from Warp Records they officially announced this tragic news shortly after dreaded the rumours of this occurrence circulated over the internet.

We can only pass on our condolences to the friends and family of Trish.

RIP Trish Keenan

Watch Mount Kimbie live from The Great Escape festival

2011-01-14T11:35:00.009Z

Courtesy of our friends at Beat Cast. We present you the wonderful Mount Kimbie's stunning set from last years Great Escape festival in Brighton. Enjoy!

Mount Kimbie - Live @ TGE from BeatCast on Vimeo.

Domino to work with Joshua Homme's Rekords Rekords label and re-issue QOTSA's eponymous debut

2011-01-13T19:28:00.004Z

Domino Records have announced they are to enter a working relationship with Josh Homme's label Rekord Rekords, where they will market, promote and distribute selected titles from their catalogue. The first title will be the seminal eponymous debut album from Queens Of The Stone Age, which we will reissue on March 7th.

Domino will also be releasing Rekords Rekords albums from Mini Mansions and Alain Johannes in May, further information to follow.

Queens Of The Stone Age will be available on CD (REK001CD), double vinyl LP (REK001LP) and via digital download (REK001D). The tracklisting is as follows:

1 - Regular John
2 – Avon
3 - If Only
4 - Walkin On The Sidewalks
5 - You Would Know
6 - The Bronze
7 - How to Handle a Rope
8 - Mexicola
9 - Hispanic Impressions
10 - You Cant Quit Me Baby
11 - These Arent the Droids You’re
12 - Give the Mule What he Wants
13 - Spiders and Vinegaroons
14 - I Was A Teenage Hand Model

And we advise you to BUY this album because it's an all time classic!

Earth add London show to their UK tour this April

2011-01-13T19:17:00.003Z

EARTH have announced details of their London show this April and will be playing the Scala on Tuesday 12th April with Sabbath Assembly and Beak as support courtesy of ATP. Here are some more ticket details:

ADVANCED TICKET PRICE : £15
VENUE ADDRESS: 275 Pentonville Road, King´s Cross, London N1 9NL
DOORS OPEN : 7.30pm
AGE RESTRICTIONS: 18+

They will be playing their stirling new studio album 'Angels Of Darkness, Demons Of Light 1' for the first time on UK soil. The touring line up is Dylan Carlson, Adrienne Davies, Angelina Baldoz and Lori Goldston.

the full UK tour now looks like this with Sabbath Assembly supporting on all dates:

Friday 1 April - Leeds, Josephs Well
Saturday 2 April - Manchester, Islington Mill
Sunday 3 April - Birmingham, Hare And Hounds
Monday 4 April - Newcastle, The Cluny
Tuesday 5 April - Glasgow, Stereo
Friday 8 April - Dublin, Button Factory
Saturday 9 April - Cork, Cyprus Avenue
Monday 11 April - Cardiff, Millenium Music Hall 2
Tuesday 12 April - London, Scala

Ringo Deathstarr give away Worriedaboutsatan Remix of 'So High'

2011-01-12T22:52:00.003Z

One of Middle Boop's Top Tips for this year 'Ringo Deathstarr' are offering an awesome remix of 'So High' one of the songs from their upcoming debut album 'Colour Trip' on out 14th February.

Download the song here

Harrys Gym Release New Album + Announce UK Tour

2011-01-12T22:26:00.002Z

the Norwegian Prog pop four piece Harry's Gym have just announced details of their second album ‘What Was Ours Can’t Be Yours’ which will be released on the 7th February.

Harrys Gym live dates:

UK
08.02.11 - London @ The Social (Sonic Cathedral Night)
09.02.11 - Birmingham @ Hare and Hounds
10.02.11 - Leeds @ Nation Of Shopkeepers
11.01.11 - Bristol @ Start The Bus
12.02.11 - Cardiff @ Arts Institute
14.02.11 - Glasgow @ Stereo
15.03.11 - Manchester @ Roadhouse
16.02.11 - London @ Camp Basement (Fleur De Lys)
17.02.11 - Reading @ Oakford Social Club

Europe
03.03.11 - Hamburg @ Mondial Club
04.03.11 - Berlin @ Bang Bang Club
05.03.11 - Dreden @ Thalia Kino
07.03.11 - Vienna, Austria @ Arena Vienna
08.03.11 - Erfurt @ Stadtgarten
12.03.11 - Offenbach @ Hafen 2

British Sea Power – Valhalla Dancehall (Rough Trade)

2011-01-12T21:44:00.001Z

Back in 2003 when the Brighton based boys first released The Decline of British Sea Power, I was fortunate to catch them open up for Bright Eyes at the Shepherds Bush Empire. I was blown away. The intensity of their set along with the completely visceral piece de resistance ‘Lately’ was evidence enough for me to get a copy of the album.

Here we are, roughly seven years later, with their fourth full length album (excluding Man of Aran), Valhalla Dancehall. Along with this release came high expectations, as the 2008 Mercury Music Prize nominees had to pull something special out of the bag to surpass their extensive repertoire.

Valhalla Dancehall opens with a promising track in the form of ‘Who’s in Control?’. With riffs borrowing heavily in style from 2008’s Do You Like Rock Music?, Jan Scott Wilkinson’s unhinged vocals are more reminiscent of 2003’s The Decline Of…. With bizarre screams in-between choruses of “Over here/ over there/ Over here/ Every fucking where”, I was pleased with the direction this album was taking.

Next up, ‘We are Sound’. Beginning upbeat and riff led, progressively drifting into more of a settled, atmospheric venture, not sounding too out of place on2005’s Open Season, it’s a familiar experience. Follow up track ‘Georgie Ray’, is a piano based ballad, led with a more gentle approach vocally by Yan, accompanied with spiraling guitar solo’s and angelic backing vocals.

If the record sounds too mellow for you at this point, you’ll be pleased to know ‘Stunde Null’ leans more towards the creative juices of ‘Favours in The Beetroot Fields’, with it’s almost threatening tempo and the trademark angular guitar riffs we’ve come to expect. The album goes on to showcase the talents and diversity the boys have to offer. ‘Luna’ and ‘Baby’ are again reminiscent of the Open Season era, with their delicate and occasionally sweeping melodies, this time with Neil Hamilton Wilkinson taking on vocal duties.

‘Living Is So Easy’s drum machine beats and keyboard focused sound seems slightly out of place at first, however has soon become one of my favourite tracks on the album. With super catchy lyrics like ‘Living is so easy / Shopping is so easy / Dying is so easy/ All of it is easy’ and ‘Northern girls/ Are you going to the party? / Southern boys/ Are you going to the party?’ how can you not succumb? If you happen to walk past me in the street, there’s a good chance I’ll be whistling / humming/ murmuring this.

The latter of the album is nothing short of impressive. Borrowing from 2010’s Zeus EP, ‘Cleaning Out The Rooms’ is a far cry from the aforementioned electronic ventures which the Zeus EP delves into frequently. With it’s ethereal lyrical approach, stirring violin, persistent drums and eerily soothing backing vocals, it’s nothing short of a classic.

Just incase you got too comfortable, the boys throw another ‘Favours in the Beetroot Fields’ style number in your direction with ‘Thin Black Sail’, before messing with your body’s inner tempo clock and presenting yet another lengthy, soothing creation at you with ‘Once More Now’. Eleven minutes later, we’ve reached our final destination; ‘Heavy Water’.

British Sea Power have released yet another album of eclectic sounds, styles and demonstrate once again why they’re at the top of the British indie rock scene. Creative, atmospheric, original and evolved, they present an array of new songs that will easily compete with their back catalogue. I’ll be catching them at the HMV Forum on February 27^th for some more ear blistering feedback heavy shenanigans. I suggest you do the same.

Words: Neil Phillips

Dananananaykroyd Announce Second Album

2011-01-12T21:35:00.002Z

As I type this Glasgow's Dananananaykroyd will be putting the finishing touches to their as yet untitled second album. The heavy sextet, once voted the best live band in the UK will be touring over the next few months in the lead up to the album.

FEBRUARY
25 Middlesbrough Uncle Albert’s
26 Dundee Doghouse
27 Aberdeen Café Drummond

MARCH
1 Cambridge Haymakers
2 Southampton Joiners
3 Bath Moles
4 Sheffield Harley
5 Liverpool Shipping Forecast

Amplifier - free download

2011-01-12T19:28:00.003Z

Remember Amplifier? A few years ago they were really doing wonders for the British rock scene with their edgy prog based metal and an emphatic live show to boot where at times they would turn all the lights off in venues and just play with miners lights on their heads. Well after a brief quiet spell I am very happy to welcome them back with a free download of 'The Wave' taken from their new double album 'The Octopus' out on Jan 31st.

Arbouretum - The Gathering (Thrill Jockey)

2011-01-11T11:12:00.002Z

Well, what a welcoming sound that is to my ears. A rolling guitar riff filled with that aurally pleasing crunching distortion growling away deep at the heart of the song. This is the exact enigmatic fashion that the album “The Gathering” commences fantastically played by Dave Heumann’s Arbouretum. This, the groups 4^th offering is as strong and fresh as any other it’s predecessors and showcase a band that is growing confidence, talent and are surely evolving into a tour de force that the music world will have to deal with very soon indeed.

Arbouretum declare their intentions, as aforementioned, with track one “The White Bird”. Clocking in at over 7 minutes long, it is a classic example of a band setting out their stall and making sure that they have garnered your attention.

This stranglehold tightens it’s stronghold on you in the second track “When Delivery Comes”. We are treated to further gritty rhythm which is greatly complimented. This song feels like it would be perfectly suited to accompany a gun battle in a modern adaptation of a Sergio Leone epic.

In the next track, “Destroying To Save”, Dave Heumann’s vocals are shoved into the spotlight as the voice is a predominant force in what drives the song. It must be said that one can make all sorts of comparisons of his style from Deep Purple’s Ian Gillian to one hit wonder maestro Arthur Brown. It is certainly a welcome sound to my ears, being musically trapped in that era as I am. I guess it is just nice to hear a rock voice with a whole lot of soul.

“The Highwayman” is delightfully in the vein of such acts as Counting Crows. That distinct, simple but deeply effective rhythm is effervescent here. Again, I feel myself impressed by the minimalistic approach. The beat kept by drummer, Brian Carey, is perfect; not too much, not too little.Corey Allender on bass does not deviate from complimenting the rhythm and Dave Huemann himself is doing a sterling job as front man.

“Waxing Crescent” changes the mood of the album completely. The ambience shifts to a eastern feel and could be compared to The Beatles in the mid 60s when they were majorly influenced by that artistic appeal. It is a perfect track to maintain interest in the band and keep up the air of mystery that Arbouretum have perpetuated since the opening bars of the album. This is undoubtedly one of my favourite songs from “The Gathering”.

We are brought back down to earth from the hedonistic heights of the previous track with a more familiar sound in the form of “The Empty Shell”. It almost feels like it is a prelude to a song by Black Sabbath as the band airs their experimental side. However, it eventually settles down into a catchy rock tune which, whilst effective, lacks the intrigue of some of the other tracks on the album.

So, “The Gathering” draws to a close with the final track “Song Of The Nile”. I am not left disappointed as the album grinds to a conclusion that is as dirty and gnarled as the album began. Again, note must be made of the pulsating driving force that Arbouretum provide that provide a perfect platform for Heumann to ply his craft. This song conjures up memories of those eponymous songs by The Doors, Jimi Hendrix and Led Zeppelin to name a few whose long instrumentals made every bit of sense as the verses and choruses.

At the end of the day I am left with two thoughts. One, what a fantastic start to 2011 and two, where can I catch these guys playing live?

Words : Barclay Quarton

The Moondoggies - Tidelands (Hardly Art)

2011-01-11T09:32:00.002Z

It’s a shame, it’s a pity. As an album opener, this is less a sweeping statement and more a modest comment. But, a comment on what?

Seemingly informed by an idyllic view of the States, Tidelands is an organic, retro-rocking, second record from The Moondoggies. Combining the sounds of Country, Blues and Rock; Tidelandshas a distinct, but occasionally over-familiar sound.

Bands like Fleet Foxes, Grizzly Bear and The Cave Singers have not helped The Moondoggies, as the sweet style of Americana has saturated the sound-scape over the past couple of years. Where the Fleet Foxes happily fall into a hippie-like ambient haze and The Cave Singers boast a vocal edge, The Moondoggies unfortunately slip into the dreaded middle ground. The middle ground is a musical hell, soundtracked by Mumford & Sons.

Tracks are written with a sense of economy, the whole album runs at a healthy 42 minutes; unlike the often stereotyped America, there is no fat to be found on Tidelands. The album may be highly influenced, but that does not stop it from having its own, personal voice. Mixing the aforementioned genres, but bringing in even more styles [gospel crops up a lot], The Moondoggies sound less American Indie and a bit more like The Coral. In fact, the more I listen to the album, the more I’m reminded of the weed-mellowed Scousers.

Album highlights include What Took So Long, which boasts an organ-heavy chorus, the particularly ‘Coral’-sounding Lead Me On and Down the Well, which is really the band’s finest 5 minutes. Embracing the heavier side of the genre is when The Moondoggies are in their element; the sound of singer Kevin Murphy’s voice striving for prominence with the instruments, helps give the band a sense of urgency and importance.

It’s a shame, it’s a pity- what the hell does it mean? Well, some critics have turned their noses up at the music, because of its familiarity. In an interview* for the first album, Murphy is grilled about “not sounding modern” and is actually accused of following a popular trend. Murphy retaliated with a pretty inspired monologue about music bloggers and the new cynicism pointed towards modern music. “If you've listened to the album I don't know if it's anything but honest. Are drum loops modern honesty? There's nothing conscious about how we develop our sound. It's people I've always known sitting together and singing songs.” At the end of the interview, when Murphy is asked about the direction for the second album, he deadpans “less retro”.

In short, for all of its sincerity and sweetness; Tidelands is a big FUCK YOU to the preconceived notion of modern music and a celebration of honest music. Can’t argue with that.

*http://endhits.portlandmercury.com/endhits/archives/2009/01/16/the_moondoggies_interview_wi

Words : David Campion

Sic Alps – Napa Asylum (Drag City)

2011-01-10T12:38:00.003Z

After Brian Jonestown Massacre and Dig! and everyone thinking ‘That was totally relevant and changed the face of re-hashed sixties garage pop forever!’, I’m sure music fans wondered if we’d be spared anymore lo-fi whiney hipster indie posing as something far more interesting. Then the Black Keys happened and managed to fool people into thinking it was possible to release a record which evoked old time rock and roll whilst being vital in the new millennia. Sic Alps are not the Black Keys. They have, since their rise to (somewhat) fame in 2009 been making waves in circles of people who wear skin tight flares and read Shindig/ smoke crack and pretend not to read Vice. But outside of revivalists and trend seekers, I can’t see TWENTY-TWO track album Napa Asylum making any waves. It is indulgent, pretentious, ridiculously, needlessly, long, and sounds like a slightly less-good version of any number of other things: Ariel Pink if they were less weird and fun, Thee Oh Sees if they weren’t Pink and Brown with a fuzzy sixties vibe...

If this album was ten tracks long, I might have found myself wanting to give it a little more credit. On Trip Train they manage to jam themselves into a noise band, and for a couple of minutes Napa Asylum gets fun. The general dirge of the album peaks in a few other places including airy summertime pop hits Cement Surfboard and Ball of Fame. Meter Man is Beatles-style nonsensical psych-rock that Las and Dums its way into your heart momentarily, and Occult Display has a rich authenticity the rest of the album seems to fall short of. But these are lost amongst the tirade of pastiche you have to wade through like lumpy custard that’s been lying around since 1966. Final track Nathan Livingston Maddox was my favourite, but that might have been purely because I’d had to sit through twenty-one other tracks of ‘so fucking fragile and indie my voice might crack in a minute’ vocals and the last track was a sweet release similar to the end of a school day, or trip to Dignitas. If you have got this far and are still intrigued to hear Napa Asylum, why not try their 2008 release U.S. EZ first, it is a more concise, enjoyable, and fundamentally shorter release.

Words : Maya Boustany

Mogwai Announce Intimate London Show

2011-01-10T11:50:00.006Z

One of Middle Boop's all time favourites, the majestically marvellous Mogwai have just announced a rare intimate show at London's Hoxton Square Bar & Kitchen on Wednesday 9th February.

The tickets go on sale at 1 o' clock today and are available to buy over at the ATP Site.

Mogwai's new album Hardcore Will Never Die, But You Will is released on February 14th.