london ttourdates tourdates.co.uk Issue 45 © 24 April - 8 May 2009 Your Free Guide To Live Music In The Capital Little Boots do believe the hype... interview page 7 IacNk Daaniel’s W J t! a r t S r e d en e 9 F see pag The Maccabees BM Linx Man Like Me Alec Empire The Low Anthem Plus, In This Edition: Speech Debelle The Miserable Rich Ye Olde Axe Sleepercurve 65 Days Of Static News Reviews and Listings london tourdates t tourdates.co.uk Issue 45 © 24 April - 8 May 2009 Most employers tend to get quite snotty if they catch you on Facebook or Myspace or whatever when you’re supposed to be working. We can’t actually go out and say they’d be cool with you checking and updating Twitter every five seconds, but we live in hope. londontourdates is now a’twittering away, which means that even when the fresh, glistening buzz of a new issue has worn off and you’re getting itchy for the next one, you can see what’s going on at tourdates Towers, every second, of every day. Even when we’re in the bathroom, if you’re so inclined. Go to twitter.com/LondonTourdates for the full skinny. Of course, in between describing an entire mag in 140 characters every 140 seconds, we actually manage to drag some stories together, and there are some corkers this time around. Of major interest to us – and, it appears, to every human in the known world at the moment – is Little Boots. It’s that electropop vibe that, no matter what you feel about it in recorded form, seems to work so damn well live. Of course, the Boots might have met her match with Speech Debelle. In many ways the polar opposite of the flamboyant Boots, Speech’s personal, intense take on hip-hop is winning over fans. It doesn’t hurt that her debut album, Speech Therapy, is absolutely one of the finest records released so far this year. It’s hip-hop, over live jazz, and it’s on Big Dada – which, frankly, is about as high a seal of quality as you can ask for when it comes to hip-hop. We don’t know if Speech is on Twitter but judging by her out of hours activities (she was “at the pub for a burger and chips and to watch the football” when we called) we somehow doubt it. And now, we will attempt to finish this missive in 140 characters or less. Journalists can’t count, so this may be tricky. There - no space. Editorial 3 Contents: 4 Funk from the frozen north Geordie boys Smoove & Turrell There can’t be many men like Man Like Me 5 And this year’s award for musical eclecticism goes to: BM Linx 7 6 Sleepcurve and 65 Days of Static - good bands, just don’t ask them about those names... These Little Boots are made for walking. And that’s just what they’ll do 10 Speech Debelle - jazzing up British hip-hop 8-9 Oh come on - strippers, beer, live music? What’s not to like? Shoreditch’s Ye Olde Axe The Maccabees get better and better, they say 12 15 Up late and loving it all the live reviews 11 13-14 Listings – next week’s gigs...today Albums reviewed Jazz, metal, piano ballads. Anyone know what to expect from Alec Empire? Thought not 16 Plus: The Low Anthem - big on creationism. Not big in Texas, we guess p4. The Miserable Rich - not miserable. And not rich. Barely solvent at best p8. Umblical Brothers - wacky Aussies talk music. Uh-oh. Brace yourselves. p14. 3 News And now we present to you… A few hours before we spoke to Geordie funk merchants Smoove and Turrell, they found out that they’d been booked to play both Glastonbury and the Big Chill. Nice. Their brand of funk is getting serious love at the moment, with 6Music getting on board and Radio 2 booking them for a live session. As they drove down to London for the session, we spoke to producer and beatmaker Steve Moore, otherwise known as Smoove, while his partner John Turrell chipped in with live album selections and certain unintelligible clarifications. Annie Mac. Radio One presenter. Club DJ. Raconteur(ess?). And now, apparently, curator. Or at least, we assume so - we haven’t asked her if that is, in fact, the title for someone who appears on the bill as �Annie Mac Presents…’ Anyway, Miss Mac is indeed presenting a rather slick collection of artists at the end of the month at Koko. Plan B, Chase and Status, Rage and Takura, bashment king Toddla T, Mujava and Rachel Barton. Oh, and Little Boots, who we get to rock with elsewhere in this edition. It goes down on April 30. For tickets call 0870 432 5527. How are you and what have you been up to recently? Rehearsing like mad! We’re on the road at the moment, driving down from the North. We’ve got a lot of gigs coming up, so just going like crazy. What are the five albums that have most influenced you? The Pharcyde – Bizarre Ride II the Pharcyde Cream – Disraeli Gears Ray Charles – Live Steely Dan – Aja Stevie Wonder – Inner Visions Under The Influence Where did you grow up? What was it like for a budding musician? I grew up in Sunderland, and the whole band is from the North East. There are a lot of good musicians coming up now, but the North East has always been kind of restricted. Cities like Leeds and Manchester enable you to make connections, but up where we’re from it was always quite hard. Heavy as Heaven The online tags for the upcoming Antichrist Special at Club Collosseum in Battersea read as follows: bondage industrial heavy metal punk goth rock manga anime. So, quite a varied night then. One thing you can be sure of is music heavier than a Judas Priest amp: we are talking, after all, about acts with a lot of consonants in their names. You know, Cavey Nik, DJ Stixx, DJX, Knine…those sort of names. It all happens on April 24. For ticket info call 0207 627 1918. Friday8thMay: theiheartsclubnightplusspecial guestDJstil4am. theihearts+Galileo+Obvious Books+TheLayLanas If you could be a musician in any era when would it be and why? Now. Everyone goes on about the swinging sixties, but I reckon you can do more with the production techniques nowadays. We like mixing the old with the new. Is there any particular venue you’d like to play and why? Festivals, definitely. We’ve played Cargo and Luminaire, and at times I prefer those small, intimate venues, and sometimes I like to rock with 60,000 people. So Glastonbury and Big Chill should be fun. What was your first musical instrument? I had the drums when I was about sixteen…no, hang on, my first real instrument would have been the turntable. I’m a scratch DJ, and I had a turntable when I was twelve – in 1982! What books have you read and what films have you seen recently? Let the Right One in – a Swedish arthouse film. I don’t like big Hollywood blockbusters. And I’ve just read Richard Pryor’s autobiography. Smoove & Turrell If not a musician, what job would you have had in the real world? An artist. I studied art and sculpture. Do you prefer playing live or recording in the studio? That’s a tricky one. What do you think John? [Turrell. There follows a slightly inaudible answer] Playing live, yeah. Why? [Yet another inaudible response] Yeah, you just get an instant reaction from the crowd. Any burning ambitions? To be the greatest funk band in the UK and further afield. To follow in George Clinton’s footsteps. Saturday9thMay: HolyGhostRevivalstrippeddownamongstoutstandingbill. PlusDJstil4am. TheBandinis+ClipStampFold+IvanCampo+ BrokenNobles+RickC Thursday14thMay: Outstandingleftfieldmelodicnoise. Elks+85Bears+FightingKites Tuesday19thMay Anight of mystical magic and fantastical happenings. CarolineWeeks(BatForLashes)+EsbenAndThe Witch+TheFoxAndTheBramble+RachelCollins THE GOOD SHIP,289KILBURN HIGH ROAD,LONDON NW67JR by Brondesbury BR and Kilburn tube. myspace.com/thegoodship 4 Live Preview here have been many, many albums that deal with the conflicts raging within those brought up with faith. Two of our greatest lyricists, Greg Dulli and Craig Finn, have created masterpieces founded on the hypocrisy, comfort and iconography that are inherent in organised religion. The other side of the coin - and the other faction in a vehemently fought battle in America’s schools - is creationism, the thorn in the side of governments inextricably linked with the church. With Oh My God, Charlie Darwin, Rhode Island’s The Low Anthem have crafted an album that frontman Ben Knox Miller says “derives its energy from the conflict between the two sides”. The title calls on both sides of the coin, asking if Darwin has torn away the comfort blanket of the omnipotent creator God, to whom do we turn when “the water’s all around us”, as Miller sings on opener �Charlie Darwin’. “To distill it down,” he says, “we mean it very sincerely. The record has this secular bent to it, the fear that there’s nothing looking after us or grounding our lives in purpose or meaning. It also has this very basic longing for identity and community. Like, oh my God Charlie Darwin! Darwin cut the root of the Christian-based ethics that I was raised in, the Protestant work ethic, the guilt, all the things that are the core principles of our identity. Even though the root has been cut, we still live those values which have become ingrained in our nature without being able to understand why. The record is deeply confused and hopeless but still very much longing for that community and sense of purpose. Oh my God Charlie Darwin! It’s a pun but it’s also a genuine expression of fear and panic.” Six months after self-releasing Oh My God, Charlie Darwin, The Low Anthem find themselves revisiting it in the illustrious company of Bob Ludwig, possibly the most famous man to sit on the other side of a mixing desk. After signing two big time deals, with Nonesuch in the US and Bella Union in the UK, the band were offered the opportunity to remaster the record with Ludwig. “Bob comes from a classical music background,” says Miller. “He started doing a lot of work with Nonesuch because Nonesuch has an incredible classical catalogue. They asked if we wanted to do it. It was still a lot of money but we wanted to make sure the reissue would have something special about it and would feel like moving forward, even though we’re T em h t n A w o L The risk the wrath of God putting out something that we’ve been living with for a long time.” Therein lies the biggest potential pitfall for a much-loved band signing to labels such as Nonesuch and Bella Union, the homes of Wilco and Fleet Foxes respectively. With the inevitable re-release of pre-label records come the questions. What does the re-release offer that won’t leave the devoted feeling aggrieved? What justifies fans spending money on another copy of an album they already own? The Low Anthem resisted the cheap trick of adding bonus tracks or alternate takes. “There were some things where it was like �I wish I coulda done this’ or �I wish I coulda done that’,” says Miller, “and there were some songs where I think we maybe missed the mark a little bit and we could have recorded them a little better, in ways that are informed with how we’ve performed them since then. We were asked if we’d like to do any re-tracking or remixing and our thinking was that we’ve already released this record. It is what it is and we love it. It’s a record of that moment in time when we put it out and we’ll just take all the ideas and sit on them until the next thing. But we won’t move back in time into material that we have already published.” It’s a rarity for a band to get the chance to go back to an album six months after its release. When The Low Anthem returned to Oh My God, Charlie Darwin, they found a collection of songs that differed from the incarnations they now played live but a record of which they were still immensely proud. “It was better than I remembered,” says Miller, “When we were recording, mixing and mastering the first time it had been in our ears for around six months and we had no distance from it. I couldn’t really hear the songs anymore. In the recording process, it’s hard to enjoy your own work. Six months later, listening back, I was actually really he back room of Ye Olde Axe in Hackney is filled with dilapidated couches, crumbling footstools and peeling wallpaper. The boozer has a proper stage opposite the bar, but it’s empty at the moment, and the noise of a rehearsal session echoes out into the nearly empty pub. If you were to have ventured into the back room of Ye Olde Axe last Thursday night, you would have seen something pretty cool. You would have seen a bunch of musicians - among them the members of Man Like Me, a female vocalist, a guitarist, a musician wielding a massive horn and a saxophonist. They were having a rehearsal session of unsurpassed funkiness, cranking out an acoustic version of MLM song �Donut’. It sounded damn good, and it looked like they were. The bar didn’t remain empty for long. Later that night, standingroom-only would turn into hang-on-for-dear-life as MLM took the stage to a packed solid boozer. Earlier, though, the three members – vocalist Johnny Langer, MPC-jockey Pete Duffy and �Trombone’ Jerome – met tourdates in the massive outdoor area for a chat. They’re a ragtag bunch; Pete, despite being one of the more vocal members of the band, looks fairly shy and fidgety. Johnny is a tall, rangy guy with a clipped haircut, and Jerome is a rotund American with a rolling voice which resembles his instrument of choice. They continually take the piss out of each other, to the extent that we’re not always sure when they’re joking and when they’re being serious. Getting a straight answer is sometimes difficult. Right now, they’re discussing their tour experiences – Europe, the US and the UK are all discussed, though at this moment Jerome’s snoring is being debated, as is Johnny’s tendency to spit phlegm rather than swallow it. Talk soon turns to an incident in Los Angeles Pete: “I hid behind a car in LA. We were in Compton, and someone T Man Up fearin’ Middle America Ben Knox Miller tells Mark Grassick why excited. We don’t spend a lot of time listening to our own records. I hadn’t heard it in six months but I loved it. We listened to what Bob gave us and heard how much he warmed up the sound and how full it sounded. He did a really beautiful job.” With OMGCD finally put to rest, only the remainder of this tour stands between The Low Anthem and their next record, a project Miller is keen to get at. “We’ve got two records worth of stuff that we’re sitting on right now,” he says, “We want to get this reissue out, push it hard and then get back to work. We’re always looking to the next record and right now we’re chomping at the bit. This is the first record we’ll have made that’s funded by a label so we want to make sure we don’t do it the easy way. We’re definitely very aware that we want to be producing and crafting it ourselves in a way that feels like the same struggle as the last record and the one before that. The blood, sweat and tears that come with the insanity of producing your own record are such an important part of the vibe that comes out of it.” Since the initial release of OMGCD, things have progressed at an astounding rate for the band but Miller has not been swept away by the momentum. “We’ve kinda been doing the same thing all along. It was just me and Jeff as a duo for a long time and our philosophy was that it was only the two of us so we could figure out a way to make a living just by working hard. Just touring regionally and barely making a living. That was our goal; do that and then we’ll be able to put all of our time and efforts into the craft and into honing what we’re doing with the sound and the records. Everything that has happened, I feel was worked very hard for. It never seemed like anything came free or easy. It wasn’t a situation that you make a demo and give it someone and hope that they make your luck for you. The day-to-day for us hasn’t changed at all. We’re driving in our minivan trying to keep up with Ray Lamontagne’s giant tour bus. Never sleeping, always travelling, we’re still doing all the same things we used to do. It’s just that now there are other people doing things too.” The three slightly bizarre members of tell Rob Boffard why they are the way they are... Man Like Me had weed, and I kind of took one toke, being careful, but next moment I’d completely lost my mind and I was hiding behind a car.” “I like dropped the most beautiful girl I’ve ever seen to go and walk him around Compton,” says Johnny. Jerome: “The most beautiful girl you’ve ever seen? Really?” Johnny deadpans: “The most beautiful girl I was ever gonna get!” Their music is a bit like this. It takes the piss just as much as their conversation, with narratives of confusing, stupid, ridiculous urban life over instrumental backdrops which owe just as much to J-Dilla and The Streets as they do to groups like Imperial Leisure and Seventh Son. The group maintain, though, that they are a live act more than anything else. Says Johnny: “We get away with as much as we can. We have more than the abilities of one man on stage.” Pete chips in, saying that normally the group don’t rock with other musicians (though there are rumours of an acoustic session later on) but still manage to bring it live.“Put as much shit in there as possible, fill every moment with the kinds of gimmicks that keep them guessing.” Johnny: “And then bring in a person like Jerome who actually is musically talented.” Pete: “We didn’t want to be one of those bands that just puts a laptop on the stage checking his emails while everyone else is playing. We do something we can be a bit more proud of.” Jerome, who although he talks with a broad smile across his face, doesn’t say all that The Low Anthem play The Slaughtered Lamb on 13 and 14 May. For tickets call 020 7253 1516 much, agrees. “I think people respond positively. They’ve never seen it put together like that before, and if you can see something you’ve never seen before…” There is no question about what Jerome brings to the band, beyond his matching sense of humour. His trombone is the most eye-catching thing on stage when MLM rock live. “The trombone is the sexiest instrument in existence,” he argues passionately. “What is there not to like about it? A seven foot phallus. I think I like it because it’s the closest instrument to the human voice; there’s no break, no strings, keys, no certain things to hit, it’s just from your mouth.” Of course, this is a man who, in one of the MLM videos, walked around in a giant nappy playing the trombone. One senses he’s probably a little hard to take seriously. The MLM sound – that monster mix of huge beats, halfrapped- 5 Live Preview Try Before B e for e Try You Buy Buy You with tourdates.co.uk Low End Theory half-sung vocals and a brash, insistent, attention-seeking undercurrent – is brought to the fore on their debut self-titled album. MLM, who have been around for five years, struggled to release the album, finally finding a home on Our Time Records. They maintain that despite the struggles, and turning down good small deals (Johnny calls it “being dumb”) the album is something they’re proud of; Jerome admits to having one of the songs as his ringtone. But do they think that musicians – and hip-hop artists in particular (even though they themselves are not strictly hip-hop) take life too seriously? Johnny disagrees. “I think rappers are allowed to take it seriously. I think it’s other people that take it too seriously.” Pete: “I’m scared of rappers.” Jerome: “I don’t think rappers have any more right to take things too seriously. If you’re a gangster rapper, what are you doing in the studio? If you’re selling drugs or pimping hoes, what in the studio appeals to you?” “Don’t shatter my dreams!” cries Pete. “I don’t want to be a rapper, I just want to be their friend.” Jerome: “They ain’t doing the shit they tell you they do.” Johnny: “To be honest, I’d love to be an MC or a rapper. Actually, I’d just like to know one.” Johnny is not considered by his bandmates or himself to be an MC; more of a singer than anything else. Like most of MLM, it’s a bit hard to pin down. Later on, when MLM change into sharp(ish) suits and take to the stage, the gig is a roaring success. Our live review is at the back of this issue, but when they come rock your area, get in line. Seriously. Man Like Me play the Camden Crawl on 24 and 25 April. For ticket info call 0871 220 0260. tourdates.co.uk is the nation’s top website for unsigned bands and the fans who love �em. Thousands of band profiles with MP3s for you to check out and download means our site is the best place to bone-up on the artists playing live in London before you set out for the venue. Better yet, it’s absolutely free to use for both bands and punters. Here are a couple of acts gigging over the next fortnight. We like �em, but don’t take our word for it. Log on to tourdates.co.uk and give them a listen... We’ve always been a little mystified as to actually what Math Rock was. To us, it seemed to be just on the wrong side of weirdy-beardygenre-labelling. But if math rock is 65 Days of Static, then we’ll be at their Dingwalls show, protractors in hand. The Aphex-Twin-ish vibe of their live guitars and crisp drum and bass percussion, not to mention their dab hand at controlling tempo and mood, makes them an industrial, quietly aggressive combination that should be seriously crazy on stage – especially once their guitar solos get going. Not sure we get the name though; only 65 days? The band (who seem to be pretty flexible with the name, going by 65DOS, 65 Days or just plain old 65) don’t provide an explanation. Nevertheless, it should add up to something good. To hear 65 Days of Static MP3s, go to http://www.tourdates.co.uk/65-Days-Of-Static. They play Dingwalls on April 26. For ticket info call 01920 823098 A sleeper curve, apparently, is a term used by Steven Johnson to describe how �the idea of popular culture being beneficial to an individual’s cognitive development’ (Ah, of course! How could we have forgotten?) When the Steven Johnson-lovin’ Sleepercurve take to the stage, sleep will probably be the last thing on anyone’s mind – though, of course, we can’t be certain popular culture or indeed cognitive development won’t make an appearance. Sleepercurve make easy, lightly produced yet still solid rock music, and they’ve rocked across the country supporting bands like the Rumble Strips and Pete and the Pirates. Get in. To hear Sleepercurve MP3s, go to http://www.tourdates.co.uk/Sleepercurve. They play Dublin Castle on April 28. For ticket info call 020 7485 1773. 6 T photo: londontourpix his is a first for tourdates. What you’re reading was actually intended to be a gig review. It was going to be an album review also. But then we saw BM Linx live. A bit of background first. The second album by the New York trio dropped on our doormat a couple of months ago. Nobody knew what to make of it, but everybody loved it. The disco-revivalist element in the office saw the band as Daft Punk or Underworld for the indie guitar generation. Those of us on the rockier side of the generic divide heard a fine hard rock band with some sophisticated electronic bells and whistles attached. What everyone could agree on was that all eleven songs on Black Entertainment were gorgeously crafted and shot-through with irresistible lines of melody. Still, when it was announced that the band would be playing a showcase gig [pictured right] at the Monto Water Rats this month, it was hard to guess whether we would be seeing Orbital or Led Zeppelin. We saw Led Zeppelin. My God, they rock hard, do the Linx on stage. Those luxuriantly textured album tracks are stripped back to their rocky core and turned all the way up to eleven without sacrificing a single note of Tony Diodore’s memorable tunes. This is not the tuneful hard rock of, say, Journey this is raw, hard-riffing underpinned by deep foundations of melody. It blew us away, to be frank. Which is why you’re reading this. We caught guitarist, singer and songwriter Diodore as his band were due to play a final show at the Camden Barfly before returning home. It had to be asked: why the disparity between the album and the live sound? “Yeah, we get that a lot,” says Diodore. “It wasn't something we planned, it just happened. “The songs, for the most part, are written in my apartment in New York, in a little studio I have there. And then when they get brought out on the road they end up getting heavier, more raw, more rock �n’ roll. It’s just been part of a natural progression, but it does surprise some people. They come expecting something that’s mostly electronic but what they get is a rock band. I mean, I hope it’s different in a good way, but I can understand why people find it disconcerting.” It’s a credit to the quality of Diodore’s songwriting, of course, that his music is able to translate in the way it does, but why does it translate, exactly? “I think it’s because the music is written kind of piecemeal,” he says “I write a bit, then we take it into the studio. I do all the vocals in my apartment - just to save money because real studios are so terribly expensive - but when we get out into a live environment, which is so different to how we record, it just naturally becomes hard rock. “I think there are places on the album that sound the way we do live: �The Outlaw Jimmy Rose’, for example, that’s us live, right there, and �Red House Been Empty’ is pretty close too. But anything from our first album sounds very different live.” That first album is quite a different animal to Black Entertainment. How does Diodore characterise his development as a songwriter and performer? “The first record is very New Wave, totally electronic,” he explains. “I wrote it as a kind of exercise when I’d just left one band and was feeling pretty disenfranchised and thought �to hell with it, I’ll just write a record’. We formed the band after that when I got together with John [bassist Jonathan Murray] and Griff [drummer Andrew Griffiths], so that although I can still write most of the stuff in my apartment, we’re able to bring in these live elements and, bit by bit, we’re moving towards a full-on Led Zeppelin style of recording.” That might suggest that the natural way for BM Linx to develop would be to eradicate the electronics entirely. Is that the plan? “No, that'll always be part of the sound, but I’d like to simplify it a bit. But I don’t Electro-innovators in the studio, searingly powerful hard rock band on stage. Richard Hodkinson goes in search of the real x n i L M B Missing Linx? know… there are so many cool things going on in music right now - there’s a band called Holy Fuck that are doing some really interesting stuff - and there are so many interesting directions to follow that I don’t know what’ll happen next time we record. But I would like to simplify because, y’know, I really like heavy stuff.” The thoughtful and engaging Diodore is also an inventive lyricist, whose streetlevel musings bring to mind the spare, idiosyncratically American prose of Raymond Chandler. Or Raymond Carver, for that matter. Listen to the taut opening lines of �The Outlaw Jimmy Rose’: �Now I know this kid by the name of Jim Rose / Scrawny little punk get drunk break your nose / And he bought himself a gun one day after school / For them Indiana boys that’s just what you do.’ Great riffs, great tunes, great words. Am I gushing here? Better reintroduce an element of that traditional music hack cynicism here: tell me Tony, who the hell listens to this stuff? “It’s a pretty broad audience, I guess. In New York we get a lot of hipster kids, but we were just in San Antonio where the audience was young but diverse, which is kind of what we want without having to dumb the material down. “What I thought was cool was when we got a song on Ryan Seacrest’s show on E! News - they played our video about six times, so we got lots of people buying our song �Kids On Fire’. But when you log on to iTunes to buy it, it also tells you what other stuff they’ve been buying too, and it was, y’know, Britney Spears and Rihanna. Which we thought was hilarious, but also kinda awesome, because those kind of people aren’t typically exposed to this kind of music very often.” Perfectly true, of course. But despite citing influences as diverse as Black Sabbath, Daft Punk and acoustic guitar virtuoso Leo Kottke it’s a fair bet that BM Linx’s very particular take on hard rock will be sitting on a lot more iPods in the near future. I bet they’ll be around a lot longer than Rihanna too. BM Linx aren’t playing anywhere in London for the foreseeable future. Sorry about that - we promise to give you prior warning next time. In the meantime, their album Black Entertainment is out on Craze Factory. We recommend it. A lot. Or had you worked that out for yourselves? Live Preview The hype is struggling to live up to Little Boots, as Michael Wylie-Harris finds out 7 Live Preview ictoria Hesketh is beginning to learn a few things about hype. Having already recorded a T4 live performance this morning, she has to be in Germany in a couple of hours. In between she’s on the phone to English journos who all want their fifteen minutes. She has a long day ahead of her. She’s already beginning to sound jaded. It’s only quarter past twelve. The 25-year-old singer (a.k.a Little Boots) has just got back from LA where, among other things, an entire Carson Daily show was dedicated to her. She’s already been voted the hottest act of 2009 by pretty much everybody in the know. They’re calling her the future of pop. The next Lilly Allen. The PR machine is truly in motion. For Hesketh, V the pressure is on. “It’s quite daunting I guess, but I just have to get on with it now,” she tells me. “The real test will be the fact that the album is coming out soon, how well that does, how many people actually genuinely listen to it, and how it does on the radio and stuff. “All that stuff is actually really, genuinely important. However many critics said you’d do well and how ever many taste makers you win over, it’s still not gonna secure your future as a musician. “That’s just got to do with how many records you sell, so kind of – without being cynical – all the hype is really not that important. I want to be a musician and make a career of it, so I’m nervous for the release, you know. “I think there’s also quite a lot of expectation on it, and I feel like the critics will be ready to pounce but you know, we’ll see. Hopefully they’ll stick by me. I think people would say that it’s like I’m releasing my second album, because there’s so much expectation on it.” Like she says, Hesketh has truly been a hit with the taste-makers. Her brand of electro-pop falls somewhere between Ladyhawke and Girls Aloud, Goldfrapp and Kylie on a good day. It’s catchy. Good. She can obviously write a tune and the production is every bit as slick as you’d imagine. �The future of the pop’, though, seems a bit bold. It was only a year ago that Victoria Hesketh had just left a minor indie band called Dead Disco and was yet to even come up with the name Little Boots. “It was actually a really hard decision,” she tells me, of leaving the band. “It really did take me quite a long time to say, �no, I’m gonna go and do something else’, you know. Obviously, now I realise that it was the best thing that I could have done but it took me quite a long time to come round to that decision. There was never just one moment where I decided to do it. There was always things pulling me in different directions which was quite hard.” Clearly, the singer made the right choice. And from that point she made the decision to go �pure pop’ (an early audition with Pop Idol might have been a clue here). There’s pop, though, and then there’s pop. Clearly, Hesketh had no vision of being the new Kylie Minogue. She writes her own songs, plays her own instruments. She has a hand in the production. In fact, stuff like Kylie and Girls Aloud is just what Hesketh wants to get away from. It’s that generic, manufactured sound that she sees as having made British pop music so stayed and uninspiring in recent years. “I think what I love about British pop music is that legacy of all the slightly eccentric characters there’s been, from like David Bowie to Elton John to Kate Bush to Hot Chip, you know. It’s all just has that real British eccentricity in it, but at the same time as being really poppy. There’s a lot of character in it you know, it’s not just straight-forward. I love that. And what about the current scene? “I think there’s some more interesting stuff coming through now,” she says politely (she doesn’t want to start a war). “I guess if you look in the charts at the moment there’s a lot of kind of stuff like Akon, which I find quite unimaginative really, a lot of that kind of stuff. I think there’s loads of more interesting British stuff coming through right now though. More interesting indie, electro and dance stuff coming through which is fusing a lot more with pop these days.” The Little Boots album is out in June and it looks set to deliver on the hype. She describes the record as “pure pop”, but says it is “dark and electronic” too. On it she’s worked with LA super-producer, Greg Kurstin (Lilly Allen, Britney Spears, Ladyhawke, Kylie Minogue) as well as Joe Goddard of Hot Chip (“Some things are just meant to happen - I’m a big believer in fate”), and has even found time to duet with Phil Oakey. “I had written a track which always felt like it should be a duet and needed male and female vocals on it,” she says. “I knew somebody who knew somebody who knew him, and when they said we might be able to get him, I was like �oh that would be amazing’ because I’m a huge Human League fan. “They sent it to him and he was apparently really into it, so it was just amazing when he agreed to do it. “I didn’t actually get to meet him though. The only time he could do it was when I was in LA. It was actually really annoying that I didn’t get to meet him, but we sent lots of emails and stuff.” The fact that not meeting Phil Oakey was a difficult cross to bare for Hesketh is something that speaks volumes about the singer’s credentials as a connoisseur of British pop. Lilly Allen might not know who Oakey was. Girls Aloud definitely wouldn’t. And in her background, there’s a history that shows this is a dedicated musician. Okay, she may have auditioned for Pop Idol, but she’s also played the harp in a prog-rock band, has done jazz gigs in restaurants, and wrote her university dissertation on… “originality in music and the concept of jazz and stuff like that”. A multi-instrumentalist, these days as well as singing and playing the piano and Stylophone, she’s also turning her hand to �the tenori-on’. Consisting of a hand held screen that’s made up of a 16 by 16 grid of LED switches, the tenori-on is impressive to say the least. “Somebody I worked with in the studio once had one so I borrowed it and started mucking around with it and got really into it,” she explains. “I bought one myself and then ended up getting a few more and just found myself really liking it. “It’s a Japanese design. It’s made by Yamaha. It’s like a sequencer, basically, that lights up. It takes quite a while to master. You have to know what you’re doing I guess. It’s quite easy to do for a bit of fun but if you wanna do something more serious then you have to take a bit more time. But it’s well worth it.” When the Little Boots album comes out in June we’ll see whether Victoria Hesketh is going to be �just a bit of fun’, or �something more serious’. With so many predicting big things, though, at the moment the future looks anything but little… Little Boots is playing the Camden Crawl on 25 April. For ticket info call 0871 220 0260 do something different Putting The Boots In Tue 28 Apr 7.30pm Spanish Bombs: Tropical Tribute to The Clash A supercharged evening of Clash repertoire from some of the hottest Latin artists on the planet. Featuring Rubén Albarrán (Café Tacuba) Alejandro Escovedo, Amparo Sanchez (Amparanoia) Blanquito Man (King Chango) Jonaz (Plastilina Mosh) Bruno Garcia (Sergent Garcia) Moyenei and many more Tickets from £15 0844 848 8434 www.barbican.org.uk/lalinea Produced by the Barbican in association with Como No! The Barbican is provided by the City of London Corporation 8 Live Preview tourdates wo AM in my hostel bed / My eyes stay red, my body ain’t fed / I got butter but I ain’t got bread / And I’m smokin’ on my last cigarette…” These are the first words you hear on Speech Debelle’s remarkable debut Speech Therapy. The track on which they appear, �Searching’, is subtle, brutal and extremely well written, setting the tone for the album. But what could make someone want to write this? Speech says it came from a real bad situation. “I tend to write in hindsight. That’s why a lot of the songs have more closure at the end; I have more of an explanation of why I was in that situation. What I was looking back on was a time when I was in the hostel. I was just hungry. You had, like, fridges and freezers that are for everybody. On about two occasions, I stole somebody’s bread because I was so hungry, drinking mad amounts of coffee because it filled the stomach. The whole song is real, but it’s indifferent. I kind of wrote it maybe a couple of months after that situation.” For the album, Speech certainly drew on her own turbulent history; a deep well of both pain and love that, even as a rookie artist, she taps into beautifully. Example: breaking down the story of how she ended up in the hostel at age 19 a bit further: “I was kicked out of home. I wasn’t getting on with my mum and her boyfriend, and I wasn’t doing much as The “T download chart for the week beginning 26 Jan 2009 As voted for by members of tourdates.co.uk To hear these tracks and thousands more, or to upload your own band’s tracks, log on for free today! 1 "You And Me" rOmP last week - | weeks in chart 1 Why oh why do bands insist on spelling their names with alternating upper and lower case letters? Do they think it makes them look edgy and avant-garde? Honestly, it makes them sound like utterly pretentious Hackers-lite morons. We’ll allow it for rOmP though, even if it makes us cringe to type their name. Their brand of unashamedly old-school rock made a major impact on the chart – first week, number one with a bullet. Steven Raet’s vocals on �Writing on the Wall’ show why they’ve made such a big impact. It’s big. http://www.tourdates.co.uk/rOmP 2 "Destroyed By The Look Of Love" The Scratch last week 25 | weeks in chart 3 3 "Broken Toy" Bad Season last week 5 | weeks in chart 3 Staying solid at number three are Bad Season. They’ve got a nice Americana vibe going, with some great vocals from Neil Chatterton and Ian Partis. The laid-back tune �Circumstances Change’ – we would call it a ballad, but Bad Season are probably fairly nice guys and don’t deserve name-calling – is sitting nicely in our funky little tourdates.co.uk website player, and making press day a damn sight easier. Crazy guitar solo too. Plus, our exec editor used to play in a band with their guitarist, so we’ll give Bad Season a pass this week, even if their rise wasn’t as meteoric as The Scratch or rOmp. http://www.tourdates.co.uk/Bad-Season 4 "Growing Old Disgracefully" Mark Emmins last week 26 | weeks in chart 2 5 "Endless" Personal Oxygen last week 9 | weeks in chart 3 tourdates.co.uk To hear the entire Top 40, log on to gigs \ info \ mp3s well, in hindsight, I can look back and kind of see that I wasn’t doing much, wasn’t working – I didn’t want to work, I didn’t want to go to further education. I can understand why it was quite tense in the house.” She’s 26 now. What sets Speech Therapy – and Speech’s live show in general – apart is just how her stories are expressed. Speech (“It’s not my birth name, but I’ve had it for a long time. Debelle is a family name and I’ve been called Speech for a long time.”) sets herself apart from the crowd by eschewing typical hip-hop beats. No chopped samples or looped drum breaks here; it’s live instrumentation all the way, which she reckons makes for a cracking live show – even if her description of it is a bit bizarre. “I’d say something like…it’s not a show, it’s a meeting,” she explains, leaving us a little confused. “The songs I have [deal with] very real life issues; not just relationships but the bad side of relationships or the point where it’s about to get bad, so not just the average �I don’t love you any more’, but the turning point. A lot of the times it’s about interaction with the crowd. I say, don’t be shy, it’s a meeting, we all came here to enjoy ourselves and relate.” OK, think we got you there. But how do the subtleties of her music translate to the live show? When artists like Atmosphere and El-P rock a set, they often find the nuances of their music lost among heads who, well, just came The Ballad of S here has been a resurgence in contemporizing folk music for the mainstream as of late, be it via acoustic instruments or simple, acoustic ideas. Take the phenomenon of Fleet Foxes for example, or simple pluckers like Johnny Flynn, Mumford & Sons or Laura Marling, and one can see folk’s scope on the charts burgeoning, with the acoustic guitar or mandolin taking as much of a role as the keyboard or synthesizer. Yet, calling a slew of musicians who share similar ideals under an acoustic paradigm �folk music’ often detracts from the intricacies hidden beneath their melodies. The same goes with any style of music, of course. Boil it down to one word and the sounds that make it come alive go into hiding. But there are similarities that bind together the aforementioned acts, aside from their collective mainstream success. One case for this revolves around their desire to keep things unplugged and rely on traditional Appalachian instrumentation. Instead of an electric guitar, acoustic six stringers, mandolins and banjos ebb and flow through simple strums and fingerpicks. This changes the tonality, timbre and feel, taking the music back to a place where substance dictated style, and not the other way around. And this, all of this, has resurrected folk, and its rightful place in the spotlight. Another act responsible for this is Bristol’s The Miserable Rich. While the band purveys music far from traditional folk and roots, their desire to keep things a little quieter and more acoustic has seen comparisons made to everything from The Carter Family to Johnny Flynn, Laura Marling and even The Incredible String Band. Instead of the traditional trap set line-up, the band infuses mandolins, violins and cellos into the mix, creating a brooding blend of folk that encompasses influences as far reaching as rock, indeed and soul. “To be honest, I don’t think we play folk music,” replies songwriter James de Malplaquet. “On the first album, there are rock songs, jazz songs and pop songs – and a fair bit of soul too. Maybe two songs are folk. Sure, We are an acoustic band, but that isn’t synonymous with folk. We’re probably an indie band more than anything.” This first album, Twelve Ways to Count, is what has elevated The Miserable Rich to the level they enjoy now. The songs, mostly written by de Malplaquet, were composed before the band formed, turning the T recording into an exercise of a new collective finding a sound, rather than recording an album proper of music they were all previously familiar with. “Our first record was largely a treatment of my songs as we formed a sound and a band,” discusses the songwriter. Now, the band is readying a new album, one they have finished but do not plan to release until the end of the year. Twelve Ways to Count was only released in November, and as de Malplaquet discusses, while the band is keen to release new material all the time, they have to be as patient as possible, for the greater good. “Our first album is out this week in France, and while the old album is old to us, it’s only been around since November in the UK. Still, we have a new album ready to go, alongside a set of EP covers we’ll be releasing before the new album, so there is lots in the pipeline.” This new Filthy Rich Music ich R e l b a r e in it for The Mis ain’t money, as Shain Shapiro discovers album, currently titled by the band but held under tight secrecy, is promised as a fuller, more collaborative affair. This time the album was conceived, recorded and produced as band, rather than a set of songs from a singular songwriter. “This next one is basically the band’s first record as a complete outfit,” adds de Malplaquet. “I’m not the only writer, and some of the strongest songs on the album were written by other band member. Plus, we collectively had the material all ready. I personally pressured the band – not without complaint I might add – to get the thing recorded quickly, as well as this EP of covers so that we could release it whenever seemed the best time for the people whose business it is to promote it. That is going according to plan. tourdate 9 Live Preview to party. How do her and her band deal with that? “They have to relate to it,” says Speech of the audience. “If you’re living you have to relate to the same experiences I do - regardless of creed, colour - there are some things in life where it doesn’t make a difference where you’re from, how old you are, you experience pain, love, confusion, wanting to achieve more. And I have a great band!” It is this band, in part, that make Speech Therapy. The live, jazzy backdrop works in a subtle harmony with Speech’s heavily accented, liquid voice. Speech herself, strangely, recalls a �Slippin’-era DMX, as strange a influence as you can find but one which is kind of appropriate. There is the same level of self-examination, of enormous depths of soul-searching. You wouldn’t expect it from a veteran rapper, let alone a rookie on her first album. Even on the odd missteps, there is no doubt that the album oozes quality. And there is a reason for this, see, there’s another bizarre twist in the tale of Speech Debelle. She is not, as you might think, signed to an obscure indie label, one with perhaps a couple of folk bands and maybe a soft-spoken, black-clad DJ on the side. Speech is signed to Big Dada. As in: Roots Manuva, Infinite Livez, big-time-bashmentdubbed-out-Witness-One-Hope-dancefloorcraziness. That Big Dada. And that means that while she no doubt enjoys unlimited creative freedom, she also enjoys the legendary production values that the label brings to the table. Speech, for her part, sounds very happy that the kings of big and bizarre music wanted to rock with her. “I think it’s a good place for someone like me. I have ideas that would be harder to do at big labels, so it’s a good place for me creatively. The path has been set for me; when I first talked about signing with them my first question was, Roots Manuva is the biggest selling artist, how much does he sell? To me that’s the benchmark to what I can achieve.” Roots is certainly giving her the helping hand; he warbles the hook on �Wheels in Motion’ on Speech Therapy. Speech explains that although she wanted to have an opera singer on the track originally, Roots stepped in after being played the track by Big Dada head Will Ashon. And a hand-up from Roots – as former tourdates talent Jimmy Screech knows – is always a big look. “I’m the first female artist they’ve signed,” says Speech. “I think for the label it’s a very new project. Everyone is behind it. Being in a good home is key to what you can achieve.” Speech Debelle talks to Rob Boffard about keeping hip-hop real personal Speech Debelle is at the Notting Hill Arts Club on April 23. For tickets call 020 7460 4459. To read the tourdates story of Big Dada’s 10th Anniversary back in ’07, go to http://tinyurl.com/c4lxhf. Speech Debelle “Still, it remained a very down-home, acoustic affair, much like the first record. It was recorded in my bedroom and lounge, with most of the strings added in [the bedroom of] our friend Tom [from Shoreline and Son of Noel and Adrian],” continues the singer. “He’s got a nice wooden floor and a quiet house. We recorded the first album solely at my last house, and didn’t really feel the need for change. This is because everything has to be done on a zero budget these days. Originally we wanted to go away and record the new album in a haunted house somewhere, but we just couldn’t get everyone together at the same time. In the end, we recorded in a two-week period in March, only actually recording on about six afternoons total.” While the material remains closely guarded, The Miserable Rich, as a whole, promise that both the new album and EP of covers improves upon their introduction, as this signals the debut of a complete band, one where everyone contributed equally. “This is the sound of a group of musicians who have played together, got tired, drunk, happy, desperate, loved and hated each other around Europe for a year,” beams de Malplaquet. “To me, there is much more dynamic material on this record. I personally write too many ballads, and as a band, we write a lot faster and with more ferocity, I think.” Until the release of the record, The Miserable Rich will refine the songs live, beginning with a performance this week at the Union Chapel. Many new songs will be road-tested, as the band slowly moves on from Twelve Ways To Count. In addition, two demo versions of new songs, �Monkey’ and �The Time That’s Mine’, will be released on iTunes this week, allowing a sneak peak into what’s next for the Bristol acoustic collective. It’d be advisable to buy tickets to the show now, because come the end of the year, when the new album is delivered, folk will have another gun in its arsenal with which to assault the charts. es.co.uk The Miserable Rich play the Bush Hall on 5 May. For ticket info call 020 8222 6955. www.thejdset.co.uk WIN! Win an exclusive Jack Daniel’s Fender Stratocaster courtesy of It’s world’s most famous sixand you could win one the JD Set! string signed by members of all the bands playing on this year’s JD Set tour. Just log on to tourdates.co.uk and answer one simple question. It’s free to enter and the prize is as hot as the JD Set lineup coming to The Luminaire on 15 May. Details of the show, plus terms and conditions can be found on tourdates.co.uk. Competition closes 12 noon, 15 May 2009. Open to over 18s only. www.thejdset.co.uk 10 Re:Venue Re:Venue We weren’t completely sold on Ye Olde Axe. We reckon that we’ve got a pretty good handle on most venues in London, but we weren’t entirely sure about this one. A combo old-school East End boozer and strip club which features occasional live bands and a popular rockabilly night? It’s sounds like the kind of venue that barrels along one inch from the surface of the road, existing by sheer dint of will and because no repo man will actually go near the place. Then again, there are strippers. And we visited the place, and we found that while it was unquestionably a strip pub with live music intentions, it was a pretty impressive one. Things didn’t start off so well. As is usually the case with these little profiles, we phone up the owner and/or manager and arrange to chat. No-one answered the phone at Ye Olde Axe all afternoon. Later, an enquiry of one of the busy staff members in person elicited the response that the manager, Tom Melody, was around, but we probably wouldn’t find him. OK then. Further calls the next day dug up very little. We were told – with typical East End bolshiness – that no, there was nobody there who knew anything about the history of the venue, no, nobody wanted to speak to us just then, no, the manager wasn’t there and would we call back later. We did. To no answer yet again. At this point we were willing to can the whole exercise, but it’s an interesting place, and it’s been around since at least 1850 (though the current pub has only existed since, apparently, the beginning of the 20th century). So here’s what we do know. The place has a history. There’s a rumour that has been doing the rounds for some time that says in the 1970s, while the pub was undergoing some major rebuilding work, two bodies were discovered underneath it. Naturally, their ghosts still haunt the building, though whether they’re unhappy to find themselves in a pub with strippers, booze and music for all eternity is not certain. The pub itself, despite the stage and the stripper poles hanging off the roof, is actually the quintessential boozer. Lippy bar staff, slightly whiffy atmosphere, aging décor – all of which give the place a certain Your guide to essential bricks and mortar - the venues that are home to the capital’s greatest live music events Ye Olde Axe, Shoreditch Is this getting out of hand? Although we now have eco-driving, energy saving lightbulbs, emissions targets and the G-Wiz electric car, someone, somewhere has decided that this is not good enough. No, this faceless bureaucrat (or more likely, some overcaffeinated PR person) says: we must do more. The Planet Is In Our Hands. Hence, Wood. Meet the festival that cares. Held in Braziers Park, Oxfordshire, Wood (May 15-17) prides itself on not only being the ecological equivalent of an acoustic guitar set, but of actually hosting lots of acoustic guitar sets. Oh, and organic music, whatever that may be (banging on trees perhaps?). If you can look past the bureaucrat/PR guff, there are some solid acts on offer here: Brakes [pictured right], Karine Polwart [left], Stornaway and The Week That Was. We quote directly from their manifesto: “The event runs entirely on renewable energy and aims to highlight green issues and through participation promote an ecologically friendly lifestyle, with composting toilets, showers heated by wood-burning stove and a solar-powered stage.” To be honest, there will probably still be mud, it will still probably rain, an army of tent-carrying lunatics will descend on a bunch of fields for a weekend, loud noises will commence, drunkenness will occur and a stonking good time will be had. Who said that music couldn’t save the world? For ticket info go to: www.thisistruck.com/wood charm. It has a large outdoor area too, and a serious sound system and turntables set up to go with it. The massive octagonal clock tower at the top of the building – with three clock faces – hints at a much grander interior. It does, however, serve pints in plastic cups – so a little bit different to your average boozer then, and not to its credit. And then, of course, there are the Rockabilly Rebels nights. And that’s when Ye Olde Axe goes completely up the wall. Imagine at around, say, eleven odd on a Saturday night, the stripper whose breasts you’ve been staring at suddenly getting up and leaving, only for a bunch of guys with hair gel and black leather jackets to come in with their girlfriends (sailor tatts proudly displayed) and start jitterbugging on the dance floor. Reckon that might cause you to splutter into your pint. At any rate, the venue seems to attract the hip Shoreditch crowd for these nights, and hey, since when was combining strippers with twist music a bad idea? Just be warned; it gets kind of rowdy. See our Man Like Me live review on page 13 for further evidence. Where? 69 Hackney Road, Hackney, E2 8ET 020 7729 5137 Web? Oh please... How? Tube: Old Street (Northern Line) Buses: 26, 48, 55 Founded? Atmosphere? Pint? 1850 Boozer with boobs £3.60 For the first time in the history of rock �n’ roll the toilets are being used as a selling point for a festival. Composting toilets. Really. The Wood festival in Oxfordshire has an agenda, as you may have guessed. Tree hugging is optional... The In... Boondocks Clapham Omnibus Live Preview Will Jakeway, 29, Musician, Finsbury Park What’s your favourite London music venue? The Forum in Kentish Town. I saw Elliott Smith there and he’s my favourite ever musician so it holds good memories. Large enough without being impersonal. What’s the best gig you’ve ever seen? Bob Dylan at The Brixton Academy was up there. I’ve seen him loads of times and he’s been awful in the past, which made it good to see him put in a really great performance. What’s the worst gig you’ve ever seen? Weirdly, it was probably Bob Dylan at Wembley Arena. The sound was awful and I was in the seats right at the top so I felt like I might as well have not even been there. I could have been outside. What was the last gig you went to? Angus and Julia Stone at The Roundhouse. It’s a really nice venue and was a good show. It was actually better than I thought it would be because I wasn’t that into the album. What was the first gig you ever went to? Oasis at Earls Court in 1995. I was 15. When they opened the doors I ran straight to the front. When they started playing I thought I was gonna die because the crowd collapsed. Which band from throughout history would you have liked to have seen? It might sound obvious but it would have to be The Beatles. Probably in their later days though when they weren’t even touring, so it would have been very difficult even then. The humble punter’s – eye view of live London rlando Weeks is a man who appreciates an impressive package. When it comes to music buying The Maccabees front man is really quite old fashioned. Having never downloaded a song (“I wouldn’t know how.”), album packaging and artwork is something that means more to the South London based singer than your average iTunes generation squirt. “We’ve managed to get a great artist to do a portrait of us for the cover,” says Weeks of the new album, due for release in May. “We got back off tour and have been trying to finalise the artwork for the album for while, get it ready for print and all that nitty-gritty. “We really believe that you have to make it really special so that when people open it they feel like it’s worth buying the physical copy as opposed to just a download. “I just think that with artwork if you have gone to all this trouble to make the music, you sort of fall short if you don’t put the effort into making the artwork good and making it worth buying the CD.” Come on though. Do you really expect us to believe you’ve never once been on limewire? “I really don’t download anything. I like having a physical thing. I mean I’m sure that one day when I can’t afford school books for my O children because I’ve got a Yellow Storage thing full of CDs that’s costing me an arm and a leg, I’ll change my mind. But for the moment I actually enjoy having a real thing and look forward to opening it up and everything that goes with that.” After the success of their 2007 debut, Colour It In, it won’t just be the artwork that Maccabees fans are looking forward to with the release of the band’s follow-up, Wall Of Arms, on 4 May. First single from the album, �Love You Better’ (released on 27 April), is typically Maccabees. Another low-fi, tender, love song, Weeks wears his bleeding heart on his sleeve with all the quiet intensity of earlier hits like �Toothpaste Kisses’ from the first album. The single has a darker edge to it than pervious Maccabees releases though, and it’s something which backs up the promises of a less breezy sound that the band have told us to expect from the second record. And unsurprisingly, we’re also pledged a more �mature’ effort the second time around, though the subject matter is still very much in the �up close and personal’ mould that has characterised Weeks as a song-writer since the band formed in 2004. “I’d hope it’s more grown up,” he says. “I mean we’ve all grown up a bit I think, so I suppose that would be reflected. Lyrically, it’s still the same things that I feel I can justify talking about. You know, family and friends and loved ones. “It’s pretty much always from personal experience or from one degree of separation. I wish I could write from a more fantasy-based perspective. I wish I the ability to make something up and still make it sound good, but I can’t. Maybe one day. Maybe one day.” And The Maccabees sound... How much has it moved on from the first album? “As far as I’m concerned it’s just better,” I’m told. “It sounds less naïve. We’ve kind of kept the same spirit, but I think this one sounds maybe more delicate. I hope that people can see an improvement on it because I can definitely see one. We have definitely tried to push ourselves. The recording and the production on it are just a bit more grand too I suppose.” Production duties on Wall Of Arms fell to Bjork, Arcade Fire and Coldplay collaborator, Markus Dravs, who oversaw the recording over a period of three months between studios in Liverpool, Reading and Paris. Weeks describes Dravs as a mediator, who was able to find a middle ground between what the five members of the band wanted the record to sound like. “He was just very good at finding that sound that satisfied what we all thought we wanted, you know. We are five pretty opinionated people – we all listen to very different stuff - and he was able to just step back and find that happy medium, and in the end we had something that didn’t sound like any of us individually but sounded like The Maccabees, which is how it should sound I guess. “He sorted us out actually. He was fab. Honestly, he is the nicest man and also just a very, very clever record producer. He really has a great ear and the kind of 11 insight that I don’t know how you get. It was very intense at times so it was really good to have him around.” “It may sound simple, but I guess at the end of the day the producer’s role is to produce, you know, to make the thing happen. And that’s just what he did.” Originally from South London, The Maccabees spent time living in Brighton, and were labelled a Brighton band the first time they came around. There was something about their sound on the first album that separated them from the hoards of London bands around at the time. There was a purity to the music and to the song-writing. They sounded somehow cleaner, less cynical; and talked about love and relationships rather than taking drugs in Hoxton. There’s a part of you that would like to believe this had something to do with the sea air, but judging by Orlando Weeks’ reaction, that might be ever so slightly romantic… “We’ve all moved back to London now,” he laughs, “apart from one of us who’s still there, living on a balcony. We had finished university and Brighton is a fairly small town to be honest. I mean it’s got a lot going for it but I think I just associate it with a certain period now, you know. “It’s probably a really good place to bring up kids though. It’s safe, and pretty and green. I desperately wanted to get back to the smog. I wanted the cancer.” That’s more like it… We ❤ Maccabees Michael WylieHarris gets better and moves on with ees b a c c a The M The Maccabees play the Roundhouse on 25 April as part of Camden Crawl. For ticket info call 0844 482 8008 12 Album Reviews Bat For Lashes David Saw Doves Fanfarlo Feeding Time at the Zoo It helps to make sense of the second Bat For Lashes album if you know that it’s produced by David Kosten, whose solo career as Faultline was a distillation of glacial electronic melancholy; and that the Yeasayers turn up on a few tracks to �provide bass and beat programming’. The former explains some of the shift from weird acoustic folky backing to weird electronic folky backing and the latter gives you an idea of how she’s brought in some of the current �80s revival onto the album. Two Suns itself is a fine thing, continuing to build on the impressive Fur And Gold and neatly side-stepping the more overt Joanna Newsom comparisons. Khan’s lyrics don’t always stand too much scrutiny, but she’s a master at evoking mood. The development of her sound suggests a canny artist, as well as a talented one even if the themes of duality running through the album seem overdone something you’d largely pass over if denied a press release - but as a record of her personal turmoil, it excels. Richard Davie David Saw knows what he’s about. Not only is he completely comfortable making gentle, restrained, melodic guitar music, but one of his songs on Broken Down Figure is called �Buy This Record’. Admittedly, the song isn’t really about keeping the struggling recording industry afloat, but his heart is in the right place. Unfortunately for him, �Buy This Record’ is the most interesting song here. See, staying true to what you believe and making the music you most want to make – which is clearly what Saw does – doesn’t mean it’s going to be interesting or exciting. Broken Down Figure is painfully inoffensive; there is very little to get excited about here. It’s perfectly competent, but since when is mere competence acceptable? Look, if you like relaxed strumming, then Saw is probably a safe bet. But remember kids, home taping is killing music; and the chances are that David Saw won’t save it. Rob Boffard There are some things in life you can rely on. One of them is Doves. In the four years since we last heard a new Doves album a few things have changed. New Rave has been and gone, Bono has tragically died in a freak yachting accident (sorry, I was dreaming for a minute then), and a little thing called MySpace came to being. Some things, though, will never change. Kingdom Of Rust sounds unmistakably like, well… the first three Doves albums. That’s not necessarily a bad thing (this is a great album), but you’d think a record that took four years to make might sound slightly more brave. Multi-layered, moody soundscapes. That inimitable blend of introspective, downbeat Manc rock with fizzingly, euphoric dance crescendos. This is heavy on atmosphere. Music to get lost in. Everything you’d expect from Doves. We just thought there might be a few more surprises. Michael Wylie-Harris London-based Fanfarlo, fronted by Swede Simon Balthazar, headed over to Tarquin Studios in Connecticut to record debut album Reservoir with The National’s producer Peter Katis, and, to some degree, it was a worthwhile trip. Opener �I’m a Pilot’s marching drums, piano-driven melody and delicate orchestration achieves the same anthemic qualities as much of The National output. So too do a handful of other tracks built around piano riffs and smart arrangements. Yet while Reservoir has its share of memorable hooks and well placed instrumentation (including a homemade “magnetic square wave current generator” dubbed a fanfarlophone) combining to create an agreeable whole, the album struggles a little to maintain interest. Balthazar has a singing style reminiscent of David Byrne, particularly evident on �Finish Line’. Nothing wrong with that, except too many Fanfarlo songs simply wash over you and leave little lasting impression. Jake Bickerton We’re always a little wary of record label compilations: if you’ve got so many artists on you’re roster, then why don’t you just release their albums? Yes, we know it costs a bit, but come on, do this properly or not at all. Fortunately, YNR have two things in their favour: they are good at pushing their artists (such as Kashmere, Jyager, Sir Smurf Lil, Asaviour, all of whom have dropped hot sets) and they reek of good music. So while Feeding Time isn’t always as representational of the label’s output as well as it should be, there are some serious highlights to be enjoyed here. Like lyrical trickery? That’ll be Dubbledge and �Alphabets’. Big bass? Kyza’s �Dutty Boy Stomp Down’. Flows? Smurf and the Last Skeptik’s �End of the Day’. Of course, if you like half-arsed raps, Joker Starr and Tranquill are there too. It could do with a bit more polish, but you can still rely on YNR. Rob Boffard Two Suns Parlophone Broken Down Figure Iris Records Kingdom Of Rust Heavenly Records Reservoir Big Dipper Various Artists YNR Productions New albums rated for your listening pleasure Please Release Me... Gallows Jon Hopkins Mamer Mr Lif The Horrors Some questioned, �whatever happened to punk spirit?’ when Gallows signed to Warner Brothers, but it seems not much has changed since �77. Gallows aren’t the first to mix apparent life-or-death dedication to playing with live fast, die young nihilism. And Warner is no worse a media manipulator to get into bed with than Malcolm McClaren. That punk bloodline is highlighted by Carter’s opening growl of “the queen is dead”, setting a familiar grim tone, which fans needn’t fear has been compromised. Musically this may be a different beast to independent debut Orchestra of Wolves, utilizing atmospheric Sabbath sound effects and strings on that opener The Riverbank, and later even an acoustic guitar. It’s more accessible, indeed, but for diversification rather than commercialization. Orchestra... brutalized the ears so relentlessly it made them numb, while Grey Britain throws enough curveballs that each track forces you to pay attention to a message which remains unswervingly brutal. Alison B We’re a bit dazed. We’ve just finished listening to Jon Hopkins’ Insides. It’s a deeply spaced out, trippy collection of chilled pianos, light strings and meaningful chords, occasionally livened up by the odd drum and bass loop. It should suck like the suckiest vacuum cleaner ever. These sorts of things usually do. But it doesn’t. It’s sodding brilliant. Maybe it’s because it all sounds a bit distant, or maybe it’s the superb mastering job done on this record. Whatever. Insides will do what a million Café Del Mar compilations didn’t, and actually relax and stimulate you at the same time. Admittedly, we did listen to this on a lonely highway between Twecu and KwaSandile in South Africa’s Eastern Cape, at 6AM, with the sun poking over the horizon to start a chilly autumn day. But it’ll be pretty good everywhere else, too. Rob Boffard The production on this album is astounding. If folk music from the western Xinjiang province is not your bag then you will be able to at least marvel at the rich sound of this Chinese gem.. Mamer sings with a warm bassy croak while gentle guitar and lilting dombra fill in the gaps, and if at times the morose low-fi threatens to teeter your speakers off the table and disturb sleeping dogs - as on �Mountain Wind’- you soon get used to the sonic depression. Of course I’ve no idea what he’s singing about (for what it’s worth it don’t sound like no Chinese I ever heard) but to help you along, the tracks for the most part are given simple one-word English monikers �Eagle’, �Blackbird’, �Man’ - and seem designed to evoke wistful contemplation of mother Earth as you light another scented candle. This is no bad thing. [Really? Ed] If the language is alien then hopefully the sounds won’t be. Paul Coletti There are timely albums. And then are albums from Mr. Lif. Where other MCs are happy to recycle old beefs when dropping their albums (we’re looking at you, Rick Ross) Lif is like the Boston Globe of hip-hop. He’s first on your doorstep, every time, with a lot to say about modern-day America. In this case, home repossession, police brutality, corporate skulduggery and not trusting the government simply “because it has a friendly face now”. If this sounds dull, it isn’t. This is an album so atmospheric and drenched in quality that it easily ranks as one of the finest releases this year. Both the vocals and the beats sound like they’re coming through the world’s biggest hotbox; Lif’s sucked-up, gravelly voice sounds like he’s spitting after a massive toke of the blunt, and the production is layered with shimmery samples and basement-shaking drums. And then there’s �The Sun’, which is the single of the year thus far. Forget today, you need to hear this right this second. Rob Boffard From the outset The Horrors looked like past victims of a music industry which has almost forgotten what the term �artist development’ means; all the striking looks and big backing to make it happen, and not quite the songs - yet. It didn’t happen with 2007’s Strange House, and their relationship with Loog Records was over soon afterwards. It would be nice to declare that the dark garage rock promise heard on that first recording is fully developed on this XL Recordings sophomore effort, but instead the band appear to have panicked into changing tack entirely. The substance of Primary Colours tends to be similarly distorted under the obvious influence of producer and Portishead mainman Geoff Barrow, creating something more akin to The Editors or Joy Division than the �gothic Sonics’ of Strange House. Again, it has its moments, but there’s a sense that these ideas aren’t developed to their fullest potential. Alison B Grey Britain Warner Brothers Insides Double Six Eagle RealWorld Records I Heard It Today Bloodbot Tactical Primary Colours XL Recordings 13 Bloc Party London Olympia 11 April photo: Rachel Lipsitz Foals London Olympia 11 April If Bloc Party had a hard time doing battle with the dreaded Olympia, then for Foals it was even more of a challenge. The Oxford five piece were the band of 2008 and it showed. Having re-invented the checked shirt, re-invented �math rock’, and – frankly – re-invented Bloc Party, this is a band that truly sum up the phrase �style over substance’. You may have guessed… We do not like Foals! While Kele Okereke had the charisma (though not necessarily the songs) to just about pull this off, Yannis Philippakis most certainly didn’t. Clever billing (this was like putting The Bootleg Beatles before The Beatles) meant those who came to see Bloc Party would almost certainly be Foals’ fan too; but while this assured the band weren’t short on support, it didn’t stop their set from feeling very much like a warm up. Foals played all the hits and some new stuff too, but if Bloc Party weren’t quite �big’ enough to fill this space, then they were never going to manage it. Michael Wylie-Harris Life In Film Man Like Me The Anomalies The Race At The Lock Tavern on Easter Sunday the resurrection of Jesus wasn’t being celebrated with the kind of hushed, religious reverence you might expect from such an important Christian festival. Drink, drink and more drink was more like the order of the day. After all, it’s Easter… we’ve got Monday off. Yes, �Sensible Sunday’ was not the most Christian of affairs. Upstairs at �The Lock’ the Bloody Awful Poetry DJs played a �Soundtracks’ (music from films) set during the day and everything got quite messy. Oddly, perhaps the most serene aspect of the evening was the headline performance of bright, young indie things, Life In Film. The London-based four-piece played a typically subdued set that included standout track and upcoming single release, �I’m Sorry’. Steely, stripped and considered: this is ice cool, accessible post punk. Are these boys the new White Lies, we asked ourselves? Hang on a minute, aren’t White Lies the new Editors? It all got a bit confusing… We were very, very drunk! Michael WylieHarris Man Like Me are a good enough live act that they’d probably quite comfortably fill somewhere like Koko or Cargo or any decent sized venue. Of course, a decent sized venue this was not. This was Ye Olde Axe, a raw EastEnd boozer (which we take a closer look at in Re:Venue on page 10 of this edition). Ye Olde Axe is many things; medium sized venue is not one of them. It’s a pub slash strip club, with a tiny stage. And even before MLM got up, it was rammed. Actually, rammed is perhaps not the right word. Try crushed. Or squashed. It seemed every single person in the East End had turned out to see the funk/rap/dance combo launch their debut album. If you were in the middle of that crowd, you were quite literally a captive audience. People were hanging off the bar. Good thing they were entertained. MLM are a supremely competent live act: rehearsed, slick and cohesive. Lead singer Johnny Langer is a master of crowd interaction, and it’s a pleasure to see something as unusual as a trombone on stage. Whether the group was gyrating up and down to the rambunctious �Donut’ or screaming for hands in the air on the partystarting single �London Town’, the crowd felt them. MLM’s brand of out-ofcontrol party music may not always succeed on record, but there wasn’t a hotter party – or a more packed one – anywhere in London this night. Go see them – just bring a set of crampons. Rob Boffard Anyone who goes to a gig in London this week, or in fact this year, will be hard pressed to find a band that incorporates a higher number of musical genres to their set than Hereford’s The Anomalies did at Camden Barfly. Influences from Boys of both the Beastie (rapping) and Pet Shop (synthesisers) variety feature in most of the ten songs played, but it’s the ska undertones, melodic indie guitars, the odd meaty Morello-esque riff and the Prodigy, Azzido Da Bass and Pendulum samples from DJ Mayhem that give the fivepiece their edge as they constantly bounce up and down in energetic unison. As they constantly swing from one genre to another, pace changes are numerous and executed with flawless timing and precision, quite a feat considering the intricacy and tempo of their sound. The Anomalies’ party-piece, however, is saved until the end of the set. MC Mouthmaster Murf asks the crowd to nominate three words as subjects for a freestyle, and before you know where you are, smilin’ is being rhymed with dandelion, and dishwashers are being used as a clever analogy to �staying fresh’. Following this, a shoe, a stuffed animal and a crutch are passed forward through the 85-strong crowd as topics for an impromptu rap, and more comedic freestyling ensues. It’s unexpectedly funny, which is an added bonus to compliment the bold and inventive music. Joe Tyler Reading quintet the Race have enjoyed a steady rise in the world of nice-boy indie-pop, a world that is already bursting with an assortment of yawn-evoking bands. Tonight they find themselves at Dublin Castle, where the quintet jostle onstage, barely able to manoeuvre their instruments around the miniscule platform. What is instantly evident is that jack-in-a-box vocalist Dan Buchanan has seemingly been wound up and let go, scattily pogo-ing around the stage. Apart from Buchanan, there is very little else going on, movementwise: a �heads down and down-to-business’ ethic is much in evidence. What the Race deal in are lush soaring widescreenatmospherics and the aching vocals of Buchanan (opener �Killer’ is a prime example) who, throughout, is obviously desperate to escape the restrictive one metre squared area in which he is caged. The mid-set apex �Rude Boy’ is crisp, quirky and demonstrates all the adolescent indie qualities that saw Cajun Dance Party rise to prominence last year. �I Get It Wrong’ and �Moorwood’ are the band’s crescendo-filled anthems that bear the weight of their set. Lush melodies escalate into atmospheric avalanches of squeaky-clean indie perfectly efficiently, but it’s hard to shake the feeling that it’s all been done before and probably been done better. After all, where are Royworld and Air Traffic today? Ash Meikle The Lock Tavern 12 April Ye Olde Axe 16 April Camden Barfly 14 April The Dublin Castle 24 March The London Olympia is a peculiar venue. Like Earls Court without the surrounding seats, it feels like a deserted warehouse or disused aircraft hanger. At one end a bar, at the other a stage. Nothing in between. �What’s so unusual about that?’ you might well wonder, and you’d be right, because in truth this venue’s not that different to a lot of London’s other grand halls. But there’s something slightly off-key about the Olympia. A certain feeling of emptiness. It seems, somehow, a bit postapocalyptic. In short, it makes Wembley Arena look atmospheric – and that’s saying something. It could be the fault of the band though. Bloc Party are one of those acts that never seemed to quite follow through on the success of their first album. They promised so much, but never quite delivered. Tonight though, I don’t think we can blame them. Despite the fact the biggest reception comes for anthems like �Banquet’ and �This Modern Love’ (both off the first record), the band do seem in punchy form. Front man Kele Okereke, illuminated by giant TV screens either side of the stage, is in determined mood and the Bloc Party sound – all synths, pounding drums and jagged guitars – is taking no prisoners. Recent hit �Mercury’, with its repetitive, distorted vocals and onslaught of electronic aggression, perhaps sums up the night. There’s something missing. Something that’s not quite there. This is a band that doesn’t quite deliver, in a setting where – more than anywhere – you really need to. Michael Wylie-Harris There are bands that could only have issued forth from the fertile, if unsanitary, loins of Shoreditch. Indeed, it’s almost impossible to imagine some of them playing anywhere else, in front of any other audience. Kasms are such a band. I bet they get a nosebleed if they ever get as far as Camden Town. This need not be a bad thing, however - at one time it would have been difficult to imagine Blondie playing anywhere other than CBGB’s, until the whole world wanted to see them. Kasms are a few strong songs away from their �Denis’ moment, although the recent single �Bone You’ has undeniable raggyarsed, hyper-active punk appeal. Where this (ahem!) �Shriek Beat’ quartet are so engaging is in the energy of their live performance, particularly that of singer Rachel Mary Callaghan, who spends more time on the floor than on her feet, legs akimbo and generally going out of her way not to be mistaken for a graduate of Cheltenham Ladies College. It’s all loud, it’s all ill-mannered and it’s all proper, street-level rock n’ roll. Hoxton style. Richard Hodkinson Kasms The Macbeth 11 April photo: londontourpix Live Review Gig Reviews 14 Gig Reviews Plan B 17 April photo: Rachel Lipsitz Cargo 15 April Aural History The latest act from the seemingly endless female singer/songwriter conveyor begins with a quiet, wistful opener that showcases her impressive voice. The full band join her for �I Hate The Way’, which burns slowly with a sinister keyboard before erupting into a glorious wall of noise. These songs are too big for the cavernous Cargo. They are made for the open air. Unfortunately, the novelty soon wears off as Scattergood adopts the same format for the majority of her songs. This gradual build-up is one of two themes to run through her music. The other is, predictably, lyrics that never deviate from the old chestnut; romance. Lyrically she owes a great deal to Lily Allen and Kate Nash, indeed, forthcoming single �Please Don’t Touch’ could quite comfortably slot into a Nash set. As such, it is three years too late for her to be characterised as a pioneering artist. That said, Scattergood is an engaging performer, embracing the crowd with her offbeat style, which suggests that she will hold on to her audience. Richard Bowes On an atrocious night in south London where the pounding rain makes it feel like the world is coming to an end, a handful of those in the know take refuge at Brixton’s Plan B for what’s dubbed as one of the freshest new nights in town: On the Real. Put together by The Doctors Orders who did a fine job celebrating J Dilla’s life a couple of months ago at Cargo, expectations are high. And we’re not disappointed, with a star studded line up of underground pioneers taking to the wheels of steel. The place is rammed to the rafters with good vibes. Milling around from room to room, it’s hard not to get sucked in by the atmosphere. As every record passes, we’re transported further and further back in time. Rich Medina is the night’s show piece, commanding the crowd with thick doses of black music that transcend genre, and it’s not hard to see why he comes from the States so hotly tipped. There’s a real sense of community in here and it feels fitting that an area so often associated with all the wrong things should host a night boasting a plethora of DJs spinning tunes from a genre often associated with all the wrongs things. As the event comes to an end and we’re forced to face the British weather once again, a glimmer of warmth still burns inside – top draw. Charlie Hearn Transglobal Underground Dingwalls 9 April photo: Mike Eccleshall Rich Medina/On the Real Polly Scattergood Although billed as an album launch party for Transglobal Underground’s recently released Best Of album, Run Devils and Demons, this gig was, in effect, the closest you can get to an indoor mini-festival without actually laying down turf and importing a rain machine. The Hanging Ropes kicked off the live proceedings with their infectious mixture of bluegrass and burlesque. Despite having no rhythm section at all they managed to whip up a foot storming reaction from the eager crowd. Great stuff. Dreadzone Soundsystem kept up the energy, with DJ Greg Dread blasting out Dreadzone orientated set of classics one after another, thus giving the awe-inspiring and immensely versatile MC Spee the ammunition required to go hard. By the That this Berlinbased quartet are amassing a cult following is selfevident tonight. Showcasing their second album Rules , their delectable, sparse disco-funk is fused with metronomic guitar pop. �1517’ indie The Whitest Boy Alive Cargo 17 April time the Transglobal Underground hit the stage, there was a palpable sense of expectation. They did not disappoint. They tore through a 90 minute set of classics – from the very first single (�Templehead’) to the most recent (�Dancehall Operator’). For the uninitiated, TGU produce an incredible blend of just about every danceable musical style from across the globe, from smart Latin beats to clattering Dhol-led rhythms. Sitar mingled with vocal samples, bass guitar with bhangra. With so much going on at one time, it could be a disaster – but it isn’t. It just sounds magical. TGU don’t play many gigs, preferring instead to stick to festivals and outdoor events. On the strength of tonight, they should be doing a great deal more of both. Michael Eccleshall hooks intertwine with the Balearic club sound that made Friendly Fires such a sumptuous proposition of late. Willowy frontman Erland Oye’s in playful mood tonight, mastering an air trumpet solo , while the band’s hybrid sound shifts constantly, mixing velvety lounge-style electro with that whiff of the Ibiza vibe. �Courage’ incites a The Umbilical Brothers The Umbilical Brothers are two Aussie comedy stars who use mime and puppetry to make people laugh. They’ve released two live show DVDs and have performed in the US on the David Letterman and Jay Leno TV shows. David Collins seems fairly sane, but Shane Dundas says he was born twelve thousand years ago on the planet Zargoth. Which would explain the answers below. What’s your favourite album and song ever? For sentimental reasons I’d have to say the first album I ever bought - New Order’s True Faith. It was after seeing the video much later that I realized that that’s what I wanted to do with my life: produce weird ass shit. What was the best year for music and why? 2002. The Umbilical Brothers release their multi-digit selling dance single �Don’t Dance To This’. Why? Even though it goes nowhere near tin, let alone gold, it achieved our aim- to go to the ARIA’s (Australian Record Industry Awards) and more importantly, the after party. What’s your earliest musical memory? Being dragged along to see Cats. Need I say more? OK, I hated it. Is there any particular album or song you never want to hear again in your life? That freakin’ Barbie song. There should be a law about producing music that eats into your brain and makes you want to kill yourself. crowd seizure and the electromelancholic �Figures’ exhibits the diversity of the band’s material. �Signature Burning’’s sparse, slick simplistic beats typify their sometimes tinny sound on record, but soaring synths allow the song to bloom on stage. All told, WBA are pretty seductive tonight. Ash Meikle If you could go back in time which musical figure would you like to meet? No need to go back in time. Nick Cave. Or I guess I could go back in time to one of his Birthday Party gigs and ask him to put the needle down, get past this rubbish and onto the next part of his musical life, which just keeps getting better and better. Who would you put in your fantasy band (drums, bass, guitar, vocals)? Animal from Muppet Show on drums (controlled by Ginger Baker from Cream), Rebekah Whitehurst from the Sexy Finger Champs on bass (nothing sexier than a female bassist), an 18 year old Ace Frehley from Kiss [pictured, obviously] on guitar (before he fried his brain), and me on vocals. What’s the best gig you have ever been to and why? Woodstock �99. Mainly because we were on the bill. We performed on the main stage after James Brown. What was the first gig you ever went to? On a school night I went to see The Screaming Tribesmen. I was the smallest person in the room, and the only one not wearing a leather jacket, or carrying a knife. Loved it. What was the last gig you went to and how was it? The Wiggles. Unfortunately they weren’t giving it the full wiggle. Fuckers. CD, Vinyl or MP3? CD John or Paul? John East Coast or West Coast? West Coast Dylan or Elvis? Elvis Live Preview ust describing Alec Empire’s music is task that would require more words than are available here. �Diverse’ and �contradictory’ might be a good start for a catalogue which spans more than 20 years, and takes in jazz, hip-hop, the co-founding the Digital Hardcore label and the sound it lent it’s name to, a spell as a metal mag cover star and even an unlikely gig scoring the blockbusting The Fast And The Furious : Tokyo Drift. The most accurate generalization that could be made, though, is that only the unexpected is to be expected. So should we be surprised that he has recently written his first piano ballad? “I think when you hear it it’s quite logical”, Empire says of the track, which appears on forthcoming E.P Shivers. “It’s very dark, it’s got a sort of Kraut Rock vibe to it... [parts of that E.P] reflect the new party scene that’s going on here in Berlin right now, but bigger sounding than all the minimal stuff that has been coming out of Berlin. Still, fans might be shocked”. Almost certainly, since Empire admits he was only spurred on to approach the piano after a German journalist joked “�the day you write a piano ballad, your career is dead’. Then I was like �okay, I actually have to do this!’”, he laughs. That sentiment is quite typical. One of the few constants in Empire’s mixed-up musical output has been a recurring theme of youthful rebellion, and a teenage urge to be contradictory for contradictions own sake. It’s seem most obvious in Atari Teenage Riot, Empire’s former band with Nic Endo, with whom he collaborates again on Shivers, and is picked upon in numerous other recording aliases and song titles. He admits his tendency to move rapidly from one musical idea to the next is partly borne from a lack of patience (which makes Endo one of the few collaborators who continues to complement Empire live and on record; “she has a very different approach... she’s very precise and the way she creates sounds takes a little longer”) and confesses that he finds amusement in antagonizing his own fans. Having gone to the polar opposite of everything Digital Hardcore Recordings stood for on last album The Golden Foretaste Of Heaven, by opting for an analogue recording, he now tells “if I see a DHR fan with like a shaved head and army clothes and a DHR tshirt [the image associated with this aggressive period of Empire’s career] at a show I’ll want to play a slow song. If this guy won’t stop screaming �Harder! Harder!’ it gets softer and softer. But that’s a fun thing”, he says, a smile showing in his voice. This attitude should make conversation with Empire infuriating, but in truth it’s not long before you come to appreciate his peculiar sense of �fun’, and find yourself laughing with him. And of course fun and laughter are perhaps not to be expected here either, given that the other on-going theme to Empire’s music is uncompromised political commentary, with origins in a West Berlin upbringing and formative years spent on the city’s political punk circuit. It’s this background, he suggests, that gives him a sense of perspective allowing for a less-than-serious approach to the popularity contests of the music world. “At the end of the day it’s music”, he shrugs, “a good example is that video I made with Patrick Wolf [another regular collaborator, with whom Empire produced the track Vulture, and its accompanying provocative promo short]. Some people were so angry about that, and to me that sort of thing is funny. I know some people, especially guys, were like �What is this!? It’s so gay!’. People get so angry about that stuff and then their own country goes to war, or gets involved in war, and they don’t say anything! To me that’s insane...” he sighs. Although Empire is often considered a political artist he chose on The Golden Foretaste... to focus on “pretty personal stuff”, perhaps, predictably, to prove the point that he “[doesn’t] have to write political songs all the time... it was almost like people expected me to say stuff against Bush back then, and that would so predictable”. Now however he states of Shivers that it contains one Metal, jazz or of his “most directly” political songs yet, Baby Skulls. In typical style this Kraut Rock - even comes not when Bush-critique lite was so in vogue that once unapologetically dumb pop punks Green Day were credited with driving the his most ardent bandwagon, but at a time when Empire feels “a lot of people are fans never know almost totally won over by Obama”. He concedes that this “is of course the signal that change is afoot”, but still goes on “I’m not what to expect stupid, and I don’t mean that as a criticism of the people that are impressed by him, because that doesn’t help anyone right now. next from But I see people almost turning away from politics because . they thing �ah, there’s this new rockstar type guy’... and that makes it even more important that we watch what’s Alison B takes her happening, and don’t switch off just because he looks a best guess certain way and has a certain way of talking”. Empire often feels his musical contemporaries are especially guilty of such apathy. “I expect much more from [the music scene] at times”, he says. “I think the scene has almost got itself into that trap, where nobody can really say something. You know German radio stations don’t really want anything political on air, and in general the scene has become maybe too compromised in the past decade. I mean it would be great of course if something similar to punk in the late 70s would happen again”, he declares, when the topical theory that times of recession can produce the most confrontational art is raised, continuing “as a music fan I link music with strong political statements to just exciting music, because I think then people mean what they say... but I’m questioning if that can happen at this point, where festivals and venues are so sponsor controlled. I think more musicians should speak out, but I think a lot of opportunities are missed on the current music scene”. Throughout the 90s Empire based Digital Hardcore Recordings out of London, until a sense that the British scene has reverted from radicalism into the safety of retroism led him to relocate back to Berlin. So it is that he approaches returning for a unique show in Camden on 1 May, which promises to air some old Atari Teenage Riot material not played live in years, with mixed feelings. “I have tried to stay away from playing ATR songs”, he admits, “but I think now enough time has passed and I know a lot of people are really excited about us doing those old tracks... I’m kinda looking forward to it”, he adds. “We wanted to do that show because it’s May 1st, which is the tenth anniversary of ATR playing those �riots’ [an outdoor show in Berlin, which saw the entire group arrested for �inciting violence’], and because the 2nd”, he continues, not missing a beat, “is my birthday”. It’s just the sort of conflicting reasoning you might expect from the fun-loving face of West German activist art. J Alec Empire Alec Empire plays The Underworld on 1 May. For ticket info call 020 7482 1932 15 tourdates.co.uk & london ttourdates want YOUR Gig And Concert Listings! Reach thousands of London and UK music fans every week and it won’t cost you a penny! HMV Forum 19:00 The Levellers IndigO2 at The O2 21:00 Guilty Pleasures Comes Alive The Lexington 21:00 27/11 Luminaire 20:00 Cats on Fire Monto Water Rats 18:00 Oneyeopen The O2 Arena 19:00 Bob Dylan O2 Shepherds Bush Empire 19:30 Yeah Yeah Yeahs The Pigalle Club 21:00 Dr Teeth Big Band The Roundhouse 20:00 Maccabees The Spice Of Life 20:00 Thee Single Spy / Coppertone Rose / Paul Mosley Vibe Bar 20:00 Drop Sun 26 Apr Borderline 19:30 Asva Dingwalls 19:30 65 Days Of Static Koko 19:00 Vanessa Da Mata Members can check out the best new bands, listen to MP3s, post comments on the best (and worst!) and can show the world you care through our new merchandise store. Wear your Dave Grohl with pride, rock fans! Luminaire 21:00 Casiotone for the Painfully Alone Monto Water Rats 19:00 Rat Attack O2 Shepherds Bush Empire 19:30 Yeah Yeah Yeahs The Troubador 18:00 The Males / Henry Brill and the Electric Co. / Kimya / Shower Kids Union Chapel 20:00 Ben Taylor The World’s End 20:00 Marvel Mon Apr 27 Barbican Centre 19:30 Madeleine Peyroux Barfly 19:30 We Made God Cobden Club 20:15 Foxtrot Bravo Dingwalls 20:00 Foy Vance tourdates.co.uk where fans meet bands Fri 24 Apr 12 Bar Club 20:00 Chog Town 100 Club 20:30 Dr Feelgood Barfly 22:00 Yashin Borderline 19:30 Earth Camden Centre 20:00 Incognito / Norman Jay The Cavendish Arms 19:00 Mark Crofts Corsica Studios 22:00 Trouble Vision HMV Forum 19:00 A Night At The Theatre With Asia ICA 19:30 Golden Silvers Inn On The Green 20:00 Smokey Angle Shades Plan B 10:00 Orginal Sin / eksman Proud Gallery 20:00 Bruised Beauties / Officer Kicks Scala 20:30 Pilooski / This Is Not London / Who Made Who The Shooting Star 20:00 The Amateurs Tommy Flynn’s 17:00 The Dash The Wilmington 20:30 Penny Broadhurst & The Maffickers The World’s End 16:00 Marvel Sat Apr 25 93 Feet East 20:00 Ghost Frequency / Citadels / Hoodlums The Lexington 20:00 White Light / Shock Defeat / Horse And Condor The Albany 19:30 Jazz Jamaica O2 Academy Islington 18:30 Spear Of Destiny Bardens Boudoir 21:00 Popcorn (Push) / Cb&Mb (Colony) / Faux,Pas Luminaire 20:15 The Dykeenies O2 Shepherds Bush Empire 19:30 Gomez Apollo Hammersmith 19:30 The Zombies / Odessey / Oracle And Beyond Bar Rumba 22:00 Hafdis Huld ICA 19:30 Juana Molina IndigO2 at The O2 19:30 Raphael Saadiq Luminaire 21:00 Casiotone for the Painfully Alone Monto Water Rats 19:00 The Seal Cub Clubbing Club Peter Parker’s Rock n Roll Club 21:00 Peter Parker Powers Bar 21:00 Henrik The Roundhouse 19:00 Ojos De Brujo Scala 19:30 Sonic Youth The Slaughtered Lamb 20:00 Chris Wood Tue Apr 28 Bardens Boudoir 21:00 The Body Electric / Yokozuna / Arthur / Unkindness Of Ravens Barfly 19:00 The Bishops Borderline 19:30 Amazing Baby Catch 21:00 Polka Party The Cavendish Arms 20:00 Adam Tunji Dingwalls 20:00 Brakes The Dublin Castle 20:00 Sleepercurve ICA 19:30 Micachu Koko 20:00 Easy Star All-Stars Monto Water Rats 19:30 Nightmare Of You / Reamonn Peter Parker’s Rock n Roll Club 21:00 Peter Parker The Pigalle Club 20:00 Globe Girls The Roundhouse 19:30 Basement Jaxx Scala 19:30 Duke Special The Slaughtered Lamb 20:00 Jamie Woon Wed Apr 29 12 Bar Club 20:00 The Dash 229 20:00 The Woe Betides 333 Motherbar 20:15 Marvel 93 Feet East 19:30 Flashlight Parade Bardens Boudoir 21:00 Blurt / The Inconsolables / Seasick Barfly 20:15 Namaste Belushi’s in Covent Garden 20:00 Sam Sallon Borderline 19:00 Ella Edmondson Cargo 22:00 Fight Like Apes The Cobden Club 20:30 Tiptoe Around The Jungle The Dublin Castle 21:00 Bensem Hoxton Bar And Kitchen 19:30 Goldhawks Jazz Café 21:00 Buck 65 Koko 19:30 The Rakes The Legion 20:15 The Legion The Lexington 20:00 Blue Ghost Blue Ghost / Grampall Jookabox / Toe Hammer Monto Water Rats 19:00 Jeniferever O2 Academy 2 Islington 19:30 Ruarri Joseph Peter Parker’s Rock n Roll Club 21:00 Peter Parker The Rhythm Factory 21:00 Adrian Royle & The Exiles Proud Gallery 19:30 Basement Jaxx The Victoria 20:00 Battant Wembley Arena 19:30 Australian Pink Floyd Thur Apr 30 93 Feet East 19:30 Ill’a’noize 229 19:00 Elmor Bardens Boudoir 21:00 Themselves / SJ Essau / Nullifier Barfly 19:00 The Cinematics Borderline 19:00 Tom Allalone & The 78’s Café Oto 21:00 Ryan Driver/ Georgias Horse Dingwalls 20:15 Peatbog Faeries Electric Ballroom 20:00 Alabama 3 / The Blockheads HMV Forum 19:30 Friendly Fires ICA 19:30 The Mummers Koko 21:00 Annie Mac Presents / Little Boots The Lexington 20:00 Part Time Heroes / Sound Of Rum / Benin City The New Cross Inn 21:00 The Plymouths / The Berettas O2 Academy 2 Islington 19:30 Azriel The Pigalle Club 21:00 The Sound Of Motown With Noel Mckoy The Purple Turtle 19:30 Widows Scala 20:00 The Boxer Rebellion / Pure Reason Revolution / The Race Sound 20:00 The Spindle Sect ULU 19:30 Esser Fri May 1 100 Club 20:30 Chas & Dave Corsica Arts Studio 21:00 Forever Heavenly Coronet Theatre 22:00 Fischerspooner / Neon Noise Project The Gallery Cafe 20:00 Leila Adu / Clang Sayne The Luminaire 20:00 Emily Barker And The Red Clay Halo Inn On The Green 19:30 Smokey Angle Shades O2 Academy Brixton 19:30 Doves Peter Parker’s Rock n Roll Club 21:00 Peter Parker The Pigalle Club 21:00 Jazz Dynamos Ray’s Jazz Café, Foyles Bookshop 13:00 Emily Barker And The Red Clay Halo Scala 19:30 Sonic Boom Six The Wilmington Arms 20:15 Toodar Underworld 19:00 Alec Empire Union Chapel 20:00 James Marsters Sat May 2 93 Feet East 20:00 B&M Presents... Apollo Hammersmith 19:30 Gary Moore Bar Rumba 22:00 Modus Barfly 19:00 The Ruskins Borderline 19:00 Jim Bob / Tim Ten Yen Bullet Bar 21:30 Fifty Six The Good Ship, Kilburn 19:00 The Dissociates / Arcs / We are the Dead / The Sagens Halfmoon, Putney 20:30 Nick Harper Jamm, Brixton 20:00 Hana:B / The Energies / Metonia Koko 22:00 Dub Pistols / Trojan Sound System Sun May 3 Barfly 19:30 Skeletons Borderline 19:00 Kira Kira Dingwalls 20:00 Aynsley Lister The Good Ship, Kilburn 19:30 Sunday Cruise Halfmoon, Putney 20:00 Nick Harper IndigO2 at The O2 19:00 Chipmunk / Ironik / Project Urban 2009 / Tinchy Stryder The New Cross Inn 21:00 Bacardiac Arrest O2 Academy Islington 18:30 King Lizard O2 Shepherds Bush Empire 19:00 Nofx The O2 Arena 19:30 Tina Turner Purple Turtle 19:15 Death Sentence / Sanctorum The Slaughtered Lamb 19:30 Cyrus Gabrysch / James Apollo Mon May 4 The Lexington 20:00 Richard Swift / Larsen B Lyceum Theatre 20:00 Al Stewart O2 Academy Islington 19:00 Per Gessle & Band Peter Parker’s Rock n Roll Club 21:00 Peter Parker Royal Albert Hall 19:30 Joe Bonamassa Tabernacle, Notting Hill 20:00 Engine Room Collective Union Chapel 20:00 Fito Paez Wembley Arena 17:00 Kirk Franklin At The Oraclez Tue May 5 Borderline 19:00 Kimmie Rhodes Bush Hall 20:00 The Miserable Rich Monto Water Rats 19:00 Richard Swift O2 Academy Islington 19:30 Therapy Peter Parker’s Rock n Roll Club 21:00 Peter Parker The Rhythm Factory 21:00 Calatrilloz / Filthy Kicks Ronnie Scott’s 19:00 Kirsty Almeida / 6 Day Riot / The Ryan O’Reilly Band / Tali Trow The Roundhouse 19:30 The Fray Scala 19:30 Calvin Harris The Slaughtered Lamb 20:00 Jamie Woon / Sound Of Rum The Lexington 19:00 Left With Pictures / My Sad Captains / The Outside Royalty / The Riff Raff Wed May 6 The Old Blue Last 20:00 Men / Wetdog / Navvy Cargo 22:00 Youngbloods Brass Band / Imperial Leisure Monto Water Rats 19:00 Helsingfors O2 Academy Brixton 19:30 Doves O2 Shepherds Bush Empire 19:00 Nofx The Pigalle Club 21:00 Blue Harlem Plan B 21:00 Norman Jay Scala 22:00 Brakes / Derek Meins / The Molotovs The Spice Of Life 20:00 O, Titus / Hair Traffic Control / Noble Rogues Tommy Flynn’s 20:00 Bruised Beauties / Fearless Vampire Killers 93 Feet East 19:30 The Kits Barden’s Boudoir 20:00 Blk Jks Borderline 19:00 Clem Snide The Good Ship, Kilburn 19:30 Zombie Zombie / Lime Headed Dog / Provokiev Heaven 19:00 Killing Joke HMV Forum 19:30 Devo KCLSU 20:00 A Camp The Legion 19:00 Black Helium / What Every Woman Wants / Astrophysics / To The Boats…! The Lexington 22:00 AU Monto Water Rats 19:30 Reamonn Cross Kings 20:15 Molloy The Lexington 20:00 Tribazik / Dog*Shite Peter Parker’s Rock n Roll Club 21:00 Peter Parker The Unicorn 20:00 Achilla Underworld 18:00 Sonic Boom Six O2 Shepherds Bush Empire 19:30 Taylor Swift Peter Parker’s Rock n Roll Club 21:00 Peter Parker The Roundhouse 19:30 The Fray Royal Festival Hall 19:30 BBC Concert Orchestra / Raga Mela Scala 19:30 Ghostface Killah The Slaughtered Lamb 20:00 Show Without Punch / Dorian Wood Thur May 7 93 Feet East 19:30 The Franks Bardens Boudoir 21:00 Bishop Allen Barfly 19:00 Origin The Dublin Castle 20:00 Dexy The Good Ship, Kilburn 19:30 The Tivoli / Clones / Josh Friend / Ryan Keen / Paul Raj IndigO2 at The O2 19:30 Brandy Monto Water Rats 19:00 Reverend Peyton’s Big Damn Band The New Cross Inn 21:00 Higgy / Le Plat Du Jour / Spaghetti Anywhere / Hijera / Fresh Legs O2 Academy Brixton 19:30 The Specials O2 Academy Islington 19:30 Ginger The O2 Arena 19:30 Razorlight O2 Academy Brixton 19:30 The Specials 12 Bar Club 020 7240 2120 Denmark Street WC2H 8NL Tube: Tottenham Court Road 93 Feet East 020 7247 3293 150 Brick Lane E1 6QL Tube: Liverpool Street 100 Club 020 7636 0933 100 Oxford Street W1D 1LL Tube: Tottenham Court Road 229 0871 332 4496 229 Great Portland Street W1W 5PN Tube: Great Portland Street 333 Motherbar O2 Shepherds Bush Empire 19:30 Taylor Swift The Old Blue Last 20:00 Glass Diamond The Old Queens Head 21:00 The Berettas / Kyoshi / Shuffle / Joanna And The Wolf Peter Parker’s Rock n Roll Club 21:00 Peter Parker Rough Trade East 18:00 Sleepy Sun Scala 19:30 The Broken Family Band 020 7739 5949 333 Old Street EC1V 9LE Tube: Old Street The Albany 020 8692 4446 Douglas Way, Deptford SE8 4AG Train: Deptford The Arches 020 7403 9643 51/53 Southwark Street SE1 1RU Tube: London Bridge Apollo Hammersmith 020 8748 8660 Queen Caroline St W6 9QH Tube: Hammersmith Barbican Centre Fri 8 May The Arches 21:30 A-Trak The Good Ship, Kilburn 19:30 The I Hearts / Obvious Books / The Leylanas HMV Forum 19:00 Beirut 020 7638 8891 Silk Street, London EC2Y 8DS Tube: Barbican Bardens Boudoir 020 7249 9557 36-44 Stoke Newington Road N16 7XJ Tube: Dalston Kingsland Barfly IndigO2 at The O2 19:30 Little Feat Koko 19:30 The Airborne Toxic Event Monto Water Rats 19:00 States Of Emotion O2 Academy Brixton 19:30 The Specials O2 Shepherds Bush Empire 19:00 Shannon Noll 02 Islington Academy 2 22:00 Bob and Veronica’s Book Club The Pigalle Club 21:00 Julia Fordham The Purple Turtle 19:30 The Wintermans 020 7961 4244 49 Chalk Farm Road NW1 8AN Tube: Chalk Farm Bar Rumba 020 7287 6933 36 Shaftesbury Avenue W1D 7EP Tube: Piccadilly Circus Belushi’s 020 7240 3411 9 Russel Street WC2B 5HZ Tube: Covent Garden Borderline 020 7734 5547 Manette Street W1D 4JB Tube: Tottenham Court Road Bullet Bar 020 7485 6040 147 Kentish Town Road Tube: Kentish Town Bush Hall The Roundhouse 19:30 The Qemists / Turning Point / Zane Lowe The Spice Of Life 20:00 For The Common Wealth / The Morning Orchestra / Roy Rieck & The Medley Band 020 8222 6955 310 Uxbridge Road, London, W12 7LJ Tube: Shepherd’s Bush Market Café Oto 020 7923 1231 18 - 22 Ashwin St E8 3DL Tube: Dalston Kingsland Camden Centre 020 7974 5633 Bidborough Street, WC1H 9AU Tube: King’s Cross ST Pancras Tommy Flynn’s 20:00 Penicillin/ Milk Kan / Private Trousers / Larry Pickleman Catch O2 Academy 2 Islington 19:30 Bob Mould tourdates.co.uk The Pigalle Club 21:00 Ronnie Scott’s Rejects / Helena Jessie O2 Academy Islington 19:30 Fightstar THELIST THELIST Dutch Master Boat Tower Millenium Pier 20:00 Lord Byron Venue Contacts 16 Cavendish Arms 020 7627 0698 128 Hartington Road SW8 2HJ Tube: Stockwell 02 Arena Scala Cobden Club 02 Academy Islington The Shooting Star 020 8960 4222 170 Kensal Road W10 5BN Tube: Westbourne Park The Coronet Theatre 020 7701 1500 28 New Kent Road SE1 6TJ Tube: Elephant and Castle Corsica Studios 020 7703 4760 Units 4/5, Elephant Road SE17 1LB Tube: Elephant and Castle Cross Kings 020 7278 8318 126 York Way N1 0AX Tube: Kings Cross Dingwalls 020 7428 0010 Middle Yard, Camden Lock NW1 8AB Tube: Camden The Dublin Castle 020 8806 2668 94 Parkway NW1 7AN Tube: Camden Electric Ballroom 020 7485 9006 184 Camden High Street NW1 8QP Tube: Camden Town The Gallery Café 020 8983 3624 21 Old Ford Road E2 9PL Tube: Bethnal Green The Good Ship 020 7372 2544 289 Kilburn High Road NW6 7JR Tube: Kilburn Halfmoon, Putney 020 8780 9383 93 Lower Richmond Road SW15 1EU Tube: Putney Bridge Heaven 020 7930 2020 9 The Arches Villiers St WC2N 6NG Tube: Charing Cross HMV Forum 020 7284 1001 9-17 Highgate Road NW5 1JY Tube: Kentish Town Hoxton Bar and Kitchen 020 7684 8618 11 Hoxton Square Tube: Old Street ICA 020 7930 3647 12 Carlton House Terrace SW1Y 5AH Tube: Charing Cross IndigO2 at the O2 0844 844 0002 Gate 3A Millennium Way SE10 0AX Tube: North Greenwich Inn On The Green 020 8962 5757 3-5 Thorpe Close W10 5XL Tube: Ladbroke Grove The Jamm 020 7274 5537 261 Brixton Road SW9 6LH Tube: Brixton Jazz Café 020 7485 6834 5 Parkway, Camden NW1 7PG Tube: Camden Town Koko 0870 4325 527 1a Camden High Street NW1 0JH Tube: Mornington Crescent The Legion 0871 917 000 348 Old St EC1V 9NQ Tube: Old Street The Lexington 020 7837 5371 96-98 Pentonville Road N1 9JB Tube: Angel Luminaire 020 7372 7123 311 Kilburn High Road NW6 7JR Tube: Kilburn Lyceum Theatre 0870 243 9000 21 Wellington Street WC2E 7RQ Tube: Covent Garden Monto Water Rats 020 7813 1079 328 Grays Inn Road Tube: King’s Cross St Pancras 0871 917 0007 323 New Cross Rd SE14 6AS Tube: New Cross Gate The New Cross Inn 020 7729 6097 22 Kingsland Road E2 8DA Tube: Old Street The Old Blue Last Cargo The Old Queens Head 020 7739 3440 83 Rivington Street EC2A 3AY Tube: Old Street 0207 739 7033 38 Great Eastern St EC2A 3ES Tube: Old Street 020 7354 9993 44 Essex Road N1 8LN Tube: Angel 020 8463 2000 Peninsula Square Greenwich SE10 Tube: North Greenwich 020 7288 4400 16 Parkfield St in the N1 Centre N1 0PS Tube: Angel 02 Shepherds Bush Empire 0870 771 2000 Shepherd’s Bush Green W12 8TT Tube: Shepherd’s Bush Peter Parker’s Rock n Roll Club 07920409215 4 Denmark Street WC2H Tube: Oxford Street The Pigalle Club 020 7287 3834 215-217 Piccadilly W1J 9HN Tube: Piccadilly Circus Plan B 020 7681 3731 418 Brixton Road SW9 7AY Tube: Brixton Powers Bar 0871 917 0007 332 Kilburn High Rd NW6 2QN Tube: Brondesbury Proud Galleries 020 7482 3867 The Stables Market Chalk Farm Road NW1 8AH Tube: Chalk Farm Purple Turtle 020 7383 4976 61-65 Crowndale Road NW1 1TN Tube: Mornington Crescent Queen Elizabeth Hall 0871 663 2501 SouthbankCentre Belvedere Road SE1 8XX Tube: Waterloo Ray’s Jazz Café, Foyles Bookshop 020 7437 5660 113-119 Charing Cross Road WC2H 0EB Tube: Leicester Square Ronnie Scott’s 020 7439 0747 47 Frith Street Soho?W1D 4HT Tube: Tottenham Court Road Royal Albert Hall 020 7589 3203 Kensington Gore SW7 2AP Tube: Knightsbridge Rhythm Factory 020 7375 3774 16-18 Whitechapel Road E1 1EW Tube: Aldgate East Rough Trade East 020 7392 7790 Dray Walk, 91 Brick Lane E1 6QL Tube: Liverpool Street The Roundhouse 020 7424 9991 Chalk Farm Road NW1 8EH Tube: Chalk Farm 020 7833 2022 275-277 Pentonville Road N1 9NL Tube: King’s Cross St Pancras 0871 917 0007 125-129, Middlesex St E1 7JF Tube: Liverpool Street Slaughtered Lamb 0871 0757 467 34-35 Great Sutton Street EC1V 0DX Tube: Farringdon Sound 0870 863 1010 1 Leicester Square WC2H Tube: Leicester Square The Spice of Life 020 7437 7013 6 Moor St W1D 5NA Tube: Leicester Square The Tabernacle 020 7221 9700 Powis Square W11 2AY Tube: Ladbroke Grove Tommy Flynn's 020 7387 3691 55 Camden High Street Tube: Camden Town Tower Millenium Pier 020 7623 1805 Tower Hill, Tower Bridge Road EC3 Tube: Tower Hill The Troubador 020 7370 1434 263-7 Old Brompton Road SW5 9JA Tube: Earl's Court ULU 020 7664 2000 Manning Hall, Malet Street WC1E 7HY Tube: Goodge Street The Underworld 020 7482 1932 174 Camden High Street NW1 0NE Tube: Camden Town The Unicorn 020 7485 3073 227 Camden Road NW1 9AA Tube: Camden Town Union Chapel 020 7226 1686 Compton Terrace N1 2UN Tube: Highbury and Islington The Vibe Bar 020 7247 3479 91-95 Brick Lane E1 6QL Tube: Liverpool Street The Victoria 02089807932 Tower Hamlets E3 5TH Tube: Bethnal Green Wilmington Arms 020 7837 1384 69 Rosebery Avenue EC1R 4RL Tube: Barbican Wembley Arena 020 8782 5500 Empire Way, HA9 0PA Tube: Wembley The World's End 0871 917 0007 174 Camden High Street NW1 0NE Tube: Camden Town london ttourdates is an independent publication produced by Cultural Times Publications Ltd in association with tourdates.co.uk Issue 45 © 24 April - 8 May 2009 Cover: Little Boots plays Camden Crawl on 25 April Editor Rob Boffard 020 7226 6545 rob@tourdates.co.uk Chief Staff Writer Michael Wylie-Harris 020 7226 6512 michael@tourdates.co.uk Staff Writers Alison B, Helen Culley, Mark Grassick Editorial Contributors Jake Bickerton, Richard Bowes, Paul Coletti, Richard Davie,Michael Eccleshall, Charlie Hearn,Ash 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