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YOGA PANTHER

YOGA PANTHER

Category Archives: ‘Critical Wave’ reviews

Interview with Newton Faulkner

26 Thursday Sep 2013

Posted by Yoga Panther in 'Critical Wave' reviews, Arts, Interviews, Music

≈ Leave a comment

Tags

album, breaking ground, festivals, interview, Newton Faulkner, studio zoo

Newton Faulkner Studio Zoo

Chuff Media

What can we expect from your new album ‘Studio Zoo’?

It’s a different beast. I’ve kind of gone back to my roots, but I’ve gone back beyond the first album, so it’s like my prehistoric roots. But yeah it’s completely acoustic with very little else. I’m really pleased with it. I think this is the best thing I’ve ever done.

What made you decide to strip everything back?

Two different things went in two different directions really, so after ‘Dream Catch Me’ did really well, I was under pressure to release more produced things. And at the same time, live-wise, I’d had a band but people said that they massively preferred it when I was on my own. So I became a solo live performer, while the records became more built up, which lead to me really pushing the boundaries live. At one point I was triggering visuals with my foot while playing violins off a cassette and playing cello with my other foot – it was mental! But then with this album I stopped trying to do anything, I kind of just did what I wanted and wrote the songs I felt like writing.

So you recorded it in your home studio and the whole process was live streamed to the world – how did that come about?

To begin with it was quite small, just one camera and no audio. I saw it in my head like the web cams you get in radio stations where it’s a frame every second, no sound, and it’s not actually that intrusive. I just assumed that the label would say no, but then they were like “Yeah, definitely have sound, that’ll make it amazing”. So it grew from one camera in the studio, to four cameras in my house. We were originally just going to film when I was working, but then it became 24 hours a day, and it went on for 5 weeks!

Newton Faulkner Studio Zoo

Chuff Media

What was it like being in a Big Brother-style situation? Do you think it helped or hindered the process?

I think it had a massively positive effect on the record. One thing I’ve been trying to do since the very beginning is to bridge the gap between the live show and my recorded stuff. So by having people watching me recording, it changed it from just singing into a microphone for the sake of the microphone, to singing and knowing that people were paying attention. And afterwards I would get loads of Tweets saying “That was awesome, that’s the one!”, or “I think you should go to bed now…” And I listened to them, so if they said that they liked something I tended to keep it, and if they said I was putting too much on a track, then I was just like okay cool, I’ll take that out.

Has anyone done anything like this before?

No one’s ever done it before, it’s like a world first. No one’s even done a few tracks let alone a whole album. So it was a completely unique experience. We didn’t know how long people would watch it but people basically just left it on all the time. And the level of connection that the people who’ve watched it now feel with the record is unattainable any other way – they basically feel like they’ve sat in the studio with me.

I love the lead single from the album ‘Losing Ground’ – what is it about exactly?

It’s kinda just about battling against the odds, but it’s got a really nice vibe. I still can’t quite work out what style of music it is – each different section has got a different set of influences. The first bit is kind of Kinks-y I guess, and then a load of banjos come in and it’s like, what’s going on?

What’s your favourite track to play live?

I think Plastic Hearts is creeping up on my favourite-to-play-list. It’s a real challenge – I’ve made it even harder live that it is on the record.

You’ve just done some in-store performances and you’ve got a tour early next year – but do you prefer big venues or the more intimate ones?

I just like playing, so I don’t really care. I genuinely love it – I wouldn’t do it if I didn’t. One of my favourite sets of gigs was when I played Isle of Wight festival a couple of years ago to like 50,000 people and then I pretty much got straight on a plane to San Francisco and played in a bar to 5 people! It was such a massive juxtaposition, it was crazy.

I know you’re a fan of your quirky covers like Spongebob Squarepants, so can we expect some more of that on your tour

Yeah I’m trying to find something new because I did Bohemian Rhapsody quite recently, and I’m trying to find something that goes a step further – if that’s even possible.

Newton Faulkner Studio Zoo

Chuff Media

What’s your favourite festival to play at?

Glastonbury will always be special because that was the first big festival I ever played – and I didn’t even know if my stuff would work in that setting. When I played Isle of Wight festival the time before last I had a band, and it was only on three tracks but it was just knowing that there was someone else coming on. But this year I was on my own and it was terrifying. Nobody else does that! No one else is stupid enough. But yeah I’m still amazed that it works.

If you were booking your own festival, who would be on the dream line-up, dead or alive?

I’d get some guitar-y people – all the people who played on the record are my favourite guitarists in the world, like Nick Harper and Thomas Leeb. Also Guns and Roses, Queen, Jimi Hendrix, Creedance Clearwater, Al Green, Bill Withers. I don’t know who’s headlining yet…

If you could be eaten alive by one animal what would it be?

A platypus.

Would you rather look like Jar Jar Binks or talk like Jar Jar Binks?

Both are equally annoying. Maybe look, yeah I’d rather look than sound like him.

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Review of Mr B The Gentleman Rhymer

03 Tuesday Sep 2013

Posted by Yoga Panther in 'Critical Wave' reviews, Arts, Music

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Tags

Chap Hop, eccentric, handlebar moustache, hip hop, jennifer left, Mr B The Gentleman Rhymer, posh, rap, ray ban glasses

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It was probably the most eccentric gig I’ve ever been to. We rocked up at The Prince Albert in Brighton to find a dictionary corner and a ‘Pin the mustache on the gentleman’.  The dictionary quiz was quite fun actually – a sign on a ballot box stated ‘Mr B. The Gentleman Rhymer is a keen advocate of the advancement of one’s vocabulary’. It said you had to write down imaginative definitions for made up words such as ‘crinkum’ and ‘piss prophet’ and the best would be read out after the show.

Mr B. himself was mingling beforehand in his baggy suit, completely in character. I should tell you a bit about him for those who don’t know. Donning a handlebar moustache and Ray-Ban glasses, The Gentleman Rhymer is on a one-man mission to introduce hip-hop to the Queen’s English. The genre he calls ‘chap-hop’ aims to bring some manners back into popular culture through posh raps and well-known hip-hop re-worked in his own style.

Back to the lively chatter of the intimate venue, and suddenly a female soprano was singing opera among the audience. She wandered amongst the baffled spectators as she chose her victims for an awkward opera-in-the-face scenario. Two songs later and she introduced herself as Adele and told us of ‘immersive opera’.

Peculiarity aside I enjoyed experiencing an opera singer that close up and her voice projection was something to behold. It’s hard enough standing on a stage, but actually walking amid strangers and seeing their responses took some guts! After some pitch-perfect renditions of famous classical songs she ended with an entertaining mash-up combining the tune of Verdi’s ‘La Donna e Mobil’ with the lyrics of Kanye West’s ‘Gold Digger’.

The second support act was Jennifer Left, and to begin with we assumed it was ‘her thing’ to hold an apple as she performed. We later realised it was a fruit-shaped maraca. The Brightonian singer-songwriter gave us a tempting mix of folky sounds and jazzy vocals.

The man of the hour stepped onto the stage to perform his ditties of high society. Mr B. kicked off with ‘I invented hip-hop’, the opening track of his latest record ‘The Tweed Album’. He picked up his banjolele (looks like a banjo, sounds like a ukulele) for his first ever chap-hop song, ‘A Piece of My Mind’. This upbeat track about confronting an unruly patron includes the humorous line, ‘Brandishing my brolly, it’s your folly you know’.  It amused me how he would exclaim things like ‘Hit it DJ’, ‘Break it down’ and ‘You know what I’m talking about’ in a posh manner.

I particularly like his parody of Blackstreet’s ‘No Diggity’, in which he beatboxes and loops his way through the R&B classic singing ‘I don’t like the way you work it. No dignity.’  He got plenty of audience participation throughout, with tunes such as ‘All Hail The Chap’ and we had a good old sing song with our imaginary tankards of ale for his Bavarian folk-style track.  ‘Chap-Hop History’ was another favourite with his remix medley of Sugarhill Gang’s ‘Rapper’s Delight’, Run DMC’s ‘Fight For Your Right’ and Eminem’s ‘My Name Is’.

He then took to the piano to play a slowed-down version of ‘When I’m Cleaning Windows’ which somehow morphed into  ‘I Like Big Butts’.  His final hoorah included renditions of ‘I Like To Move It’ and ‘Out of Space’, prompting even more sing-alongs. Mr B. finished by telling us the results of dictionary corner, and like a true gentleman he gave a copy of ‘The Tweed Album’ to the most outrageous linguist’. Such a nice chap.

– Published at Critical Wave

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Review: Fossil Collective at The Prince Albert

19 Sunday May 2013

Posted by Yoga Panther in 'Critical Wave' reviews, Arts, Music

≈ 1 Comment

Tags

folk, Fossil Collective, gig, indie, Joe Banfi, rock

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They’re perfect listening for a lazy Sunday morning, a relaxed evening by the fire and could probably cure a hangover. It was no surprise then that a chilled ambience filled The Prince Albert in Brighton for Fossil Collective. People were even sitting down. You could tell it was going to be a very folky night.

There was great support from Joe Banfi, a dead ringer for Ben Howard (also under Communion Records), and just as vocally beautiful. Banfi’s voice had an edgy, croaky quality, which perfectly complimented his intriguing folk-meets-grunge style. Particularly memorable was his latest song ‘Nomads’ where the delicate piano and guitar plucking builds into an eerie tribal drumming noise complete with ringing electric guitars and Banfi’s husky howls.

Joining us for week two of their 60-date tour of the UK and US were Fossil Collective, an indie folk two-piece composed of David Fendick (vocals, guitar) and Jonny Hooker (vocals, drums). While the Leeds band take inspiration from Simon & Garfunkel and Fleetwood Mac, their overall sound is reminiscent of more contemporary artists. Take the harmony-rich sound of Fleet Foxes and the beautiful melancholy of Bon Iver and you’ll have something that resembles Fossil Collective’s meticulously crafted folk.

It was a nice touch that they played their recently released album ‘Tell Where I Lie’ in full from beginning to end. Sort of. They switched the first two songs around so that they started off with ‘Under My Arrest’. This yearning ballad combines fluttering guitars and romantic violins with a haunting chorus where ‘Under My Arrest’ is repeatedly sung in an arpeggio style against complementing chords. Just mesmerising.

They probably went for this ordering so they didn’t peak straightaway with their next song, which was, hands down, their best. ‘Let it Go’ is a perfect example of David and Jonny’s stunning harmonies, and their Fleet Foxes-esque ‘hoo-ing’ between verses. Full of imagery and metaphors, the lyrics portray a fading romance with lines such as, ‘We were an island, you were than one that broke away’ and ‘We started something, tried to make a fire without a flame’.

The theme of love and nature is dominant through the album and continued into their next track. ‘Boy with the Blackbird Kite’ is punctuated with that familiar harmonic ‘hoo-ing’, while there seems to be a more hopeful feeling towards relationships: ‘Let’s fly above the landscape/ There’s a horizon that’s always in sight/ We’ll go straight up and skywards/ We’ll always be just like two birds in the sky.’

Next was the first single to be taken from the album, ‘The Wolves’, which evokes a sense of urgency as they sing ‘The wolves are coming out/ Light a fire when you see them all arrive’. I particularly liked how it all came together in a folk-style electric guitar solo. ‘Brother’ is a melange of sound with echoing guitars, pretty piano and lush trumpets which seemed very Bon Iver, as did the delicate acoustic intro and high-pitched vocals of ‘Monument’ which followed.

Then came the first song they ever wrote, ‘On and On’, with its convinced tone that ‘you are the one’, before ‘When Frank Became an Orb’ which they wrote on the same night. This track brought more angelic ‘hoo-ing’ as it depicted tales of sorrow. A whispery, stripped back ‘How Was I to Know’ followed, and they brought the show to a close with ‘The Magpie’. Another favourite, it starts as a laid-back, acoustic track until the chorus pushes the tempo for some atmospheric pitch-bending ‘ohh-ing’ and a crescendoing outro.

By performing their album it brought to life the true work of art that is ‘Tell Where I Lie’. It demonstrated how the album draws you in with the catchy ‘Let it Go’ and keeps you listening attentively to the less immediate tracks that grow on you over time. Fossil Collective are definitely ones to watch. If you can’t catch them on their tour, they’re playing Green Man and End of the Road festival later this year.

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Review of United Ghosts at Sticky Mike’s

05 Sunday May 2013

Posted by Yoga Panther in 'Critical Wave' reviews, Arts, Music

≈ 1 Comment

Tags

band, Brighton, electronic, gig, Music, shoegaze, United Ghosts

facebook.com/unitedghosts

It was one of those gigs where you don’t really know what to expect, you haven’t had much time to research the band or listen to their songs, and then you turn up and…wow.United Ghosts blew me away with their, excuse the pun, haunting performance and as soon as I got home I just wanted to listen to their songs over and over.

The support band, on the other hand, I knew quite a lot about – the guitarist being one of my journo buddies and writer for Critical Wave, Cai Trefor. Brighton-based Classic Plastic formed only last summer but they have been relentlessly gigging in and around the seaside town. They’re even due to support Bloc Party and Everything Everything at Scala this week.

The Beatles-inspired foursome played a strong set of melodic indie tracks, kicking off with ‘Fun Fun Fun (On The Reservation)’ an upbeat little tune about the American Indians being relocated. ‘Her Face’ was a personal favourite with its chilled out vibe, echoing guitars and of course front man Alex Hill’s stunning vocals. Radio and Youtube hit ‘Bucket and Spade Escapade’ soon followed with mischievous guitar riffs and tongue-in-cheek lyrics, while the catchy ‘Not The End of The Film’ would have fit perfectly into an episode of The Inbetweeners. These guys are definitely going places and if you’re a fan of The Smiths, Blur or Pulp, then their Britpop-esque style will be right up your street.

On came headline act, United Ghosts, an LA four-piece whose style has a myriad of influences from Kraut-rock and electro to psychedelia and shoegaze. But by no means did they just gaze at their shoes. The band formed of Axel Steuerwald (vocals, guitars), Sha Sabi (vocals, bass), Jason O (guitars) and Sean Burgess (drums) brought waves of energy to the gig, filling every nook and cranny of the intimate venue with their dream pop sound.

Beginning with album opener ‘Echo Lake’, inspired by a lake that was drained in their area, they set the tone for the evening as its dreamy atmosphere washed over. The rocked-out ‘Sparks From A Cold Star’ was like a road trip adventure, while things got eerily electronic as they played ‘The Revolution Waiting’ with its pitch-bending synths and ‘Modern Crime’ with its mysterious droning loops.

Throughout the set, founding members and co-vocalists Axel and Sha complemented each other perfectly with their mesmerising male-female harmonies. Effortless and balanced, this is something that they have sustained from day one – Axel said that the first time they met and played music together they instantly gelled.

A standout track was ‘Unhypnotized’ which starts out as simple yet infectious bass riff, reminiscent of Muse’s Knights of Cydonia, before layering on the equally catchy deep guitar notes and twinkly undertones, until it becomes an ethereal resonance. Sha and Alex took a verse each before uniting in the chorus for a chilling display of their vocal chemistry. No one could have unhypnotized the audience.

Next up was their first single ‘Holes into the Night’. Released in 2011 it was an instant radio hit and gained so much positive response that it propelled them into creating their 2013 self titled debut album. With the propulsive beat, heavenly melodic textures and satisfyingly crunchy bass, I can see why. They ended with ‘Mainline To The Sun’, the B-side of the previous track which juxtaposed a sinister baseline drone against a hazy, laidback rock tune.

Overall it was like listening to alternative bands on the radio in the 90s but with a euphoric electro twist. Watch out, these guys will haunt you.

– Published on Critical Wave

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Review of Deap Vally at The Haunt

03 Wednesday Apr 2013

Posted by Yoga Panther in 'Critical Wave' reviews, Arts, Music

≈ 2 Comments

Tags

Brighton, Deap Vally, Drenge, garage rock, Kill Moon, LA, rock n roll, The Haunt

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It was a pretty heavy night. I’m not talking metal, and I didn’t even get wasted. No, I saw a trio of punky, bluesy, garage rock bands, headlined by the fierce Deap Vally who thrashed around and ultimately turned The Haunt into a giant mosh pit, with people willing to take their clothes off for them.

Kicking off the chaos was Brightonian space-influenced quartet, Kill Moon. The leather-clad post-punk rockers, composed of a female lead vocalist with males on guitar, bass and drums, played a hauntingly grungey set. Seriously – front girl Izzy didn’t smile once as she whined emotionally and stomped about in killer platform heels. Who’d have thought that the band met while browsing through stationery in WHSmiths?

Next up were hotly-tipped duo Drenge with their ferociously punky blues rock. Brothers Eoin (vocals, guitar) and Rory (drums) Loveless, at the tender ages of 21 and 19 have already gained Zane Lowe’s approval, with their latest single ‘Bloodsports’ being hailed hottest record in the world. The Peak District boys’ turbulent drumming and chaotic guitar rhythms twisted and turned in unexpected yet satisfying ways; once you thought you’d got the tune pegged it brutally morphed into something else. With blunt song titles such as ‘People In Love Make Me Feel Yuck’, ‘’I Wanna Break You in Half’ and ‘I Don’t Wanna Make Love to You’, you can start to appreciate their angst-fuelled style.

531137_10151317634862321_166640437_nWe went from two English guys with an attitude to their American female equivalents as headliner Deap Vally took to the stage. This feisty LA twosome met at needlework class – almost as rock and roll as Kill Moon’s beginnings. Like Drenge, they follow the White Stripes and Black Keys paradigm where one whacks the guitar and sings – Lindsey Troy – and the other bashes the drums – Julie Edwards. They swiftly introduced us to their bluesy garage rock, not unlike that of The Black Keys, with ‘Baby I Call Hell’. This raw rock and roll track instantly got the crowd bopping along to Julie’s beats and Lindsey’s distinctive howling accompanied by her buzzing guitar.

Maybe it’s an American thing, but they effortlessly worked the crowd and bantered with the drunken male-heavy audience. At one point a guy at the front tried to rip off his shirt but someone came over and disciplined him – I didn’t know that was a rule? Julie joked, “Sir you can’t show us your pectorals, you’re compromising us as women!”

Next up was ‘Lies’, another catchy track with its roaring, riffed-out force that saw Lindsey really show off her sexy squealing vocals as she flicked her blonde bangs. Meanwhile Julie whipped her curly ginger locks as she smashed the cymbals. Besides the fact that they were wearing matching necklaces that fit together to make a heart (hence their band logo), you could tell they are best buds by their so-in-synch vibe.

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Things got pretty hectic when they played their memorable debut single ‘Gonna make my own money’. As soon as that scuzzy guitar riff dropped, it took one intoxicated reveller to start madly jumping about and the riot begun. Indeed the moshing never ceased from there on. Lindsey even commented: “You guys are rowdy I love you guys.”

Even through their new and lesser known material the crowd intensity didn’t fade. It must have been their infectious melodies and catchy vocal riffs such as the “La de da de da daa” of ‘Ain’t fair’ and the repetitive chorus in ‘You’re Love is a Lie’. And of course Lindsey’s intensely rough vocals that capture raw emotion – while she makes a pained sex face. Oh and Lindsey’s unfaltering rhythms – as she sits legs wide open wearing skimpy black pants. No wonder guys were getting naked for them.

As they announced their last song, they cued even more mental moshing with crowd surfing left, right and centre. ‘End of the World’ was a personal favourite with its rock-hard grit and the way it starts with a forceful repeated guitar note throughout the verse and transforms into a powerful droning guitar riff in the chorus that just screams anarchy.

Bloke overheard at the bus stop afterwards: “I haven’t seen anything that crazy since the mosh pit at Tenancious D – when we got thrown out!”

These girls will continue to bring all-girl soul to dirty rock and roll as they tour Europe and hit the summer festivals. Watch this space for their debut album.

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Review of The 1975 at Green Door Store

07 Thursday Mar 2013

Posted by Yoga Panther in 'Critical Wave' reviews, Arts, Music

≈ 1 Comment

Tags

band, gig, gig review, The 1975, The Green Door Store

541365_10151274733812321_1593997909_nSex, chocolate and indie-pop. Of course I’m referring to the music of The 1975, who are on a roll at the moment with three EPs under their belts, copious radio exposure and a debut album on the way.

The Green Door Store was host to two four-piece bands from opposite ends of the country; playing at home were Brightonian pop rock group The New Union who whet our appetites for a feast of musical talent from Mancunian band The 1975.

Adam (guitar), George (drums) and Ross (bass) took to the stage as turquoise beads of light from the disco ball bounced around the room. The hoodie-clad musicians were then joined by ominous lead vocalist and guitarist, Matt, dressed in black from head to toe. This contrast of pop-esque lighting with their dark demeanour reflected their music style – a blend of synthy pop rock with themes of fear, sex, drugs and death.

Nevertheless, his vocals were effortlessly sharp, if not a bit more edgy with a cold. You know how singers sound brilliant on the record but rubbish live? Matt is one of the rare exceptions. As they played their latest single ‘Chocolate’ I could not help but compare the milky treat to his smooth, dreamy tones.

“We done an album pretty much,” was Matt’s opener for new track ‘Settle Down’ from their debut due for release in spring. After a selection of other non-EP songs which kept the crowd entertained, came the one what we’d all been waiting for. ‘Sex’. This track from their second EP of the same name really got us going…and Matt’s mane whipping.

The foursome rocked the risqué track as Matt sung, “But if we’re gonna do anything / We might as well just fuck / She’s got a boyfriend anyway,” seemingly implying that he can fill the gap, as it were, in her love life. During the interlude of ethereal, echoing guitars Matt head banged and jammed with guitarist Adam before singing the end of the song with his back to the audience. The wine had obviously impaired his sense of direction.

The female fans were suckers for his bad boy persona and Matt was pestered by gaggles of them for autographs and photos afterwards, ehem, myself included. After a cheeky snap I told him I was writing this review, to which he replied: “Ah excellent, don’t say anything bad will you?!” I think I’ve kept to my word, not that there was anything negative to report. When I asked him to sum up the gig, he exclaimed: “It was very warm!”

Well, whether he meant the temperature or the reception from the audience – he was spot on!

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I'm Sam and I'm a copywriter, yoga junkie and health nerd.

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