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The Daily St Helens Now

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Getintothis
  Updated Wed, 28 Jun 2017 18:49:18 +0000
Description Liverpool Music Blog
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God Colony announces debut gig at Liverpool?s Rat Alley
Category News, God Colony, liverpool debut, Rat Alley, turn my g down
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As the GIT 2017 award nominees God Colony prepare to make their Liverpool debut, Getintothis’ Stephen Geisler offers the latest scoop. GIT Award nominees and nefarious production duo God Colony have finally announced their debut Liverpool gig for July 22 in Rat Alley – a moniker for the Kazimier‘s former smoking area, and a perfect outdoor rave venue. [...]

The post God Colony announces debut gig at Liverpool’s Rat Alley appeared first on Getintothis.

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God Colony (credits: artist's Facebook)

God Colony (credits: artist’s Facebook)

As the GIT 2017 award nominees God Colony prepare to make their Liverpool debut, Getintothis’ Stephen Geisler offers the latest scoop.

GIT Award nominees and nefarious production duo God Colony have finally announced their debut Liverpool gig for July 22 in Rat Alley – a moniker for the Kazimier‘s former smoking area, and a perfect outdoor rave venue. Needless to say, this is not a gig to be missed.

God Colony have been circling Liverpool for a while now, bloodlust ever-growing as they built their following in London, building up enigmatically for their return to the city that brought them together.

Demystify some of that enigma by checking our profile of God Colony

With only two tracks and a 25-minute radio mix to their name, the duo clearly puts quality over quantity. Their music speaks for itself, and their ambition suggests that, wherever they end up, it will be somewhere great. Their vocalized aspiration to ?produce for Frank Ocean? paired with their beats and collaborations that are dripping with style, attitude and danceability proves that they are an act to be watched from now through to their inevitable payoff.

A God Colony gig should be at the top of every rave enthusiast?s to-do list, and seeing them while they are still developing before they blow up, should be a real treat.

  • God Colony play Liverpool’s Rat Alley on July 22.

The post God Colony announces debut gig at Liverpool’s Rat Alley appeared first on Getintothis.

The Horrors announce new album and UK tour including Liverpool date
Category News, Fifth album, Liverpool, The Horrors, UK Tour, V
Published:
Description:

The Horrors have announced an extensive UK tour to support their fifth album, Getintothis’ Jessica Borden looks forward with relish. The Horrors have announced an autumn tour to support their fifth album V. Three years after their last album Luminous, The Horrors return with single Machine showing the band embracing further changes in their sound. The new album has been promised [...]

The post The Horrors announce new album and UK tour including Liverpool date appeared first on Getintothis.

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The Horrors

The Horrors

The Horrors have announced an extensive UK tour to support their fifth album, Getintothis’ Jessica Borden looks forward with relish.

The Horrors have announced an autumn tour to support their fifth album V.

Three years after their last album Luminous, The Horrors return with single Machine showing the band embracing further changes in their sound.

The new album has been promised to be heavier with a punky-garage experimental spirit combined with hints of psych and 80s pop.

?It is a risk,? says Faris Badwan discussing the band?s bold refusal to stand still. ?But life isn?t much fun without risk. It?s the antithesis of being creative if you know what you?re going to be doing every time.?

The album artwork comes from talented VFX artist & director Erik Ferguson who is known for his abstract and intriguing creative vision.

Keyboardist Tom Cowan continues: ?It?s natural, if you do see yourself as an artist, to progress and not play it safe. Bowie pre-empted the modern condition of not being able to stay in one place for very long, and I get frustrated with bands who stay still. Because then it does become a career.?

After recently touring with Depeche mode, The Horrors will play an intimate gig in London this July before embarking on their much anticipated tour around the UK in October.

Win tickets to Festival No.6 in Portmeirion

UK Tour dates:

October 16: Mandela Hall, Belfast
October 17: Tivoli, Dublin
October 19: Qmu, Glasgow
October 20: Newcastle University, Newcastle
October 21: Leeds Beckett University, Leeds
October 22: Academy 1, Liverpool
October 24: Institute, Birmingham
October 25: Bierkeller, Bristol
October 26: The Junction, Cambridge
October 28: Acca. Brighton
October 29: Koko, London

 

 

 

The post The Horrors announce new album and UK tour including Liverpool date appeared first on Getintothis.

The Maccabees, Mystery Jets: O2 Apollo, Manchester
Category Live reviews, farewell tour, Manchester Apollo, Mystery Jets, The Maccabees
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As The Maccabees take their farewell tour to Manchester, Getintothis’ Jessica Borden is on hand to join in the celebrations. The Maccabees say their farewells with rousing anthems and a shit tonne of confetti. On a day that saw the disappearance of summer and the return of downpours, an ominous mood of unrest built throughout [...]

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The Maccabees

The Maccabees

As The Maccabees take their farewell tour to Manchester, Getintothis’ Jessica Borden is on hand to join in the celebrations.

The Maccabees say their farewells with rousing anthems and a shit tonne of confetti.

On a day that saw the disappearance of summer and the return of downpours, an ominous mood of unrest built throughout the day.

But as it drys off and the doors open, the crowds are filled with anticipation and excitement to say goodbye to their favourite band.

Mystery Jets open the night and with the already fairly full Apollo, launch into a set which is impossible not to dance to. They are the perfect warm up for tonight with a career already spanning more than a decade, their electro infused indie rock works to build and welcome the crowd into the incredible venue.

Finally it’s time for The Maccabees to take to the stage and they are greeted with huge applause as they launch into their career-spanning set with tracks from Feel to Follow and Latchmere to an exhilarating rendition of Precious time as the crowd is instructed to sing along properly and as loud as possible (everyone obliged of course).

Not a single person was left stood still, dancing and belting out the lyrics to songs that had soundtracked their lives and at the end of every few songs you could see the band themselves taking in the special moments and beaming with pride as the fans look at them.

The encore threw fan favourites Marks to Prove It, First Love and Toothpaste Kisses with such force that we were left spinning as the words and melodies surrounded us, which leaves us wondering why they are calling it time on the band now.

Pelican closes the night leaving The Maccabees on top of the world and the fans elated to sing along with all their might as the magic of the night floated around the room on the pieces of confetti and covered every inch of the room and people.

        Need more gigs this week? Look no further than our gig guide

This was the perfect goodbye and celebration of a band that has become a part of people’s lives and moments.

Farewell The Maccabees, it’s been a pleasure.

Photos by Getintothis’ Michelle Roberts

Mystery Jets at Manchester O2 Apollo Mystery Jets at Manchester O2 Apollo Mystery Jets at Manchester O2 Apollo Mystery Jets at Manchester O2 Apollo The Maccabees The Farewell tour The Maccabees The Farewell tour The Maccabees The Farewell tour The Maccabees The Farewell tour The Maccabees The Maccabees The Maccabees The Maccabees The Maccabees The Maccabees at Manchester O2 Apollo The Maccabees at Manchester O2 Apollo The Maccabees at Manchester O2 Apollo The Maccabees at Manchester O2 Apollo The Maccabees at Manchester O2 Apollo The Maccabees at Manchester O2 Apollo The Maccabees at Manchester O2 Apollo The Maccabees The Maccabees farewell tour

The post The Maccabees, Mystery Jets: O2 Apollo, Manchester appeared first on Getintothis.

Win tickets to Festival No. 6 2017 to see The Flaming Lips, Bloc Party, Mogwai & more
Category Featured Article, News, adwaith, Arab Strap, Belle and Sebastian, Bloc Party, campfire social, Castles, CED Music, Festival No 6, goldie, Grace Jones, griff lynch, Hot Chip, Huw Stephens, Jagwar Ma, Jarvis Cocker, john rostron, kidsmoke, Laura Mvula, Manic Street Preachers, Mogwai, Nyth Gwdyir, palomino party, Primal Scream, Public Service Broadcasting, rag'n'bone man, Steve Mason, Swn Festival, the cribs, The Flaming Lips, Wild Beasts, zervas & pepper
Published:
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Festival No. 6 is one of the musical highlights of the summer and Getintothis has teamed up with organisers once again to offer readers a pair of tickets to the event in picturesque Portmeirion. Festival No. 6, set in picturesque Portmeirion, has served as the bookend to the summer festival season, boasting memorable performances from the likes of Grace Jones, [...]

The post Win tickets to Festival No. 6 2017 to see The Flaming Lips, Bloc Party, Mogwai & more appeared first on Getintothis.

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Caught in the bubble, Festival No. 6

Festival No. 6

Festival No. 6 is one of the musical highlights of the summer and Getintothis has teamed up with organisers once again to offer readers a pair of tickets to the event in picturesque Portmeirion.

Festival No. 6, set in picturesque Portmeirion, has served as the bookend to the summer festival season, boasting memorable performances from the likes of Grace Jones, Manic Street Preachers, Primal Scream, Belle and Sebastian and Hot Chip among many others.

This year’s festival offers up another heavyweight line up with The Flaming Lips, Mogwai and Bloc Party topping the expansive and eclectic billing.

Other bands playing the 4-day event include Wild Beasts, Rag’N’Bone Man, Laura Mvula, Arab Strap, The Cribs, Steve Mason, Public Service Broadcasting, Jagwar Ma, Goldie and the irrepressible Jarvis Cocker.

Elsewhere, the Royal Liverpool Philharmonic Orchestra team up with the Bootleg Beatles for a special performance of Sgt Pepper on this its 50th year while Tim Burgess collates the finest new music offerings in his customary Tim Peaks.

As is characteristic of No. 6 the festival has once again triumphantly celebrates its Welsh roots, announcing a distinguished and diverse line up from the Welsh music spectrum.

Returning to Festival No. 6 for its fourth year, Horizons, BBC Wales and Arts Council Wales? music project, opens the Lost in the Woods stage on Friday; hosting acts nominated by BBC Wales? specialist music radio DJs and producers.

Acts include Llangollen-based Campfire Social, Wrexham?s indie-pop sensation Kidsmoke, Cardiff?s art-rock theatrics of Palomino Party, Caernarfon?s psychedelic favourites Castles, post-rock girl group Adwaith, electro-pop maverick Griff Lynch, folk rock duo Zervas & Pepper, anthemic rock from Climbing Trees, blues-tinged indie rockers Candelas and Sweet Baboo ? who recently released his first out of a three part trilogy studio album, Wild Imagination.

Festival No. 6 2017 - the line up

Festival No. 6 2017 – the line up

Keen to build on the success of last year, Welsh music specialists Huw Stephens and John Rostron from S?n Festival based in Cardiff have curated a bespoke mix of Welsh artists and collaborators. Saturday?s highlights include electronic pop musician and producer Ani Glass, Argrph, Chroma, DJ Elan Evans, rising Welsh artist Greta Isaac, Lastig Band, sets by Swn DJ?s, Toby Hay and Twinfield.

Love festivals? Check out our Festival Guide 2017 to see what’s on, when!

With more incredible acts, DJs, happenings, activities and installations still to be announced the special sixth edition of Festival No.6 will be truly unmissable.

We want to make sure you don’t miss out, so Getintothis is giving away a pair of tickets for this year’s event, taking place 7-10 September.

  • To enter, simply like the Getintothis Facebook page, share the post below and tag in two of your friends. Easy. Good luck.

The post Win tickets to Festival No. 6 2017 to see The Flaming Lips, Bloc Party, Mogwai & more appeared first on Getintothis.

Sylvan Esso to hit Liverpool?s Arts Club as part of UK tour
Category News, Amelia Meath, arts club, Getintothis, gig guide, Liverpool, Nick Sanborn, november gigs, ryan craig, Sylvan Esso, Sylvan Esso tour
Published:
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As Sylvan Esso release their latest album, Getintothis’ Ryan Craig has the latest on their celebratory UK tour. Hailing from North Carolina, the indie-folk pop duo known as Sylvan Esso are set to indulge Liverpool in their scintillating silken sounds. No strangers when it comes to making music and singing songs, with each half having once been part of [...]

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Sylvan Esso

Sylvan Esso

As Sylvan Esso release their latest album, Getintothis’ Ryan Craig has the latest on their celebratory UK tour.

Hailing from North Carolina, the indie-folk pop duo known as Sylvan Esso are set to indulge Liverpool in their scintillating silken sounds.

No strangers when it comes to making music and singing songs, with each half having once been part of at least one band outfit, before coming together Amelia Meath and Nick Sanborn to create something a tad more electric.

Thanks to the buttery smooth vocals of Amelia combined with the stylish synths of Nick, Sylvan Esso are set to continue their rise of unique folk-pop-electronica everywhere they go. They’re not one to miss.

Check out our latest Liverpool gig guide for all your live music needs

As part of their What Now tour, the pair will perform at the Arts Club on Friday 10 November.

The complete UK tour dates are as follows –

  • O2 Insititue, Birmingham, 6 November
  • SWX, Bristol, 7 November 
  • O2 Shepherds Bush Empire, London, 8 November 
  • Arts Club, Liverpool, 10 November
  • Gorilla, Manchester, 11 November 
  • SWG3 Studio, Glasgow, 12 November 
  • Brundnell Social Club, Leeds, 13 November 

The post Sylvan Esso to hit Liverpool’s Arts Club as part of UK tour appeared first on Getintothis.

Night School Records: Founder Michael Kasparis on their output and the future of indie labels
Category Labels of Love, Amor, Belle & Sebastian, Circles of Upper and Lower Hell, Ela Orleans, Franz Ferdinand, Frightened Rabbit, Golden Grrrls, Happy Meals, Michael Kasparis, Molly Nilsson, Night School Records, Patience, Rose McDowall, Roxanne Clifford, Sacred Paws, SAY, School Daze, Scottish Album of the year, Sharon Signs To Cherry Red, Terror Bird, The Space Lady, Veronica Falls
Published:
Description:

As Glasgow’s Night School Records celebrates its second shortlisting for Scottish Album of the Year, Getintothis’ Cath Bore talks to label founder Michael Kasparis. After six years in existence, Glasgow’s ever-evolving Night School Records has released music from artists from around the globe. They include, amongst others, Molly Nilsson, Ela Orleans, former Strawberry Switchblade-r Rose McDowall, [...]

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Ela Orleans (photo credit: Alkistis Terzi, from artist's website)

Ela Orleans (photo credit: Alkistis Terzi, from artist’s website)

As Glasgow’s Night School Records celebrates its second shortlisting for Scottish Album of the Year, Getintothis’ Cath Bore talks to label founder Michael Kasparis.

After six years in existence, Glasgow’s ever-evolving Night School Records has released music from artists from around the globe.

They include, amongst others, Molly Nilsson, Ela Orleans, former Strawberry Switchblade-r Rose McDowall, Happy Meals, Patience aka Veronica Falls’ Roxanne Clifford, and Golden Grrrls, two thirds of whom now comprise Sacred Paws.

Apéro by Happy Meals was shortlisted for the Scottish Album of the Year (SAY) two years ago, and Ela Orleans? seventh album Circles Of Upper And Lower Hell, inspired by Dante?s Divine Comedy and the poems of Sara Teasdale and Arthur Rimbaud, was shortlisted for the 2017 Prize last week.

We caught up with the man behind the label, its founder Michael Kasparis, to talk about Night School‘s inception, and what the future holds.

Getintothis: Ok. It?s 2011, the UK is in the middle of an economic recession, and you, Michael, decide to start a record label. How, why, what, where?!

Michael Kasparis: Ha ha! Well, it started a precedent for making bad business decisions for sure. For better or for worse, the label has always been a very personal  thing, based on my reactions to music and people I love, so taking the wider economic picture into consideration wasn’t really part of the plan.

I sold a portion of my own record collection to finance the first two 7″s. Though I had friends who offered advice, everything was done by trial and error. To save £30 I hand painted the labels, which took two days. I taught myself how to screen print with a friend and we screen printed 700 sleeves… everything was done to try and cut costs and have money for the next release.

Why? I was stuck in a rut. I’d been playing music for 12 years and had no real opportunities to release anything, so I was really stuck. Personally I was at a low ebb, relationships had broken down?maybe it was a kind of late 20s early/30s crisis… but I suppose I reached a low point and thought if I don’t do something, take a risk, I’ll end up working a shit job and hating my life. So when I heard Terror Bird, and also Golden Grrrls, my friends who hadn’t had anything out, I took the decision to go for it and ask to release music by them.

The where was North London, living in a trust fund warehouse without a trust fund. Working / commuting for 12 hours to come home to people doing speed next to my dinner.

Getintothis: Night School has warmly embraced the vinyl revival, releasing 7? and 12? singles as well as albums in that format. How important is the physical format to you as a label?

Michael Kasparis: I see it as a label’s principle role, to realise something into reality that the artist wouldn’t be able to do, and then get it to a wider audience. Artists can and do just release digital music all the time or put their own records out, but labels are becoming more just like networks to distribute that work. It’s a label’s job to spread it beyond the artists’ horizon. I don’t have any major insights into the revival of vinyl you might not have heard before, other than it’s part of the cultural move to the “boutique”.

Many people increasingly now derive their sense of identity from what they consume, and what they consume has to be more personalised, smaller runs, more unique, obscure coffees, tattoos no one else has, madly-made wines, niches within niches.

People like to curate their consumption as a signifier of “who they are”.  So when it comes to music, people respond to vinyl as a kind of lifestyle signifier, something to mark them out. Ultimately it’s not for me to judge people on why they buy records, as long as they do ha ha!

The Associates; Billy MacKenzie 20 years on from his death – an under appreciated gem

Getintothis: School Daze is Night School?s new imprint. It will focus on reissues, the first of which is the Sharon Signs To Cherry Red compilation. Why did you go down the reissue route?

Michael Kasparis: I started Night School specifically with no guiding genre or overarching theme because it would get too boring for me to do that. You know, like just a minimal synth label or whatever. However, the harsh reality is that to make something successful you have to have a USP (unique selling point), which is a depressingly capitalistic idea. So gradually Night School has become more streamlined and has more of an In house aesthetic.

Over time I recognised that reissues often get a better response from the public because it’s not a risk, so I thought it would be best to split the label’s operations: so School Daze is a way of building something that is a safer risk for people, it’s a reissue label and will probably result in my being able to take more risks with Night School. That’s not to say it’s a cynical move though! Just my attempt at a business. People buying Night School releases blind are gonna be challenged. School Daze is my attempt at curating the past in a way that informs what I’m trying to do with Night School?

Getintothis: We?ve noticed Night School has a very strong roster in regards women, and the Sharon Signs To Cherry Red album carries music exclusively from women of the post-punk era. Is it a conscious decision?

Michael Kasparis: Suppose I can answer the women question here. The first interview I did about the label a man asked me why I released so many women. My response was, did he ask why X [ insert literally any and every electronic music record label here] released 90-100% men? I’ve softened my response now I suppose. All I can say is it’s not a conscious decision: I go with my ears. If I met a modern pop songwriter as great as Molly Nilsson who had a different chromosome set I would love to release them, I just haven’t yet.

Perhaps I am just more drawn to the female voice than the male, but it’s nothing I’ve thought about in great detail. This year Night School has released three Molly Nilsson records, one Strawberry Switchblade, one Rose McDowall, one Amor,  one The Modern Institute. Five women (counting Molly and Rose just once), and  seven men. Go figure! The first release on School Daze had the female fronted theme for sure, but my next planned compilation on the label has a vast majority of male voices. I’m more drawn to voices outside “the mainstream” – the gender or age doesn’t matter to me. It’s telling of the culture we live in that it’s unusual for a label to be perceived as having so many women on it when it’s actually just gender balanced.

Getintothis: How do you source new music for the label? And what makes you decide to use older music for School Daze? A big question, we know.

Michael Kasparis: It’s really simple actually. I just have to hear something that I love and that needs to be in the world and shared. That applies to old and new music. The Space Lady, for example, was about taking something that had a small cult following and bringing it to a wider audience. That’s the MO.

Getintothis: How do you feel you fit in alongside the ?mainstream hegemony?, as you?ve described it? Or maybe you feel you don?t? Is this a good or bad thing?

Michael Kasparis: That’s a difficult, nuanced question I think. I’ve personally always felt outside every hegemony there is in this business, primarily because the label didn’t have a game plan, a coherent theme or “USP”. I thought I could circumnavigate that by being “horizontal” in curation: constantly probing the limits of what people will take, not having a dominating authoritarian voice, introducing people to new things they might not have previously considered. I abhor power and really try not to yield any, ha ha.

So maybe in my own way I wanted to create a sort of community that was disparate and open to new things. However, the success of that is measured in small increments: if someone buys a Rose McDowall LP and a Modern Institute LP I consider that a minor victory! Whereas on the bigger scale I sometimes find it hard to fund the label to the level it deserves.

In terms of being part of the mainstream or whatever, the label is and it isn’t. I’d like to be able to not to have to play any of the games it takes to get this music heard by people but until I can completely overthrow the grip business and big labels have on the discourse I’m going to have to relent every now and then. But then if you’re a person releasing their first cassettes on their tape label you might read that last sentence and think “what’s this guy on about, that label has had two records shortlisted for a national award”. So it’s about perspective and relativity. Perhaps going by the definition of hegemony I’m part of it and don’t even realise it. That’s a depressing thought...

Getintothis: We’re very excited Ela Orleans? Circles of Upper and Lower Hell is shortlisted for SAY. It?s a record of true beauty.  Can you tell me a bit more about how the record came to be released  and what the shortlisting means for you?

Michael Kasparis: Me too! Actually, in some ways I see the nomination as a mainstream recognition of Ela‘s long, brilliant career as an underground musician, as well as a realisation that it’s an important, beautiful and very personal album. I’ve been friends with Ela for a long time and always admired her music and she had a brief, disillusioning encounter with the “mainstream hegemony” you’re talking about with the record before this one. I don’t want to talk about the background too much as it’s very much her story, but suffice to say when she said she had this record she wanted to release I was very interested. After hearing it I just knew I had to be involved.

Getintothis: What role do such competitions like SAY play for smaller labels, how do they help redress any imbalance?

Michael Kasparis: SAY is a force for good. The people behind it are good people, very well meaning and open.  Like any other institutional attempt at curation or comment, it receives its criticisms, some of which are valid. While I think it’s a valid criticism to question the inclusion of artists on big labels who already have access to a promotion budget, already have their “foot in the door,” we have to be realistic as to where we are with publicly funded arts in this country and where artists sit in this neo-liberal system.

Basically, it (SAY) provides publicity and funds to artists who suffer for not having access to “the system.” It presents something like Ela Orleans on an even footing with something on a big label, like Frightened Rabbit, even for a few months. Some people criticise it for being too mainstream and having not enough “outsiders” on the list, some people consider it too “snobby” and that it doesn’t have enough popular music people know already.

SAY’s job I suppose is to try and find that balance and while I don’t like everything on the list I’d say they do pretty good at finding that balance. Ultimately if people like Belle and Sebastian aren’t on the list then Joe and Jane Bloggs are gonna be like “it’s not for me…” and If SAY can convince some people that something as moving as Ela‘s music maybe is for them then that’s a good first step at redressing the advantage that big labels and business have over the industry.

Getintothis: What are your future plans for Night School, both short and long term?

Michael Kasparis: Future plans: keep going. That’s the short and the long term plan. We’re thinking about a very ambitious Molly Nilsson Greatest Hits project which will be the first time I’ve really planned like, a year ahead.

Getintothis: How much of a role do you think labels like Night School will have in the future?

Michael Kasparis: It’s hard to tell. Big labels, indie and otherwise, have a stranglehold on many aspects of the industry and they feed off smaller, nimbler operations like Night School. That’s just a fact, even if it sounds conceited. Because they have investors and wages to pay they are risk averse: so they wait, a lot of the time, for an artist to reach a level when they are no longer as risky, and then a bigger label will swoop in.

I’m not criticising the artists here of course, I get it. I’d like to think that the way the internet makes people more interconnected will erode the power that big industry has on all aspects of our lives. Of course I’m not just talking about record labels here.

Getintothis: Have you made any mistakes you wish you could reverse, or made a genius move?

Michael Kasparis: Ha, I don’t know. I’ve lost money on things I’ve really believed in, which means there’s less money to invest in the label. But would the label be worth it for me if I just played safe? I don’t know. Probably not. I wouldn’t say I’ve pulled any Tony Wilson-esque genius moves, but when something I’ve released that has confounded people initially and then won them over, like The Space Lady, happens, it feels good. And at the end of the day we just want to feel good, right?

 

 

The post Night School Records: Founder Michael Kasparis on their output and the future of indie labels appeared first on Getintothis.

The Wedding Present: Central Station, Wrexham
Category Live reviews
Published:
Description:

As The Wedding Present perform their debut albums anniversary, Getintothis’ Denise Hodgkinson is on hand to join in the celebrations.  The Wedding Present take to Wrexham’s Central station to celebrate the 30th anniversary of their debut album George Best. The evening begins with a spirited set from London duo Young Romance, whose first album, Another?s Blood, was released late last year. Described as [...]

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The Wedding Present

The Wedding Present

As The Wedding Present perform their debut albums anniversary, Getintothis’ Denise Hodgkinson is on hand to join in the celebrations. 

The Wedding Present take to Wrexham’s Central station to celebrate the 30th anniversary of their debut album George Best.

The evening begins with a spirited set from London duo Young Romance, whose first album, Another?s Blood, was released late last year. Described as Noise Pop, they comprise Claire on vocals and stand-up drums, and Paolo on chainsaw guitar. With sometimes celtic-tinged vocals, they are definitely in the spirit of the current 80s revivalist indie-pop, albeit at the more grungy end of the spectrum.

David Gedge is the only original member of The Wedding Present, but the line-up he has around him now is more than adequate for his needs, presenting as a proper band and not just a frontman and backing band.

Before they present George Best, there are a few warm-up songs, including Broken Bow and Loveslave. After which Gedge apologises to the audience for the video, urging us not to look it up on YouTube.

They play to a pleasingly mixed audience including the expected men of a certain age, but also young indie-kids with Bobby Gillespie haircuts. It begins with polite foot-tapping and head-nodding and ends up with a full-blown (albeit small) moshpit. This looks like the best night out some of the audience have had for years.

The main event is received with unalloyed enthusiasm with highlights including My Favourite Dress and Give My Love to Kevin, ending with a blistering You Can?t Moan Can You?, where Gedge?s hand is a blur as he thrashes his guitar with the same energy as he did thirty years ago, although he looks visibly relieved at the end of a couple of the songs. ?Here?s a quiet one. Nah, I?m joking, I didn?t write any quiet ones?, he quips.

Gedge reminds us that there will be no encore as is their custom and then launches into a sizzling version of Kennedy, sending the faithful over the edge, pogoing and moshing with abandon. He bounds offstage, probably to stick his hand in an ice bucket.

Tales of the gig photographer! In The Pit #16

As Gedge had mentioned, this will be the final time that George Best will be played in Wales but they don?t need to rely on past glories as last year?s album, GoingGoing, testifies. With the enthusiasm of their loyal audience and the standard of the new line-up,The Wedding Present?s future is assured.

The post The Wedding Present: Central Station, Wrexham appeared first on Getintothis.

Ryley Walker joins Manchester Psych Fest 2017 line up
Category News, Band on the Wall, Bo Ningen, desert mountain tribe, Evil Blizzard, flamingods, freakout honey, Manchester Psyche Festival, Menace Beach, night and day cafe, Pink Kin, Ryley Walker, Soup Kitchen, Teleman, The Telescopes, Warm Digits
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As Manchester Psych Festival announce more of their line up, Getintothis’ Michael Edward has the details. Manchester Psych Fest has added a host of new acts to its lineup, including Ryley Walker, Flamingods and The Telescopes. Also joining the bill are Desert Mountain Tribe, Warm Digits, Pink Kink, Freakout Honey, The Beat Chics DJs & [...]

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Ryley Walker

Ryley Walker

As Manchester Psych Festival announce more of their line up, Getintothis’ Michael Edward has the details.

Manchester Psych Fest has added a host of new acts to its lineup, including Ryley Walker, Flamingods and The Telescopes.

Also joining the bill are Desert Mountain Tribe, Warm Digits, Pink Kink, Freakout Honey, The Beat Chics DJs & Bleached DJs. They join an already stunning lineup that includes Teleman, Bo Ningen, Evil Blizzard, Menace Beach and more.

Girl Band have had to pull out of their headline slot due to health issues, with Teleman acting as replacement.

Particular notables from the new additions are Ryley Walker’s psych-folk-jazz is sure to spellbind. Flamingods arrive on the lineup hot off the release of a fantastic new record, Liverpool’s own Pink Kink and British reverb-legends The Telescopes.

The fifth edition of the festival will run over two days, September 2-3 in Manchester’s Northern Quarter across three of its stalwart venues: Band on the Wall, Soup Kitchen and Night and Day Café.

               Overwhelmed by the amount of festivals around? You need our Festival guide 2017

The event will not only feature a plethora of psychedelic and otherwise freaked out bands, but art installations, trippy visuals, and for the first time, a selection of Manchester-based food stalls.

Early Bird tickets are sold out, but £20 tickets are still available.

The post Ryley Walker joins Manchester Psych Fest 2017 line up appeared first on Getintothis.

Primavera Sound 2017 review, picture gallery and what we learnt from Barcelona
Category Featured Article, Arcade Fire, Bon Iver, Cigarettes After Sex, Cymbals Eat Guitars, Death Grips, Gordi, King Gizzard and the Lizard Wizard, Let?s Eat Grandma, No Zu, phurpa, Prairie wwww, Primavera 2017, Primavera 2017 line up, Primavera 2017 review, Run The Jewels, Slayer
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With an intergalactic billing Primavera Sound promised to serve up something quite extraordinary, Getintothis’ Peter Guy and Peter Goodbody reflect on the sights and sounds in Barcelona. “We got over that fucking nightmare – and we can get over this one too,” came the cry as Win Butler addressed Primavera Sound‘s largest crowd of the weekend. The [...]

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DJ Coco closing Primavera

DJ Coco closing Primavera at 6am Sunday June 4 – Parc del Forum

With an intergalactic billing Primavera Sound promised to serve up something quite extraordinary, Getintothis’ Peter Guy and Peter Goodbody reflect on the sights and sounds in Barcelona.

We got over that fucking nightmare – and we can get over this one too,” came the cry as Win Butler addressed Primavera Sound‘s largest crowd of the weekend.

The Arcade Fire frontman, dressed like a Kwik Fit mechanic, was referring to the ongoing US presidential farce yet amid the colossal throng gathered to watch perhaps the most anticipated – or at least most popular – set of the weekend, the savage irony of another tragedy was unfolding in the UK. The latest terrorist incident at London Bridge was just beginning to unravel and several people around us are seen clutching on to their mobile phones evidently distracted between the chaos in Barking’s Borough Market and the live performance on the Parc del Forum‘s vast Mango Stage.

And while it was impossible to fully submerge your senses, Arcade Fire‘s triumphant rallying thunder was perhaps the antidotal soundtrack for a seemingly never-ending apocalyptic world-shattering crisis. And at Primavera in 2017, this was somewhat thematic – as artists brought hope, togetherness and messages of unity against a backdrop of global disorder.

These are almost symbiotic themes which course through Arcade Fire‘s catalogue – yet it’s a body of work which in truth rarely lives up to that seminal debut album; and it’s fitting that the band open with Wake Up, perhaps their greatest musical offering to date – it sounds quite simply heroic. Complete with Richard Reed Parry‘s booming bass drum clobbered within an inch of it’s life, and tens of thousands singing in unison, it’s titanically massive. Yet their set peaks and troughs according to whichever era of t’Fire we’re presented with. While it’s beautifully theatrical throughout – a vast rectangular light-box from which they emerge provides the stage setting of the weekend – the later work is disjointed and at times verging on forgettable. In contrast, it’s their earlier work which strikes the finest chord; Rebellion Lies, a rare outing of In The Backseat and Neighbourhood #3 (Power Out) are all glorious while Régine Chassagne once again proves the band’s not-so-secret weapon as her vocal-led tracks provide a sharp contrast to the band’s somewhat over-zealous bombast; Haiti is terrific off-kilter fun while her ice-cool rendition of Sprawl II injects a much-needed change of pace.

However, we’ve only ourselves to blame for any minor quibbles as it’s the only point of the entire week spent in Barcelona we find ourselves following festival friends instead of relying on personal preference (it also means we foolishly miss a rare live outing from doom titans Sleep) – for Primavera Sound is delectably scheduled, masterfully curated and quite simply a treasure in the global festival market. It’s Getintothis‘ second year at the festival – and once again we’re almost out of superlatives such is its quality in every aspect – from the food, site layout, scheduling and amenities.

What really strikes us second time around is the nuanced, near perfect structuring of the event.

Whatever, and however, you choose to play Primavera there’s barely any chance of it going wrong. While many festivals can prove difficult to navigate – both in terms of the geography of the festival site or simply the booking schedule, here it’s expertly planned out. Our routine often involves late morning rises, easing into the day with local cuisine before relaxing beach-side and easing in with the emerging artists and bands late afternoon before hitting it harder as the night goes on. There’s a cohesive perpetual flow which seems to culminate around 2am each evening. If you last longer into the night, it’s destined to be even better.

Having arrived on the Tuesday and leaving a week to the day later, we’re able to bask in the joyous qualities the city of Barcelona has to offer – from strolls around Park Güell (which in the dizzying heat recalls Indiana Jones and the Temple of Doom and it wouldn’t seem out of place had we been forced to take evasive action from a giant cannonball careering down it’s winding foot paths high up in the Carmel Hills) to dining on tapas in the Diagonal Mar neighbourhood, touring Barca’s Camp Nou or taking in the locally brewed Loka ale in a metal bar in the Gothic Quarter, it’s a city with endless riches to enjoy alongside the festival.

For anyone who chooses to take on the week long festivities they’re treated to one of the finest elements of Prima – the book-ended night gigs at Sala Apolo. Bathed in burgundy, the charming, slightly-rough round the edges music hall opens up on Tuesday night with one of the sets of the week as rising Norwich teenagers Let’s Eat Grandma prove bewitching and otherworldly in equal measure. They blend saxophone, prog-rock guitars, xylophone, hip hop, synthesizers, drum pads and all manner of vocal stylistics into some form of science experiment complete with hopscotch and school playground hand-clap games into something remarkably natural which leaves first-time listeners startled at what they’re witnessing. In contrast, El Paso hype band Cigarettes After Sex, who follow appear somewhat staid by comparison. Sure, there’s little shortage of haunting noir and pensive seduction but it’s all a little controlled and lacking in variation.

The same can’t be said the following evening when we return for Afro-beat jazz-funk collective No Zu whose energy assists us power through til near 3am. It helps that they’re proceeded Kate Tempest who’s in blistering form when she bravely runs through her entire new album Let Them Eat Chaos barely pausing for breath. The hour-long narrative takes in the anxieties of numerous lyrical characters as their subplots intermingle before arriving at the same destiny – 4.18am and a search for inner peace. Tempest’s ambition can’t help but be applauded; the poetry is engaging, permanently posing questions while her delivery is ramped up til she’s exhausted and out of breath. Similarly, the breadth of musicality by her band is stunning – and despite this being only our second night it’s without doubt one of the highlights of the week.

Earlier in the evening, that aforementioned exquisite festival curation, allows Barcelona residents to enter the festival free of charge with Catalans joining the hoards in front of the Primavera Stage for rising Aussie Gordi who’s billed as the female Bon Iver – which may unfairly pigeonhole her yet it’s a pretty solid comparison with numerous tracks capably slotting in on either of his first two albums. We’re impressed. Particularly when she sticks to the more restrained songs in her armoury, less so when she belts it out and it all leans towards Florence and The Wind Machine. Following on, Saint Etienne seemingly struggle with their characteristically understated pop falling a little flat, fairing better are Local Natives whose restless, frenetic and at times HUGE sounding set includes highlights Airplanes, Breakers and a beautiful cover of Kanye West‘s Ultralight Beam.

The patch of sloped grassland that sits opposite the Primavera Stage is one of many simple pleasures Parc del Forum has to offer – providing a meeting point as well as the ideal resting and vantage point to catch many an act during the weekend. Cymbals Eat Guitars provide an early warm up of angular riffing, This Is Not This Heat combine rhythmical wizardry we’ve not witnessed for some time while the joyous insanity of King Gizzard and the Lizard Wizard‘s introductory Rattle Snake implores us to take to our feet, join the masses and go wild. Seeing what looks like an actual palm tree held aloft dancing through the heaving mess of bodies which twist and crowd-surf is one of the finest and funniest things all weekend. Make no mistake, Stu Mackenzie‘s band are fast developing into the kind of live benchmark band Thee Oh Sees have been trading on for years. Tracks from Nonagon Infinity and Flying Microtonal Banana segue beautifully into each other providing one almost seamless cyclical track as riff after riff collides into those dual drummers. Their joyous power outweighs that of the proceeding Death Grips who appear to struggle somewhat with a sound which lacks their on-record might instead transforming into a gloopy mess lacking the necessary punch.

The same can be levelled at Run The Jewels, who on record rely on that compressed bulldozing sound to drive home their message, here the sound falls a little flat and it’s largely underwhelming. It doesn’t help we’re several hundred yards from the front and a friend later tells us ‘you had to be right in the mix to feel the full hit.‘ We experience something similar for both Aphex Twin and Skepta, who though certainly better, it all seems a little detached unless you’re right in the mix. The same can’t be said for Slayer, who appear absolutely thrilled to simply be at Primavera. Tom Araya‘s grin stretches right across the Mango Stage as he acknowledges that this isn’t their usual set of fans – but they’re delighted to be a part of such a happening – the feeling is clearly mutual as the band blitz through the likes of Repentless, Raining Blood and South of Heaven all the while Kerry King face down to the stage thrashes his Signature V before concluding with a cataclysmic Angel Of Death.

Earlier in the evening Bon Iver provides unequivocally the set of the weekend. Running through 22, A Million almost in its entirety it’s impossible not to be struck at just how much musical ground he’s covered since the sparse, fractured folk of his debut album. Tonight he and his ensemble transform into some kind of hip-hop infused spiritual gospel collective all centred around that astonishing vocal. Opener 22 (OVER S??N) sets the tone as we’re ushered into a world of minimalistic melodies, falsetto vocal cries and low end thudding percussion which has the habit of sweeping you off your feet before crashing into nothingness in an instant – just as you’re losing yourself there’s a gap of silence. 10 (Death Breast) is a chugging monster of glitches and arresting bass battling against treated vocals which sound like they’re being put through a gigantic dishwasher, better still 33 God begins all twinkling magic and sparse orchestration before breaking down into plaintive piano before exploding into stomach-churning bass rumbles – it’s the loudest music of the weekend and the Heineken Stage‘s double-decker-sized speakers are seriously put to the test. Out of the dark, bowel-shuddering booms comes a glistening choral effect as we’re thrust into a sequence of delirious light beams and the beautific thrum of #29 Strafford Apts and it’s porch-side blues. All around people are holding each other and singing. Mostly incomprehensible gibberish – but what does it matter when music is this affecting. A sound-checking Slayer across the way allows for Vernon to inject some levity into proceedings suggesting they’re perhaps not the most ideal of bands to have in your monitors while attempting to play these kind of tunes. The highlights are plentiful; each track bringing something else as layer upon layer of sound built up then quickly stripped away. 666 ? is angry, taut and structured around thudding military beats, 8 (Circle) swells amid billowing organ while Perth is quite simply a masterclass in songwriting which pulls your heartstrings to breaking point. There are slight lulls which test even the most fierce of superfans – but when he pulls out the quite magnificent double-header of Holocene and Calgary it’s almost, almost too much. Just when we think it’s over, Vernon returns to the stage solo with his guitar in the spotlight to deliver a bewitching Creature Fear which has the entire place erupting into song. It’s quite the moment, in a set littered with them.

The variety of music on offer at Primavera in 2017 is quite remarkable from the feral punk of NOTS to the cosmic instrumental synths of S U R V I V E through to Miguel‘s charismatic blend of rock-fueled soul-pop there’s an unending banquet of sound on offer.

And one of our great discoveries of the weekend arrives in the fantastic Auditori Rockdelux which served as one of our favourite spaces last year. The silver-plated art gallery museum is a wonder in itself to look at and our only trip inside this year saw Russian trio Phurpa serve up droning Buddhist style chants all the while sat down in near darkness as plumes of dense smoke poured from the stage. They’re undeniably following in the lineage of Sunn O))) and fellow doom pioneers but there’s enough here to keep us entertained – it’s like watching Jawas perform some kind of pagan ritual as gut-wrenching rhythms fuse into dense ambience.

Similarly, Prairie WWWW, who we discovered at Liverpool International Festival of Psychedelia, provide another oddball rush with their frenzied chaos of outrock on the blink-and-you-miss-it Night Pro Stage. We only end up there by happenstance when we mistake Teenage Fanclub to be on the Ray-Ban stage only to find it empty. A quick check of the schedule and we realise our error just in time to catch them deliver a quite brilliantly triumphant version of Sparky’s Dream over on the Primavera Stage – complete with Scottish flag waving in the foreground. Veterans of another form, Broken Social Scene fall victim to a packed range of clashes and we’re miffed to have to abandon their set just four songs in – they, like so many of the bands this weekend, seem utterly delighted to be playing and their ebullient set reflects as such with Cause = Time and 7/4 (Shoreline) sounding positively ecstatic.

The highs come thick and fast throughout the weekend; Whitney, who made their name at the festival two years ago, are all warm nonchalance despite Julien Ehrlich confessing he may have broken his thumb quad-biking earlier in the midday heat, Arab Strap, celebrating the 20th anniversary of their formation induced pummelling bass that could easily have resulted in a couple of broken ribs, Kevin Morby deftly flitters between understated Americana and some high-octane rock with one of the solos of the festival, Sinkane proves refreshingly funky with his effortless blend of pop, soul and African jams, Mac Demarco, who earlier injected playful RAWK with a cameo during Whitney‘s set returns with an hour of assured blissed-out brilliance while The Growlers are pure louche rock and roll fun oozing effortless cool. Earlier Junun featuring Shye Ben Tzur and the ensemble of Rajastan Express provide one of the early afternoon slots of the weekend mixing traditional Indian flavourings with Jonny Greenwood‘s exotic orchestration – it’s a loose rhythmical delight. Tel Aviv’s Vaadat Charigim are another Ray Ban stage discovery offering chiseled shoegaze which hammers home marvellously mixing driving percussion and dreamy spacerock. One to further investigate upon our return home.

Speaking of which, Solange. Alongside Arcade Fire and Bon Iver, the younger Knowles sister draws the most devoted crowd of the weekend and she pulls out all of the stops with a beautifully pitched set of restrained soulful pop. Backing dancers inject some fabulous choreography but it’s hard to take your eyes off her as she gives her 2016 album A Seat at the Table a complete work out. Whether it’s standing statuesque or breezily floating across the stage, seemingly levitating at times, Solange is quite the star and her creamy vocal during the likes of F.U.B.U., Don?t You Wait and a particularly rousing Cranes In The Sky are lapped up by the sizeable crowd hanging on her every word. She closes with an explosive Don’t Touch My her seguing neatly into a reprise of Rise as the stage set dips to blood red – and married to the golden orange sunset splaying across the Barcelona backdrop it’s quite the picture.

Across the other side of the site SWANS deliver a customary thunderous set – the last we’ll see of Michael Gira‘s current live set up. Complete with punishing, near relentless propulsion it’s pretty hard on the crowd to endure this kind of aural sledgehammer at such a late hour, but the more sensory battering you take the more satisfying it feels.

Filling, what we’re dubbing the ‘Brian Wilson Sunday slot‘ is Van Morrison. We’d heard numerous stories of his ire and in the lead up to the set had a preemptive dream of him ploughing a white van over a pedestrian – and when not quite killing the poor soul, he reversed his vehicle over him once again just to make sure. Gruesome stuff, and we’d feared his set may follow suit. To our relief it’s nothing of the sort. In fact, quite the opposite as Van appears in near rapturous form; be-suited in resplendent purple with gold trim and racing green cravat he tumbles through a set which radiates every big track in his arsenal. Opening with a sax-led Too Late he tosses away Have I Told You Lately and Moondance before swaggering his way through Days Like This and the bluesy boogie of John Lee Hooker‘s Think Twice Before You Go. It’s pure party music and literally everyone is swinging side to side when he drops a wild version of Here Comes The Night. The interplay between his band is something else too as slide guitar, pedal steel and all manner of brass is thrown into the mix as the likes of a tootling Jackie Wilson Said (I’m in Heaven When You Smile), Brown Eyed Girl and an uproarious Gloria sends the crowd wild. It’s a masterful set and pulls into sharp focus what a band leader and musician Van Morrison really is – and real treat of the festival.

Our weekend at Park del Forum closes in glorious fashion with a hat-trick of performances which once again remind us of that perfectly pitched schedule. HAIM are the latest of the surprise sets – earlier in the week Mogwai debuted new album Every Country’s Sun in full and in full volume on the Bacardi Stage – racing through an hour’s set of slick pop-rock. While the LA-based sister’s earnestness can tend to grate there’s simply no escaping their knack for a huge chorus and with the likes of Falling, Don’t Save Me and a particularly rocking The Wire its the perfect tee up for a quite brilliant finale in the Forum. What follows is even better as a golf buggy driven by two worse for wear punters trundles through the expansive Ray Ban Stage crowd allowing Getintothis and several dozen other punters to pitch up right at the front of the stage just in time for !!! to enter. As per Nic Offer is in Mr Motivator mood as his balls-bulgingly-tight cotton tennis shorts are stretched in every direction. Limbs fly, vocals spat and drum kits thwacked for 40 minutes of dancefloor heroics. Our night is brought to a close with Mr Barcelona himself, DJ Coco closing the festival proper with his customary traditional send off. There’s more cheese than a Christmas hamper but it matters not – and as the light breaks at 5.50am to the sound of tens of thousands of voices singing Don’t Stop Believin‘ it’s hard not feel you’re present at the greatest party right now anywhere on earth. It feels that good.

It doesn’t end there though. While for many festival goers this is the end to their 2017 Primavera, we’ve one more night to recover, and one more night to savour as we go back to where it all began – Sala Apolo. While our minds are weary and our bodies crushed to breaking point, it’s just as well that the triple sonic threat of Shellac, Sleaford Mods and Japandroids are on the menu. Had there been anything other than savage, relentless noise we’d have probably given up – but this is music to pull you up by the collar, slap you round the chops and give you a proper kick p the arse.

And the feeling is obviously mutual as there’s a vast queue outside backing up the fact that this is one of the hottest and most in-demand bills of the weekend. Luckily, we’re inside from the off and positioned to the right of the stage it gives us the ideal vantage point to watch the mania unfold. It’s reminiscent of the carnage the previous year when Ty Segall and co brought the festival to a riotous close – and tonight it’s Steve Albini‘s men from Chicago, Illnois who kick things off.

It’s hard to really underline how much this band mean to so many festivals – the in-house band at All Tomorrow’s Parties have now become the default residents at Primavera and the shared love from the crowd is tangible. With just a 40 minute slot, they waste no time to lay waste to the Apolo with Todd Trainer’s exact angular drumming detonating from the off – My Black Ass is quite horribly brilliant, all shredded steely gristle while Compliant is every inch the sludgy, repetitive mechanical monster. Albini salutes the Spanish contingent saying it’s a wonder they take in any music because if he was one of them he’d spend more time making out such is their beauty before launching into a laughably ridiculous You Came In Me. 

The End Of Radio with it’s cranky bassline grind sets up Albini to declare are you ready for ‘the best band in the world today‘ as Jason Williamson and Andrew Fearn aka Sleaford Mods take to the stage. It’s quite the statement from a dude hardly renowned for his platitudes – but on this evidence who are we to argue; they’re ferocious, vital and send the entire crowd into a thronging mess within seconds. This is the fifth time we’ve seen the duo, and initially we think we’ve seen it all – we’re wrong, they just keep getting better. Williamson has honed his Norman Wisdom with tourette’s into something else – there’s a dandiness there which is comical yet still equally terrifying and the verbosity of his delivery is amplified beyond measure. While there’s a formula at work it rarely if ever becomes stale and the resulting mess of bodies falling over the barrier is unstoppable – at one point one fan storms the stage bellowing “Fuck Theresa May!” Williamson doesn’t even acknowledge it – simply launching into a barnstorming version of Jobseeker – says it all. Our Primavera 2017 journey ends almost appropriately with the punch-the-sky euphoria of Japandroids – a band who’s uplifting, no nonsense positivity is designed for nights like these. There’s no agenda, no chin-stroking, no cerebral thought necessary – just the might of power chords to enrich your being in the moment. It’s indicative of much of our week – with the world at odds, and seemingly intent on dividing, it’s another timely reminder of how much we need culture, the arts and the power of music to bring us together.

Primavera Sound 2017, you were magnificently magical, we can’t wait to do it all over again.

Shellac

Shellac

The 17 Primavera Sound 2017 anthems of the festival

1. Van MorrisonGloria

2. Bon Iver – 33 ?GOD?

3. JapandroidsThe House That Heaven Built

4. King Gizzard and the Lizard WizardRattlesnake

5. Sleaford ModsB.H.S.

6. Let’s Eat GrandmaDeep Six Textbook 

7. Teenage Fanclub – Sparky’s Dream

8. Kevin MorbyHarlem River

9. Broken Social Scene – 7/4 (Shoreline)

10. Slayer – Raining Blood

11. HAIMThe Wire

12. Local Natives – Airplanes

13. Solange: Cranes In The Sky

14. Arcade FireWake Up

15. !!! – Pardon My Freedom

16. SinkaneHow We Be

17. WhitneyNo Woman

Primavera Lets Eat Grandma Cigarettes After Sex Local Natives Saint Etienne Sala Apolo Kate Tempest No Zu Gaudi's garden Primavera - the calm before the storm Primavera Mitski Mogwai Phurpa The Molochs Bon Iver Arab Strap Arab Strap This Is Not This Heat Primavera - Ray Ban Stage Fans watch the Champions League final in the food court Van Morrison Royal Trux DJ Coco closing Primavera Primavera - Created in Barcelona Shellac Sleaford Mods Japandroids Japandroids Japandroids

The post Primavera Sound 2017 review, picture gallery and what we learnt from Barcelona appeared first on Getintothis.

Coasts announce massive 38 date tour
Category News, Coasts, High Time Records, Studio2
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Coasts have announced a mammoth UK tour including a Liverpool date and Getintothis’ Sarah Pitman has all the details. Bristol based, five piece band Coasts have released details of their upcoming UK headline tour. Coasts have also released details about their 2nd album This Life which is due to be released on August 18 2017. This album comes [...]

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Coasts - from band's tumblr

Coasts – from band’s tumblr

Coasts have announced a mammoth UK tour including a Liverpool date and Getintothis’ Sarah Pitman has all the details.

Bristol based, five piece band Coasts have released details of their upcoming UK headline tour.

Coasts have also released details about their 2nd album This Life which is due to be released on August 18 2017. This album comes a year after their self titled debut album.

After a sell out club tour in May this year the band plan on touring as much of the UK as possible in support of their new album. They want to get up close and personal with the fans and let them experience the new material for the first time.

Cultural organisations generated £27 million for the city of Liverpool in one year

Coasts will bring their fast paced, anthemic even, rock/pop to Liverpool’s Studio 2 on September 25 and the rest of their tour dates are on the band’s website, here.

We do rather approve of their video for Take Me Back Home – see below.

 

The post Coasts announce massive 38 date tour appeared first on Getintothis.


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