Label of the decade - Hyperdub

Perhaps an indication of one of the albums of the last ten years, no label has been as influential yet stayed true to its roots as Hyperdub.


Hyperdub, formed in 2004 by University lecturer Steve Goodman is of course a south London dubstep label, credited as being one of the first labels to introduce the dubstep soud to the commercial markets. In 2004, the London music scene was still reeling from the crash of garage and 2step music, a scene that left london MC's and producers with little say in a music industry that was distancing itself from the violence and drugs that had inevitably accompanied the scene when it errupted in the late 90s.


Beginning with the release of his alter-ego Kode9, it wasn't until 2005 when Hyperdub made a serious splash. In May 2005, Burila released his first EP, the South London Boroughs EP, shortly followed by Kode9 + The Spaceape single, Kingstown. Kode9 + The Spaceape were to form a stunning partnership, dark and brooding beats coupled with low jamaican grumbles, the likes of which had rarely been heard. They provided an alternative to Aphex Twin and Squarepusher in the IDM field, proving that electronic music was valuable beyond dreamy synths and harsh beats.

However, it was in Burial that Hyperdub hit it's goldmine. With the 2006 debut album winning numerous accolades for it's atmospheric representation of South London, creating music that was clearly referencing the defunct garage scenes as if speaking about them at a funeral. The words were chopped up and fading, the beats there but only just, a fading memory. Hyperdub's output continued with limited run EPs from new artists, fitting the hyperdub mould.

However, it's biggest achievement was the release of Burial's seminal 2007 album Untrue. This truly was an album like no other, an album that sounded like no other, evoked emotions through souds and production, using words in an unconventioal way to further the effects.
It was drenched in reverb, in a distance and disconnection from the listener.
It was simply perfect.

Hyperdub did not stop there however, releasing more interesting and challenging music, from Darkstar's more melodic dubstep through to the emerging King Midas Sound. This culminated in the 5 years of Hyperdub collection released earlier this year. Debuting new material from its roster as well as putting classic releases onto CD for the first time, it became startlingly clear that Hyperdub were at the forefront 5 years ago and have not let up.

Though many record labels such as 4AD give artists a home that would fit nowhere else, Hyperdub has carved its own niche in the market, maintaining a theme within it's artists whilst releasing some of the most challenging and intelligent electronic music of the last decade.

Long may they continue

I dont undesrtand. You want lots of people to do exactly as there told, based around the line "Fuck you, I won't do what you tell me"?

The X Factor winner will get to Xmas number 1, of course they will, it's always the biggest selling single of the year because that's what the whole 3months worth of competition leads up to. Even last year's winner, who only really emerged towards the end of the competition, sold over half a million copies in 1 week. This year's winner is probably a little more obvious and will probably sell more copies than last year.

Facebook and Twitter are great for uniting people, it's fine that people join campaign groups to raise awareness, raise money for charity or reunite you with people you may have lost contact. However, the irony that you're asking 300,000 people to rage against the X factor machine by funding the Rage against the Machine machine is simply ludicrous.

I simply don't understand. It's not going to stop those half a million people buying the winner's single anyway so it doesn't stop the money going into the respective pockets of Cowell and songwriters. It also debases one of the great protest songs as a conflict with an ITV reality show. Is that really how Rage Against the Machine meant it? Does that not further ruin the credibility and respectability of a christmas number one instead of restoring it?

I am no fan of the X Factor but Im not going to protest it, the Xmas number 1 tradition has been dead for a while now and X Factor provides entertainment for a lot of people.

Please don't ruin a great song to get back at a poor one

Best gig of 2000-2009

The last decade hasn’t just been about albums however, and as I finalise my albums list, I thought I’d post my other notables from the last ten years.


First off, best gig. Now ten years ago, I hadn’t even been to a gig so this has the horrible responsibility of deciding which has been the best gig I’ve ever been to. It’s changed incessantly as memories fade and tour t shirts are slowly thrown out but there are a few gigs that will always be just that little bit better. There are of course many Bloc Party gigs to choose from, a stunning gig by Foals at Concorde 2, Radiohead at Victoria Park or the Apollo, littered with many Feeder gigs, some youthful trips to Less Than Jake and even some of my own gigs in there, Dear Reader being one of the best gigs I've been to in a LONG time.

This may be a bit of a rash decision and I'm sure in 6months time I'll think differently but I'm going to award the title to this year's Coldplay at Wembley stadium gig.

I'd never seen Coldplay before, despite beign a massive fan of all their albums. For some reason unknown to me, it's not cool to like Coldplay. They can write a sad song like nobody's business, Viva La Vida is a dense record, filled with interesting sounds and hooks and they're exceptionally talented musicians, succesful at both stripped-back and orchestral arrangements. Coldplay's songs were also built for stadiums, a point which became evident before they'd even taken the stage.

We were seated to the left of the stage, about halfway up the stands, a fantastic view of both the main stage, the smaller stage in the crowd and a panormaic view of everything around us. As the lights dropped on a rainy, hot summers evening and the opening bars of Life In Technicolour rang out, 75,000 people errupted into the singalong refrain of Viva La Vida, creating a moment like none I've ever experienced.

The setlist was brilliant, heavy on the new album and rightly so, an album whose grandiosity perfectly suited Wembley Stadium. It was also telling that the older songs, Yellow or God Put A Smile were no more special than the Viva material; this was a showcase of a catalogue of superb material, not a crowd yearning for the old songs with obligatory new album songs. The reworkings of God Put A Smile and Talk were fantastic, finally making Talk their own without the Kraftwerk snippet.


Best gig of the last ten years? It's the biggest gig I've been to by one of the most influential bands I've ever seen at the end of an extensive world tour. It was of course slick, it was a little gimmicky at points but it was a truly earth-shattering experience watching a band such as Coldplay work the crowd and hearing those familiar and well lvoed songs with a 75,000 strong backing choir was simply superb. Sadly there are not enough superlatives to describe how good it was but it's going to take some beating

The inevitable...

It’s fair to say that the last ten years have been the most influential years musically in my life so far and it’s possible they may be the most influential ever.
10 years ago, as the world was facing the Millenium bug, the introduction of a pan-european currency and broadband was becoming commonplace in homes, I was approaching my 13th birthday.

Now approcahing my 23rd birthday is probably scarier than all of those things. If I were to look back on the last ten years, I have accomplished things and failed in probably equal measure. University has been and gone, friends have been made and loss, relationships have been forged and destructed, lessons learnt and many im still failing on, but that’s the way life is. And I like it like that.

Being able to chart my musical progression through the last decade as a teenager is of course a coincidence but a useful one nonetheless. So many of these albums thrive on teenage rebellion, optimism, disillusion and often naivety but they were still investigated on the strength of one or two songs. Thirteen Tales from Urban Bohemia was bought on the strength of still brilliant single, Bohemian Like You. That album has maintained it’s freshness and though I’ve never investigated Dandy Warhols any further, I still love the album’s ebbs and flows and its various nodds to Americana, southern drawl and straight up pop rock.

The experiment didn’t always work out so well, sometimes because of a poor album and sometimes because I just wasn’t ready for the ensuing chaos. The prime example of this is a story known to just one person as far as I know but here goes.
I can’t exactly remember the first time I heard Aerials by System of a Down but it was around the same time I fell for Hybrid Theory and I remember loving the smooth strings juxtaposed with Tankian’s angst ridden vocals, built around a song that switched in dynamics quickly with incredible creativity.
But that’s not how I saw it at the time. The rest of the album was relentless in its anger, I couldn’t sing along and there were no melodic guitars and I took it back. For Vanessa Carlton.

Hey, I never said I was perfect.


Anyway, the ensuing albums were all albums that I listened to intensively during the 2000s, not necessarily released this decade but ones that have shaped me into the slightly more enlightened muso I wrongly think I am today.

Oh, and I flat out refuse to call them the Noughties.

6 music and it's benefits

I am a religious 6 music listener and am fully aware of the pomposity that this brings. Radio 1 has been the home of Steve Lamacq, that Australian one who thinks everything's amazing, Huw Stephens and of course, the legendary John Peel

Many an argument has been started by my detestation of their playlist choices, how they lack flow in their playlist and end up overplaying interesting music to a generally unappreciative audience. It sounds pompous because it is, I feel very protective over music and get annoyed when others do not appreciate both the content and it's delivery to the same level.

6 Music is a digital station which obviously brings with it a range of constraints. Despite it's presence on iPlayer, as well as broadcasting live constantly over the internet and on digital radio, digital radio is still to really take off and even when it does, I'm positive it will be to listen to Fearne Cotton's babblings slightly clearer than before. A case could be made that with the live lounge and Zane Lowe, Radio 1 does still champion new music. They sponsor tents at festivals, hold their own Big Weekend and once in a blue moon will air a documentary about a ridiculously huge band (read Muse) to bring a sense of public education to the whole mess. There was a time of course when they were the place to go but I feel that torch has passed these days.

And isn't it amazing when you're proved right?

Comparemyradio.com puts it as clear as day, one station lined up next to the other with live updated stats showing who's who in the radio business.

A few quick facts for you:-

Radio 1 played a total of 3189 tracks in the last 30 days whilst 6 Music played a total of 4334.

Over the last 30 days, Radio 1 has played 964 unique tracks. This means that once a track has been played, it does not count towards this total again. If you've heard Bleeding Love once, that is a unique track. Next time it is played in 30 days, it is no longer unique. By comparison, 6 Music has played 2749 unique tracks.

The stations shared just 135 tracks over the last 30 days.

A few additional stats I've cobbled together from those numbers include -

This works out as Radio 1 playing an average of 32.13 new songs per day, in addition to their current playlist.

6 Music plays an average of 91.63 new songs per day

Radio 1 played it's top ten most played artists a total of 544 times. This equates to 17.06% of it's total output being from ten artists.

6 music played it's top ten artists a total of 447 times, a measly 10.31% of it's total output.

Here's a chart I made up based on the figures I worked out, based on the numbers available on comparemyradio.com

So there you go. It was incredibly interesting working on this, and I will consequently be printing that chart out and keeping it in my wallet for the next time someone tells me Radio 1 is the station for the discerning music lover

The Unrecorded

So, it is with great pleasure that I kick off this new phase of boywithacoin with a new musical venture.
Despite having completed a degree in Music Industry Management, artist management is something that hasn't ever really crossed my mind. From experience, it seems that many artists, once they have begun playing live and really promoting themselves, seem set in their musical direction and their hierarchy with little willingness to change.

Artists are told to get a myspace, play as many shows as possible and that fame will eventually, probably come their way. Those pesky Sheffield based Monkeys are the modern proprietors of this not quite total-truth for example. It is vitally important to recognise that not only did Arctic Monkeys have a myspace and play a load of shows, they also had a collection of truly brilliant and innovative songs. As is the case with all seminal albums, they captured a moment in time and place in a record, encapsulating all that was relevant and reflecting their lives in crafty lyrics and new and invigorating sounds. It could easily be argued that since The Strokes genre-defining album "This Is It" way back in 2001 that truly launched the new wave of guitar based music, the market was waiting for another guitar band to grab hold of people's attention and continue to wrestle it forwards.


Now, I'm not trying to say that I have discovered the next Arctic Monkeys, nor am I saying that guitar music is about to be thrown on an entirely new trajectory. However, the art of writing a great song is again disappearing, the return of guitar music has meant the blossoming of bands with a punk DIY attitude but little appreciation on how to really write something that is interesting and challenging.

The Unrecorded display a range of influences on their debut album, Other People's Music.
Each song is carefully distilled, the varying instruments are carefully separated and introduced gradually to enhance the appreciation of the end product. The album's influences range from Bonobo to Portishead with a mix of theme based songs and slower, trip-hop numbers carried By Jess' unique voice.

Live, The Unrecorded are an almost entirely different venture, building samples up on keyboards and vocals with a dampened drum kit and a heavy bass rumbling underneath. A lot of the album tracks are reworked for their live performance due to the sample based nature of their album but this allows for new interpretations and an interesting revelation of how adept The Unrecorded are as musicians.


If you wish to hear more, you can download their album and ep, for free, from www.unrecorded.org and I hope you enjoy

I was gone but now I'm back.
It's been 5 long months with many incredible experiences, some sad times, heavily outweighed by some good times. I've had an epiphany brought on by basically nothing, I've become world-weary coupled with a sense of renewed hope and optimism. I know more and less than I ever thought.

Now you may understand why it's been quiet around here.

First of all, I'm going to do a ridiculously quick recap of what's been happening the last few months.
Shuffle has been highly successful, if far from profitable. We've had (inhales)....

She Keeps Bees
Sixtoes
Erland and the Carnival
Tristram
Dear Reader
Hot Feet
Jamie N Commons
Liam Hayes & Plush
The Unrecorded

I have also launched a gay night with my promoting partner in crime. It went very well and we wont do another one.

I've also been to another Latitude festival, saw some amazing new bands that I think will have a big future (Kurran & the Wolfnotes), saw a few bands that have wanted to see for ages (65daysofstatic, tick) and saw an equal mix of impressive and disappointing acts (Grace Jones, pretty good, Phoenix - fail)

I also went to America for the first time and confirmed why I want to travel there. New York is stunning. It's a blatantly obvious sentence, one by someone who went for 1 week as a tourist and did touristy things. From all accounts however, it's a blast to live there and I cannot wait to go back. Highlights included the wettest day of a festival EVER, staying in the most stunning apartment, 24hour pizza and a constant rush of excitement and awe at everything that was around me. I'd also like to offer my public thanks to Chelsea and Ali for making us extremely welcome and showing us around, it was awesome.

In other happenings, a new hockey season is upon us with Caps doing well, if not stuttering every now and then. But still, the season is 82 games short and it's wonderful to have hockey back, it's a LONG summer without it.

Twitter has also become more and more important, not in a "is washing the dishes" kind of way, but in a "constantly discovering new music, news and other random bits and bobs kind of way".
For those of you that haven't, get on it. The social networking revolution can be used intelligently and ingeniously if you put in the smallest bit of time.

Finally, in the most recent of developments, I'm hopefullystarting to manage a band. This is new to me but something I really want to do and think I could be very good at. More news as things become more solid.


Lastly, I've never been afraid of using my blog for personal reasons, it is after all mine, with no ties to anybody or anything. I want to say a big thank you and a whole load of lovely things to Lauren. You've been amazing the last few months and hope that we've a long way to go yet. Each time we mess up, we seem to come back stronger and that fills me with hope. You're one in a million


Will return soon, with music and things.
In the meantime, you must must must listen to Kurran & the Wolfnotes and Charlie Winston. Expect big things from both of them, and I'll explain why soon.

It's good to be back

Its impossible to continue writing this blog without offering some sort of explanation for the absence. It is also very difficult to begin writing again without sounding incredibly cliched and a little self-important.

I wrote this blog to put forward my thoughts on music, be they original, compounding what others have written or in response to whatever the hell is going on. However, these days it seems that everyone has an opinion and when you read as much anbout music as I do, you find it difficult to write without feeling you're repeating what you've read somewhere else, even if you're not.

But screw that. I've read many things that haven angered me (read London Metro's review of FATM albunm Lungs) and had many interesting music debates that I would love to have expressed and organised on here.
Often your own self-doubt gets the better of you and when there are no pressures to write, you find that you simply dont, however enjoyable it is.


The one thing about a blog, it is like a mistress. You do it on the side, sneak it in when you have a chance in between all the other crazy stuff that fills your life. You often leave it for a while but always come crawling back.

So im back.

Consider this (another) apology for my rather delayed absence.
I hope you're still with me

Its nearly here, my forray into London promoting. It's been hard work, a lot of stress, a lot of second thoughts and a lot of back and forth but tomorrow, at half 7, the doors open to the first EVER Club Shuffle.

Cherbourg, Jamie Woon and Rokhsan will all be gracing the stage and I'm bricking it. It's been expensive, with everyday that passes without a ticket sale, you bite your nails jsut a little further. But it's come together and now ticket sales have picked up, we're looking to have a spectacular launch night.

And as a reward to all you boywithacoin readers (that's right, all 3 of you), if you mention my blog when you're on the door, I'll buy you a pint.

So, for one last time, here is the flyer, the lineup and me begging you to please come along and show your support, it won't be the last but the next one may not be for a while, depending on the financial hit we take.

Hope to see you there

Though I must say The Enemy's new album is truly awful. And I love the first one so it's nothing to do with them or being snobbish or anything like that, it's just poorly thought out, paced all wrong, sounds ridiculous, just a mess. The pace of the first album and the depth that some of the songs showed has jsut plain disappeared.

And anybody that is a "fan of the smell of petrol" needs to stop smoking as it's destroying your sense of smell. It's awful, it's kept in big containers as it's fumes are very dangerous. Glade have a Fresh Linen scent, not a Petrol Station scent FOR A REASON.

One last thing, becoming a fan of "Sunny Weather" or "The Sunshine" or anything else weather related is ridiculous. Of course you're a fan of the sunshine, its a fact, proven in surveys across the world that people GENERALLY like warmer weather. If you're a fan of a band on facebook for example, they will send you useful updates of album progress or TV shows will tell you when they're returning to the air (New Weeds soon, woop).
Being a fan of sunshine tells me nothing about your personality apart from you're a sucker for things facebook suggests to you.

Writing is a mysterious thing. I can go through deluges of writing, feeling inspired and creative about the littlest things, listening to a certain album can make you investigate its roots, the main players and the forgotten gems in an attempt to gain true appreciation of the songs you hear, to hear them in the way the artist heard them.
Conversely, you can think of topics, hear albums you love and have nothing. In the last week alone I heard the long awaited esser album, loved it (for the most part) and have bupkis to say. I thought I'd hit the jackpot when chatting with Lauren about Led Zepplin and how it was weird that I probably had a completely different appreciation of them to her as my musical upbringing was more on the proggy side as opposed to Lauren's soul and jazz influences.
Surely that'd make a great blog post, an interesting investigation on why I love Explosions in the Sky but don't feel some of Lauren's more funky tunes and she hates their guts? It would. Except I cant write it.

It is often said that your hardest critic is yourself. It's one of those weird double-edged swords in that often you can also have complete self-belief whilst everyone around you is less than convinced. This blog has been in many variations, originally a leaky type blog until I got a particularly threatening email about sharing music, then some sort of commentary on my time at uni and now this, whatever it is, an outlet for my thoughts on music, trying to retain that sense that I may know slightly more than the average person about music when really, we're all the same.


My conclusion is this. This was a place to tell my friends about the music I'm listening to and enjoying, which at the time was only new music. Now my horizons have expanded a little bit, encompassing a much wider range of music than I ever deemed possible. But it's still all there.
I still love music. I still love writing about music, still love the thrill of hearing a long awaited album and then dissecting it piece by piece, its production, its influences, its strength both as a song and as part of a more complete artistic package.

Boywithacoin is a pleasure to have, a little difficult to maintain at times but only due to my own levels of self-criticism, with inspiration and ideas. It will always be an opportunity to vent anger at music industry type things, at life type things and thing type things. Whoever reads it, I hope you enjoy your stay here however long it may be. It is very easy to move onto the next blog if this isn't updated very often. And of course that's fine. But I'll still be here, plugging away. If you're a regular, thank you. It sounds contrite but it means a lot.


Until next time.

(Mis)Behaving at gigs

I'm not very good at reviewing gigs, they played this, the lights did this, everyone went home. Job done. Bloc Party are equally hard to review, they play the songs with the kind of ferocious energy you expect them to, a little crowd banter and the wander off to Dirty Dancing songs, it's your average rock n roll gig, however breathtaking.
Even when being supported by Foals (whose new songs sounded amazing), I struggle to write a piece that doesn't SOUND heartless, however much I enjoy the gig.

But there is a problem I have with gigs, not just with this gig, but gigs in general.

Saturday was a much needed break for me, I've been working hard recently, I hadn't seen Pete since Christmas and Bloc Party in even longer so it was a night I'd been looking forward to in quite a while.
As a respectful 22 year old, I am entitled to have a few drinks and by the time 3 pints had gone, Bloc Party arrived on stage and I was the slightest bit lary. Now when I was younger, I would be at the very front, with someone using my shoulders as a platform to jump and it hurt as they pushed down on me and then kneed me in the back as they landed again. It was part of the gig though, that's what happens if you mooch around at the front, accept it and move on.

As I've got older, I'm not really up for the whole claustrophobic mess of the pits anymore so I go a little further back, drink and throw some shapes without surging into someone at random intervals and generally enjoy myself. I don't invade anyone's personal space as I'm still close enough that personal space is really not an applicable term.

However. People still feel the need to push you, give you stares and generally treat you like a twat as you seem to be enjoying yourself. I forget when exactly it became unreasonable to have a bit of a dance to your favourite bands whilst wanting to keep hold of your wallet, keys and trainers. At the event at work this weekend, you literally couldn't move for people dancing, to get from one place to another, you had to dance your way across a room. There were bands, people danced, DJ's - dancing, the lights came up and people still danced outside the venue (the powers of A class drugs).

However, the idea that at a rock and roll show you are only allowed to get crushed at the front or stand completely still and watch is ridiculous. If your deathly stare at a band is interrupted by someone dancing and having fun, please sit in the balcony's, almost every venue has them. Kensington Olympia is fucking massive and still had a balcony. Look down on the swarming, dancing masses and appreciate the sight. Do not treat me like I'm an idiot for having fun.

It's very annoying

This week sees a veritable feast of new albums to take away, from debuts, through breakthroughs to comebacks, all encapsulated in 4 albums that are different in every possible way and all simply stunning.

So, first up we have the debut, from Dananananaykroyd. And what a debut. The band are the JD ultimate burger from TGI Friday’s, with two drummers, two guitarists, bass and shouty vocals, it is an album full of beef. And it sounds incredible. The Sissy Hits EP was a clear demonstration of a band that had the right idea, could pull it off stunningly live but weren’t quite ready to hit the studio, either the budget wasn’t big enough or they weren’t tight enough or were being too tight, something was not working.
Problem solved. It is an album simply bursting with energy, songs that twist and turn at breakneck speed, vocals dropping in and out, catchy and driving guitars, all backed up by the beefiest drum section north of the border. It is an album that lives and breathes to be played live but it is still an audio feast.



Dananananaykroyd SXSW Scottish Showcase Austin from NMK on Vimeo.


Next up is the second album from brightonian Natasha Khan and her alter-ego Bat For Lashes. Receiving a mercury nomination is a weird cross for some artists to bear, some relish in the exposure that they receive because of their nomination (Belle & Sebastian), whilst others see it as an interruption to a musical legacy they were building (Burial). Either way, a concept album is a rare occurrence these days but backed up by superb instrumentation and an undeniable similarity to one Kate Bush, the album is full of imagination and exploration. Lead single Daniel is the clear choice for single, similar to Eurythmics and Everything But The Girl in its atmospherics, it is psychedelic pop in its greatest form.


Finally, the art of a comeback perfectly demonstrated by Doves and their 3rd album Kingdom of Rust. It’s difficult for bands from Manchester to not be labeled as either Oasis wannabes or Madchester-inspired so to have Doves back and releasing rousing guitar albums is a relief in more ways than one. Doves seem to make songs that they want to make, whether it be the atmospheric lead track Jetstream, the alt-country lead single Kingdom of Rust or the older tracks such as M62 song or pounding. Doves are comfortable with their own sound, whatever form that may take and it is evident in the depth and structure of each album. Kingdom of Rust has launched Doves back into the public conscious, giving them prestigious slots at various festivals and headline tours at venues which are not to be sneered at. If it takes 4 years for the next Doves album to surface, there may not be space left for them. However, they are a wonderful antidote to the flood of nu-rave and foalsesque bands that are already drowning the market and it is an uplifting and enjoyable listen on a summers day.

Sugar I'm going down swinging...

Admittedly it's only April, but I have my first shout for album of the year. Having witnessed the enigmatic and energetic Fall Out Boy live a couple of times, it was a great day to discover a Fall Out Boy live album was on the way. Featuring FOB classics such as "Thnks Fr Th Mmrs" along with classic covers of Michael Jackson's "Beat It", it seems Fall Out Boy have finally managed to make an album thaasakplfdnksfdkjndsf mdsfg....

I just can't do it. Call it an April Fool's, call it some of the most blatant cashing in on what are a notoriously poor live band, whatever, you will be pleased to know that one of my favourite albums this year does not feature a load of Illinois pop punks.

Instead, the best new album of 2009 so far is written and performed by a little known South-African trio, Dear Reader.

Folk-pop, for want of a better term, is the easiest way to describe Dear Reader. I've already mentioned the simply breathtaking single Dear Heart and now that the album is out in the great unknown, im glad to say that it is a joy from beginning to end.

Each track on "Replace Why With Funny" has its own story to tell, it's own delicate balance between subtle instrumentation and insightful and revealing lyrics. It is an album that focuses on belonging and the uneasiness that this traditionally comfortable emotion can evoke.

One refreshing point, for me at least, was the complete lack of any afro-beat. It would be all to easy to slip into the Vampire Weekend mould, especially with one member having won a Grammy(!) for his work with the simply stunning Soweto Gospel Choir. This is not to say that South Africa and it's current state are not reflected in the album. Comments such as "We live in fear all the time" are not comments based on terrorism threats, global warming or ridiculous G20 demonstrators pointlessly smashing banks apart. They are very real comments about a country with a high crime rate, where economic crisis takes on a completely new meaning, a county in which corruption and fear bread corruption and fear and where personal security and barbed wire surround every home. South Africa is an awaking experience and one that is touched on often but with such dignity and pride that it is not arresting to the album's mood, or to its progression.

In fact, they draw upon all that is good from their cultural heritage, exploring expansive choirs with great effect, demonstrated perfectly in "The Same". The album is a sublime mish mash of two musical cultures, Caroline MacNeill's simply breathtaking vocals perfectly complement the accompanying african-influenced music with her playful nuances on certain words and a crystal clear voice to warm the soul, allowing her to compete with any Western female singer-songwriter.

It is an album built on sing along choruses, built on everyday experiences and built on one of the most beautiful voices I've ever heard. It is effortless in its complexity, no song drags, seems out of place on the album or takes the mood of the album in a direction it was not already headed. Its attention to detail ensure that each listen reveals a new layer and often a new set of emotions, a new understanding of the themes. It has unbridled imagination, stupendous focus and such heartwarming charm that Dearheart is reigned in from its "runaway single" status to just another crucial piece to the Dear Reader puzzle.

In short, it is the best album I've heard so far in 2009.

www.myspace.com/dearreadermusic

preorder it here

I haven't mentioned this nearly enough so here you go, another plug. You shuold really come and check it out, its a fantastic lineup, even if I do say so myself.


Jamie Woon and Rokhsan have now been confirmed as support, if you have a spare few hours and £6 lying around, this should be a fantastic gig. This is me putting my money where my mouth is on a night with bands I think are grand and then hoping that people appreciate them too and turn up to watch.


It's scaring me shitless with every passing day but with a complete lineup at last, here's hoping we draw in the punters and most importantly, some boywithacoin readers.

Anyways, if you want to buy a ticket, the link is here

Currently listening to: Super Extra Bonus Party - Super Extra Bonus Party

There are a hundred curry takeaways in Brixton, in every town in every country. The question is finding one you like among the cheap prices and free delivery options. Similarily, indie electro is no longer a groundbreaking genre. Super Extra Bonus Party however are colourful, have plenty of bite, lots of variety and stand out with their ingenuity and excellent overall package.
A fantastic album with wide instrumentation, brilliantly directed songs and an album that spans a load of genres. High hopes are pinned on the new album.

www.myspace.com/superextrabonusparty

Somehow it's that time of year again, when festival lineups are leaked/announced and you weigh up the pros and cons of each one to decide where best to throw your money away.
After last year, it is safe to say my tipple this year will be Latitude.

Set in a forest by a lake in Suffolk, the coloured sheep, artsy lineup and general fantastic vibe was a stark contrast to Reading 09. Where Latitude has woods, Reading has swamps, Latitude has flags, Reading has flag burnings. They are polar opposites in both ethos and atmosphere and I find myself feeling increasingly older as I opt for the more relaxed festivals.

Latitude, to be fair, has a stellar musical lineup. From superb performances on the main stage by Death Cab For Cutie, Interpol and Sigur Ros to watching Lykke Li perform on a tiny stage in a forest or watching films being scored by a live orchestra, Latitude is the festival for all things cool and different.

Today's announcement of bands is with baited breath, it has been very quiet for a long time but as the first trickles of bands appeared today, Editors, Doves and Bat For Lashes, it seems it has kept its cool and in securing Doves, has almost vindicated its ticket price straight away. It will be a performance I will be very excited about, to accompany said third album.

Either way, I'll be at Latitude as I become increasingly disillusioned with festivals and the general atmopshere that accompanies them.
See you down in the front, in a hemp shirt of course

Also, I've decided to do a little review of the album that Im listening to the day that I post or the album I'm listening to as Im writing. In an attempt to keep the review short and sweet so I dont have to write a massive blog on every album I ever listen to, it is going to be described as a food item. Don't ask me why, just roll with it.

Currently listening: Interpol - Turn On The Bright Lights

A sirloin steak with marmite sauce. It has real substance, it is posh and arty but Interpol are a "love them or hate them" band to the extreme, so much that at last years latitude, a triumphant headlining performance was appreciated by next to no-one. Thankfully, I love them, the more Marmite the better.

Finally, for those of you who are interested, I have joined twitter. However, it is only to follow others really, don't expect anything profound from me. anyways, you can follow me here.

It's arty, it's thought provoking and it's really quite clever



Additionally, this is amazing

http://www.najle.com/idaft/

Instrumental music is self-indulgent, overly-dramatic, theatrical and most of all, FUCKING AWESOME.
I love it. I love the images it conjures up, it is food for my imagination, it fills me with emotion like almost no other musical form. From the grandiose nature of Explosions in the Sky to the laid back noodlings of Mogwai, instrumental music is intelligent, thought provoking, technical and breathtaking. Now, I'm no connoisseur, that is for sure. I know don't know my way around the genre particularly well, you can spend an hour listening to three tracks and not know anything new or groundbreaking. Conversely, you can hear 2 minutes of 65daysofstatic's ear-shattering musical catharsis and be blown away but completely exhausted. However, there is middle ground and it is there where I find myself most at home in instrumental musc, music that peaks and troughs whilst maintaining and encouraging a sense of something more.

One such band is If These Trees Could Talk. Leaning on the heavier side of instrumental music, their songs do not last forever, rather seamlessly melt together on their debut EP, creating a short 25 minute journey that shows real progress. Released way back in 2006, the band are still trying to get anywhere within their own territory as the influx of instrumental music has been sudden and crushing. However, with a debut album finally out, it seems that they have been pushing on with songs they've worked hard on and I for one am very excited.

I believe it is available from iTunes in the UK but as I said, for such a small band with such a small circle of influence, it will not be easy to check these cheeky fellows out. However, the usual places exist and it's worth your time. It seems illegal leaking affects even the smallest bands so if you're feeling particularly horrible, it's out there somewhere for free.
In the meantime, I'm going to start my own instrumental post-rock band with these being some of my ideas for names so far...
Making Molehills Out of Mountains
Rain is More Than God Crying
I'm Pretty Sure My Tree Just Talked


Any suggestions for others?

Myspace
last.fm

This song is smothered in psychedelic synths that melt around reverb-laden vocals. It's simplicity purely emphasises just how well it is written, lyrics of aspiration for simple things, to be safe and to look after your girls. The video continues the theme, reminiscent of an iPod commercial on a serious acid trip, the band members litterally dripping into the bottom of the picture.

It is a fantastic song by a band that I knew nothing about, heard and despised. However, refusing to go against the tide of mass appreciation for the album, I went back, listened and fell in love.

They are, Animal Collective, it is My Girls. Breathtaking.

I love DJing. I'm not the best at it in the world. My beat matching skills are average at best and I'm yet to really get how you dont just beatmatch, change the pitch of everything to the same and how it doesn't all just meld into one long track.

So I don't. When I DJ, I pick as many tunes as I can with some slightly more obscure stuff, pace my set right and hope that people recognise enough of the songs to have a little dance. Sometimes it works out better than others. That's the extent of it really.

The weird thing is I DJ at a club where they don't insist on you being the best DJ in the world, simply that you have a good understanding of what people want to hear and that it isn't horribly offensive. I've played their twice now with tonight being set number three. My first two have gone down well, well enough that i'm back there tonight anyway.

It's a nervewracking experience, I've spent a long time working on all three sets and there is a lot of emotional attatchment to each song in each set, not one song is filler or a way of moving from one great song to another, every song has it's place, it's purpose and it's importance. However, it's also bloody brilliant. The adrenaline rush is unbelievable, to hear music you love played on a GREAT soundsystem is awesome and the congratulations on great song choices and the subsequent comments throughout the rest of the night are totally uplifting.

I'll post my setlsits here from now on as I work hard on them and on the off chance that you have all the songs listed, you can put them together and relive the experience. If you want all the tracks listed, drop me a line and I'll see what I can do. It's also an indication of the types of electronic/chillout I love and cannot recommend more.


March 13th

1) Animal Collective - My Girls
2) Radiohead - Everything In It's Right Place
3) Royksopp - Remind Me
4) Interpol - Untitled (Datasette version)
5) Lykke Li - Knocked Up (Rodeo Mash-up)
6)Bran Van 3000 - Drinking In LA
7) Bjork - Play Dead
8) Moby - Why Does My Heart Feel So Bad
9) Esser - Satisfied
10) Easy Star All-Stars - Electioneering
11) Skream - Dutch Flowerz
12) The Cardigans - Erase/Rewind
13) Simian Mobile Disco - I Believe
14) Daft Punk - Face To Face
15) Faithless - Drifting Away
16) Passion Pit - Sleepyhead
17) Union Of Knives - Evil Has Never
18) Cut Copy - Hearts on Fire
19) Bloc Party - Signs (Mmmathias Remix)
20) Nina Simmone - Sinnerman (Felix Da Housecat's Heavenly House Mix)
21) Chicane - Offshore
22) Robert Miles - Fable
23) Sebastien Tellier - La Ritournelle (Mr. Dan's Magic Wand Mix)
24) Thievery Corporation - Lebanese Blonde
25) Nina Simone - Ain't Got No, I Got Life (Nina Simone V Groovefiner remix)
26) Fatboy Slim - Praise You

Cherbourg - 12th May, Club Shuffle

Stop the mother-f*ckin presses, we have a gig.

For those of you that don't know, I've been trying to put on my own nights at work since the day I started, its part of my job, something I've never done too seriously but always dreamed of. However, as I'm sure you've noticed, I've never actually got around to it.

So, Club Shuffle was created. An in-house clubnight to promote our own gigs. We got a date. 12th May.

And now, we have a band.
It is my pleasure to announce that Cherbourg will be headlining the first ever Club Shuffle at 229 on Tuesday 12th May and I expect every single one of you that read this to come.


Cherbourg are signed to London based label Chess Club, home to Peggy Sue, Alessi's Ark and Mumford & Sons, a label that have really come into their own with the explosion of the london folk scene that has taken place in the last year. I was recommended their fine EP by the smart people at Banquet Records as I bought the new Mumford & Sons EP and it is every bit as good as their labelmates.
Harmonies are the key to a fantastic folk song for me and Cherbourg's are thick and expansive. Their rhythms are superb and understated, their EP perfectly balanced with anthems and sliughtly more experimental songs.

Be prepared to read a lot of plugging for this show but why don't you please just come if possible. It won't be expensive, it will give you the chance to see one of the big tips for 2009 and it's gonna be AWESOME. I'll announce support as soon as I book one.

In the meantime, learn to love these songs
www.myspace.com/cherbourgmusic

Whatever happened to the Rubicks Cube?

From fronting a pioneering UK hardcore band to solo folk-blues singer is far from the obvious career path but Frank Turner has done it and done it well. The legions of loyal Million Dead fans have taken his new music to heart and his fantastic new album has been released with an extra disc featuring demos and old songs that are much more pleasing to my ears than his Million Dead efforts.
Support for his October tour comes from the delightful Beans On Toast, again solo-folk is the backbone but ever since Kid ID performed Sofa Statistics at Reading 08, I've had a secret love for a comedy folk song. Beans on Toast writes witty, simple rhymes with his acoustic guitar to keep him company. The songs are far from deep, there are no lyrical complexities which is what makes Beans on Toast such a joy. Topics range from the beauty of folk-temptress Laura Marling to "you look a lot fitter on your myspace picture", thoughts explored and concluded with charm and simplicity.

Check out the video for You Look a Lot Fitter on Your Myspace Picture, below

Been searching for this song for ages, plenty of suggestions have been thrown around the office including Gnarls Barkley. "I think it's one of the old songs" was one of my less musically-informed colleagues suggestions. However, here it is in its full glory, Madcon's remix of Frankie Vallie with... Beggin'

(a much better video than madcon's im sure you'll agree)

Exclusive Video of Lykke Li Covering Kings of Leon Live in KNRK studio from Dave Allen on Vimeo.

I told you I cant get enough. Most anticipated album of the year for me? I have to say so far, it leads by a country mile

Dear Reader

All over this band, absolutely incredible. Gonna be a little lazy and ask you to check out my review on www.229thevenue.co.uk under Pick of the month section as I've tried rewriting it for here and it just doesn't sound how I want it to and I think I did a pretty good job over there.

In the meantime you can listen to the whole album here and it is freaking awesome, dead excited

For all the geeks, this is a walkthrough of Simian Mobile Disco's live setup. I just cannot get enough of these guys

I don't talk hockey much so humour me for one post. The Caps are on a bit of a roll of late and last night saw another decisive victory in their quest to become champions of the Eastern Conference. As is often the case, a Caps win was summed up by the enigmatic and awe-insipring Alex Ovechkin.
Now you may not appreciate Ice Hockey but I'm sure you've ice skated at some point in your life so imagine the skill and speed involved in this play. It is absolutely no wonder he is rightly called the best player in the world.

Hopefully set to be this year's Elbow, a band that have been around for ages, produced some critically acclaimed albums and loved by some, Doves are returning this year with their third album Kingdom of Rust.

The Last Broadcast is one of my favourite straight up indie albums, from the delicate lo-fi M62 song to the effervescent Pounding, the album sound tracked a winter way back in 2002. Beautifully orchestrated, Doves have a wonderful talent for writing simple pop songs and then surrounding them on an album with songs that are expansive and equally strong but just not suitable for radio play. After the equally strong Some Cities back in 2005, pushed once again into recognition on the strength of Black and White Towns, Doves seemed to get sucked under with the explosion of bands such as The Futureheads and Bloc Party who focused less on the depth of orchestration and steered British music in the angular, spiky guitar records that soon flooded the markets.

However, they're back and with extreme promise. Check out the video below for new single Kingdon of Rust and here's to the return of a quintessentially british band

My record collection is continuing to grow, despite the financial burdens of a variety of things at the moment. Perhaps the most recent addition is the Passion Pit - Sleepyhead 7", released last year by Neon Gold (record label of former awesome blogger GWFAS).

Passion Pit's new EP Chunk of Change was originally written as a mixtape for Michael Angelakos' girlfriend and as the tracks began to circulate around the college, so the accolades came rolling in. Finally, the band have finished work on their EP including a fantastic 22 piece american school choir and are set to take 2009 by storm. Think electro-future as opposed to 80s throwbacks. Passion Pit's debut is set to be one of the albums of this year, in a way that MGMT were the album of last for many. They may become insanely irritating but if you get in there early and appreciate the songs at your own pace, you may not suffer from KOLitus (the release of Revelry has alll bit killed my appreciation for that album).

Check out the video of the choir singing Coldplay's Viva La Vida below during recording sessions and the fantastic video for Sleepyhead.
I'm heading to the Cargo show with Bear Hands and Hockey, possibly the most exciting new music show announced so far this year. NME new music tour? I've got all I need right there.

Superhet Receiver

For those of you that have been to a Fandango show, you'll have noticed that they have quite the talent for picking out new bands and giving them a chance to shine, they are indie promoters and bloody good at it. At 229, I get a chance to experience quite the few Fandango shows as they are weekly promoters here, previously bringing artists such as Chairlift, Le Sac vs Pip and Rose Elinor Dougall in the last 2 months alone.

Last night was no different. As I wandered down to the venue to sort out a few things, I could hear a band soundchecking. The door opens and a wall of Moog Synths, looping guitars, wandering bass lines and skipping, awkward drumming flattens me. Superhet Receiver hadn't finished soundchecking and they were doing a bloody good job of destroying the 229 soundsystem and my eardrums. They were deafeningly loud and breathtakingly good.

Superhet receiver are a newish 5 peice from Dorchester and are making tidal waves, they are so highly rated. The list of influences reads like my most listened to artists on last.fm; Bloc Party, Simian Mobile Disco, Justice, Bonobo, Rage Against The Machine to name but a few. These influences are obvious but noticeably and intentionally missing from their list of influences are Foals.

Now don't get me wrong, the two bands are different. Superhet Receiver write songs that are slightly heavier on the riffs as opposed to the twinkly intertwining guitars of their Oxford counterparts. Live they are fast and nervous. They tore through their set last night in little over twenty minutes, playing the same amount of songs that Foals would take in more than half hour. But it is this experimentation live that Superhet Receiver will develop fast and will push them further up the echelons of this niche market with so much potential.

It is the rhythms, the swirling jams at the climax of songs, the multi-instrumental skills of each band member, the bleeps and whilrs that demonstrate their sognwriting abilities in both electronic and indie circles. This is a band that with a little nurturing and a lot more live experience, could easily step into Foals shoes whilst they are away recording.

Check them out, tell your friends as the credibility you're going to get when these guys get big is sure to earn you a pint or two in the not too distant future.

www.myspace.com/superhetreceiver

It seems Mother Nature has a sense of humour. Last night I stayed at work as I was working late. This morning I woke up to see London covered in snow, severe delays/cancellations on pretty much every form of transport, the worst snow in 18 years I heard? I was asleep thirty seconds from my office. So, on the day in which you all revel in the snow, spare a thought for me. Stuck in an empty office with no transport out.

However, this is not a day for Moaning on Boy With A Coin. Because today, February 2nd, Boy With A Coin is 100 posts old (in my new, non-illegal format). Now I know that doesn't seem that much to bang on about but if you think of all that has gone on in my world the last year, I find it impressive to blog at a rate of just under a post every three days. And agreeably not all of them have been intelligent posts but let me have this victory will you?

And so, to celebrate this joyous day, I'm going to have a snowball fight in Regents Park and give you this wonderful Bloc Party cover. Played in the Live Lounge on Friday, the news that it is to become a regular feature in their live sets is just fantastic news.

Enjoy the snow, take care and think of me, STILL at work

A few bits and bobs to feast your ears and eyes on today, and a big milestone coming up very shortly, so look out for that.

First of all, a big I HATE YOU to Pete with the news that Sigur Ros will be giving away a free CD with the Independent this weekend. Featuring tracks from last years Með suð í eyrum við spilum endalaust , some from Takk, a couple from Hvarf/Heim and one from the Ba Ba Ti Ki Di Do so if you don't quite get the Icelandic magic yet, this might be your perfect opportunity to get in to them. And Pete, you'll be as happy as I am jealous to know that last year's show at the Ally Pally was filmed for a live DVD to be released this year. It is said to be "A stark contrast to last year's Heima... mostly performance based".
You Jammy git.

Also, the Coachella lineup was announced today after many shenanigans. The lineup was due to be released a while back on American radio station Kroq but Coachella pulled the plug the ngiht before, explaining "They still had a few big bands to sure up".
Held in a Californian desert, the festival has always appealed to me and with a vague idea of going this year, the lineup certainly hasn't encourage me to make the effort just yet. I don't know, it seems like a lot of bands that I've already seen, littered with a few bands I'd be interested in. The question is, is it really worth the $269 for the ticket, not including flights etc.?
Highlights of the bands I've not seen for me would be:

Crystal Castles
Switch
Airbourne Toxic Event
Fleet Foxes
MSTRKRFT
Thievery Corporation
Late Of The Pier
My Bloody Valentine
Public Enemy
Yeah Yeah Yeahs


But the full lineup is here. Obviously Coachella's lineup is always one of the best in the world so as more are added I may live to regret my decision but when the headliners (Paul McCartney, Killers, Cure) don't sell a festival to me, I always worry.

Also, for those of you that are pretty ridiculous about your music like me and use Last fm, the annoying habit of Last.fm questioning your Artist title and song title has finally disappeared. It has been replaced by a cute little green star to say what it's directed you to and it is really bloody helpful.
For those of you that don't have last.fm, it is a great way of finding new music or listening to your library away from home, so get on it. It is free and effortless


Scottish fight-rockers Dananananaykrod have finally announced release details for their album. Entitled Hey Everyone! its out on April 6th on Best Before. HIGHLY anticipated


And finally, M Ward has revealed that there will be a new She & Him album next year probably, depending on his touring schedule and Zooey's film schedule. The sparkly 50s pop throwback band features Matthew Ward of folk fame and Zooey Deschanel, actress extraordinaire and supposed finacee to Ben Gibbard. Zooey's voice is certainly unique and though it comes across better in some songs than it does in others, her superb songwriting is clear from the get-go, beautifully simplistic songs with slide guitar, strings and plenty of harmonies. It is a wonderfully sweet album and if love really is in the air, Volume Two promises to be equally sugarry





Lykke Li - Tonight from Lykke Li on Vimeo.

Completely forgot, this was finally released this week. Definately worth checking out if you haven't heard it so far

Worst nightmare perhaps?



Valentines Day Proposal Goes Wrong - Watch more Sports Videos

Before I start, I'd like to say a big hello to my first reader as far as I know from the USA, Chelsea! It's lovely to have you here and I hope you enjoy reading.



With a 2009 tour off and running and 2 HUGE dates at London's Olympia coming up in April (see you there kids), Bloc Party seem to have hit 2009 at full pelt, shooting across the UK with double dates in random cities and then pummeling America for a while.
The states have always been very kind to Bloc Party with plenty of festival slots and extensive touring including a pair of upcoming gigs at Terminal 5 in New York and a marvellous return to the 9:30 club where they played one of my favourite recorded Bloc Party performances. America's acceptance of Bloc Party has always taken me somewhat by surprise, especially as many of their indie counterparts and crashed and burned in their attempts over the pond. AWITC, though speaking of teenage exploration, disillusionment and a constant weakening identity, was London based and as such, many references would've gone awry. But, Bloc Party continue to succeed and rightly so.

The British media has differing tastes to my own on contemporary music. Not a day goes past when I don't see a poster on the tube for Razorlight's 4/5* album (though using The Sun as one of your accreditation's is scraping the barrel slightly I feel) when my feelings on Razorlight have been made perfectly clear many a time.

Bands that are successful are often made to be easy targets. Fans will continue to be outraged by any piece of material against the band and will bolster their support. The journalist is seen to be edgy and non-conformist by not always admitting that a brilliant band's new album is all that and speaking out against the wave of hype. However, when your newspaper lets said band take over your music section for a week and then you give their upcoming, sold out tour such a derogatory review, the effort to be cool is just a little too obvious.

Now admittedly, Bloc Party can hardly do a thing wrong in my eyes but for a review of an upcoming tour, this is shoddy journalism with no content and a pointless jab at a band that are trying new things when sticking to the original form would be too boring and easy.

Rant over.

Well time flies when you're extremely busy and stressed out and as such, I managed to ignore all my posts saying that I'd keep up with the blogging and have in fact done none. 2009 is proving already to be quite the challenge, time to man up.

However, the stress has only just begun. I move out of my beautiful flat on Saturday to move in with my wonderful, supportive girlfriend in February into an equally amazing flat. Though this is a music blog, it also allows me a little window to publicly declare my gratitude to Lauren for being so wonderful during what has been a trying few months. She has been nothing but perfect and I cannot wait to move in with her. When you read this Lauren, know that I am more grateful and excited than you'll ever know.

So, music, albums, bands, that malarkey.

Albums that have been tearing up my iPod in the early few weeks of 2009 are thankfully varied in both genre and age. I am gathering quite the vinyl collection now and have decided that my favourite albums are ones that I should own not only the cd but the vinyl as well where financially viable. This lead to me picking up a copy of Paul Simon's incredible 1986 effort, Graceland and consequently pushing it onto everyone that will listen.

With the afro-beat revival that is taking place at the moment, pioneered by Vampire Weekend, it seems that an album with such complexity and diversity as Graceland should be revisited too. The album was introduced to me by my dad and I have fond memories of listening to the album in the car with my dad when I was a youngster. Graceland has retained its charm and stands head and shoulders above a lot of albums I listen to.

As I said, recorded in 1986, Graceland peaked at #1 in the UK charts and #3 in the US Billboards. The record features a variety of South-African artists and launched the career of Ladysmith Black Mambazo. The album was recorded during the period of Apartheid in South Africa and as such, received much opposition. However, Simon observed that the album was offering no support to the South African regime and was in fact promoting the cultural diversity and heritage of South Africa, leading the complaints to be dropped.

The afro-beat and accapella influences are clear from the get go and it makes for a wonderfully boppy, rhythmic album with a wide wide range of instrumentation. From the washboards as additional percussion, to the completely accapella track Homeless, this is a landmark album which demonstrates the roots of folk music within black communities and its ability to be augmented with new instrumentation whilst retaining the vibe and core elements of a fantastically diverse genre.

Recommended tracks:

Homeless

Diamonds On The Soles Of Her Shoes

Under African Skies

Another album that has caught my attention recently and is actually pretty good is Frank Turner's Love, Ire & Song.

The former singer of English hardcore punk band Million Dead, Turner began to return to his acoustic roots when he began performing more and more acoustic sets as the band wound to a close. Originally learning guitar so that he could play songs that his sister wanted to sing along to, Turner was influenced by Counting Crows & Alanis Morrisette among others and has gone on to produce one of the best modern folk albums I've heard.

Reminiscent of Billy Bragg at times with his slightly angered, storytelling style, Turner's album is a revelation in simple but effective songwriting. The album is a simple folk rock album and its simplicity is where this album soars. With the ever-growing electronic scene, production and depth are becoming as important as a good song. However, a folk album leans away from production to emphasise on the message behind the songs and this album has excellent quantities of both.

Annoyingly at times, the lyrics are slightly childish as Frank Turner is nearing his thirties but is still writing choruses saying

"I won't sit down, I won't Shut up

Most of all, I won't grow up"

But this one song aside, the album has all the necessary elements, snare brushes, a violin, group vocals and most of all, fun songs. The album showcases Turner's knack for writing a great song that tells a great story. It is not groundbreaking but folk rarely is, it is about a communal singalong, about describing the current social status and making a little bit of a protest and does album has all three.

The album is due for a rerelease soon with a collection of songs from the past three years and he's building quite the reputation as a fantastic modern folk artist so I thoroughly recommend having a butchers.

Recommended:

I knew Prufrock Before He Got Famous

Reasons Not To Be An Idiot

Love Worth Keeping

Amazing stuff if you like your musical gadgets and from the few tracks I've heard already (I think she's the iTunes single of the week this week) Little Boots is deserving of that number one spot for sure.

http://news.bbc.co.uk/1/hi/entertainment/7816986.stm

It is part of the deal that if you have a blog about music, you have an opinion on the best albums of last year, your favourite songs, the best producers, the most overrated bands, all that kind of stuff, that is what makes you want to write about music, what makes you think your opinion is important.
You constantly fall into these traps of wondering if your blog is credible enough, if it is diverse enough, if it reveals enough about your personality. But the wonderful thing about a music taste is that it of course reveals everything about your personality. The lyrics you like reflect your past, how witty and eloquent you wish you could be. The sounds you like are probably the sounds you wish you could make, influenced by every song or album you've ever liked. And consequently, the bands you want to hear more and more of will not necessarily be the ones that are critically acclaimed or bands that are everyone's top choice to be big, but the bands that you can identify with the most and would love to see expand and explore.

The bands I want to do well this year probably won't, and they will definately not be heralded by blogs and magazines. And this isn't because I'm trying to be different but simply because I don't have a commercial hat on. I don't necessarily see these bands as selling a lot of records and receiving massive exposure at sell out shows but they are bands that I can't wait to hear more of and hopefully, will be receiving more and more exposure on this blog over the coming 12 months.

So without further ado, the bands I'm looking forward to hearing in 2009, in new capacities or a return to form, are:

Union of Knives new album.
New songs are up on myspace already and they're sounding massive, grimy electronica that has it's heart and soul in indie, the kind of band that I would've fallen in love with 5 years ago and have done everytime I listen to their debut album.

Prego.
These guys played here at 229 back in September and I've been the proud owner of their EP ever since. The band are simply stunning, listing their influences as Explosions, Mogwai, Sigur Ros and Coldplay, this band are clearly made for me. Soaring, harmonising guitars, thumpingly loud drums supported with a gritty and powerful voice, Prego are ones to watch in 2009 as they continue to record and release.

Mumford & Sons
If you're new to this blog, I love this band. If you're not, you'll know by now that I think Mumford & Sons are hot, hot property and with tours booked left right and centre and the probability of an album by the end of the year, having released two EPs already, it's gonna be a good 'un.

Explosions In The Sky
It's a long shot but the thought of a new album is one too strong to resist. The band are taking things easy for the moment but I live in hope. If you haven't heard anything yet, treat yourself to their myspace, it's a joy.

Florence And The Machine
One of those names that will just not be left alone, despite the recent revelation of her writing cooperations with Mr Borrell of Razorlight. Despite this, she can still write a storming tune and her live performance is a force to behold. Only reaching number 3 on BBC's poll of ones to watch this year, I thought she was a dead cert for number one so it'll be interesteing to see who can top her.

Esser
Enough said. Going to be huge, if Gotye can win the iTunes album of the year (it is a superb album, dont get me wrong), then Esser should have it tied up already. Top notch.

Simian Mobile Disco
James Ford will fit it in and it's going to be HUGE. I'm still loving the first album and listen at least once a week so I'm eagerly anticipating an album at least as good and with all of Ford's recent frolly's with other artists, it really should be better. Let's hope that the sophomore blues don't set in.

Royksopp
As already mentioned, long-awaited return with their third album 'Junior'. If they can write another song as good as Only This Moment or any track from the first album, I'll be happy.


A nice little mix of new and old there. Steve Lamacq however summed it up perfectly when writing on his blog about his tips for 2009 when he said:

"If you really want my one prediction for 2009, then it's this.

The new band who will be the story of the year haven't even surfaced yet. They won't be on a list. They'll still be in rehearsal. But they're out there somewhere"

And with no time to waste, we have the first bunch of exciting news for 2009. Ok so it's only 2 bits but it's still pretty big.

First of all, Foals have been working hard on the new record after taking #1 on the highly prestigious Boy With A Coin Album chart. There are MP3's available from their myspace and early signs are just as encouraging as to be expected for a band that are finding it hard to hide their anger but are spacious and twiddly at heart.

And, Royksopp today confirmed details fo their follow up to 2005's The Understanding. 'Junior' will be released on 23rd March 2009 and will feature guest appearances by Lykke Li and Robyn. Excited much? Lykke Li seems to be unstoppable in the studio and the prospect of a Royksopp live show is something I cannot wait for.

Album's of 2008 #10 - #6 Plus Honourable Mentions

So, let me start with a huge huge thank you for reading my little space here on the blogosphere. It has been an abolute pleasure, I've loved the feedback, good or bad and I really appreciate whatever of my opinion you take away from the blog. I'm always welcome to more feedback, recommendations, any of that stuff so please, feel free to fill me in on stuff I may not have heard and I'll happily post it on here. I hope to see some of you at shows I put on and look forward to bringing you some new and exciting music in 2009. It has, of course, been a fantastic year for music. 2008 has many highlights for me including a very sweaty Foals gig way back in March, witnessing Rage headline Reading with a stellar performance, watching Lykke Li in a forest at Lattitude festival, my first Planet Angel experience soon leading to DJ sets there and countless songs and albums and conversations about music that have excited and interested me. I hope you agree with some of the list below and I'd love to know your favourite albums of this year.


Starting with the honourable mentions. These are albums that could all have filled the #10 spot really, Weezer having pinched it for Heart Songs. However, these are albums that I've listened to throughout the year and been truly impressed with. They are albums that if I'd written the list on another day in another mood, they may have charted much higher than they actually did. This however takes nothing away from the albums that did make it, and the problem with a top ten list is there are only ten spots.

Chairlift
Coldplay
Death Cab For Cutie
Does It Offend You, Yeah?
Gotye
James Yuill
Johnny Foreigner
The Music

And now, 2008 in ten debatable spaces, my album list...

10) Weezer – Red Album Another album containing one of my most listened to songs of this year, the insightful Heart Songs. It’s one of those simple pop-rock songs that Weezer write so well and there are plenty of examples of this all over the record. The record is full of twangy guitar riffs, filling harmonies and songs that change direction every minute or so, it’s a well-written record and one that is easy and accessible. It’s a great listen and thoroughly worth listening to, over and over again.

9) Dan Le Sac vs. Scroobius Pip – Angles Well. It’s hard to talk about this album as it feels like I’ve had it for ages, this is an album that despite being great, I’ve probably over listened to. And that hasn’t happened to any of the other albums on this list.It’s brilliant in its conception, urban poetry, hip hop and heavy beats all brutally smashed together with some controversial and thought-provoking topics. The duo are a power live as well, tearing apart 229 when I saw them just before Christmas. It was loud, the bass was heavy and they were awe-inspiring. Pretty much all has been said about Le Sac vs. Pip on this blog but if you still haven’t got around to hearing it, treat yourself.

8) Kings of Leon – Only By The Night Again, a surprisingly low charting for a pretty awesome album. Having featured in pretty much every mainstream album chart there’s been these last few weeks, even topping some (unfairly in my opinion), it is impossible to deny Kings of Leon have produced another cracker. It is Kings of Leon at their mainstream, highly tuned, pop finest. Gone are the days of Caleb’s southern, unintepratable mumblings, the twangy high end guitars and rock and roll beats. Nowadays, Kings of Leon are anthemic, they are stadium sell outs and they are hard working and deserving. It is impossible to ignore the power of tracks like Mahattan, Revelry and the awe-inspiring Closer. However, the album for me is a little too pleasing on the senses. The gritty beginnings were what drew everyone to Kings of Leon and though progression is good, it is important not to forget where you came from. It would be easy for me to pick my favourite 11 Kings of Leon tracks and they would come from all four albums but, each album is heavily themed without meaning to just yet.

7) Portishead – Third
This album has made a fair few album lists this year and it is no surprise why. After taking almost as long as GNR to come up with a new album and spending significantly less in the process, it is no surprise that it is an absolute stormer. Portishead are a new addition to my music collection this year, my previous trip-hop experiences being slightly narrow-minded. However, it was impossible to ignore the media storm surrounding the album and it became very clear very quickly why everybody was so excited. Trip Hop excels in wonderfully dark, enigmatic production that gets harder and easier with every listen. Beth Gibbons’ voice is wonderfully mature, beautifully faltering and haunting beyond belief. This is wonderful chill out music, music to reflect to, music to inspire and elevate. A truly remarkable album.

6) Bon Iver – For Emma, Forever Ago Now, we are reaching more familiar territory for those that have read other Album’s of 2008 lists. And it probably would’ve charted much higher if only I’d heard the damn thing earlier. You see, I find it difficult to keep up with all the music I want to consume. I spend hours at work reading about new music, trying to find bands that will do well and then by the time I get home, cook, rest, there is just no time to get the darned albums. So, criminally, I’ve only had this album for a fortnight or so. As every blog will tell you, Bon Iver is the solo project of Justin Vernon and after breaking up with his girlfriend and his band, he retreated to a cabin in the woods in deep Wisconsin with a few bits of recording equipment and emerged with one of the albums of the year. Relying heavily on overdubs, the album is perfectly constructed, the harmonies are expansive without being overbearing, Vernon’s heartbreak is almost touchable and it is short enough that you are not left wondering if the end to this will ever end. It is of course, the anglicisation of Bon Hiver, French for Happy Winter and this is the perfect wintry album. 2008 has seen the rise of many folk artists to the forefront and with the success of festivals such as Latitude, Big Chill and of course Glastonbury, it is a genre that will continue to grow in people’s awareness, regaining a credibi8lity that it probably has never seen. It is easy to say that Bon Iver could easily lead this revolution and if reviews of his new EP are anything to go by, 2009 will be an equally fantastic year. The only problem is following up such heartbroken album when things are looking up!


Read on for the elicit number 1 spot of 2008...

Album's of 2008 #1 - #5

My favourite albums of 2008 was...

5) Explosions In The Sky – Friday Night Lights Soundtrack
Ok, another 2004 release and also not an album I first heard in 2008. The TX band has long been a pleasure of mine and I find it unfathomable that they don’t have a song you’d like. This album has been particularly important thanks to my discovery and consequent adoration of the TV show under the same name. This album is actually the soundtrack to the 2004 film of the same name but luckily, the producers chose to keep the soundtrack and expand it for the TV show. Consequently, images of sparse Texan desert and 70,000 seater high school football stadiums are accompanied with EITS wonderful soundscapes and the marriage is simply perfect. A breathtaking instrumental album with short, digestible chunks and when witnessed with the TV show, demonstrate the power of one of the best instrumental bands around.


4) Bloc Party – Intimacy
This is a difficult one for me. It is a brilliant album; there are no doubts about that. It was a wonderful new direction for a band which finally acknowledged guitar sounds that launched them so rapidly way back when in 2005 whilst incorporating a new electronic sounds, saw them play with new instruments and new ideas. Signs and Your Visits Are Getting Shorter especially are standout tracks not just on the album but in the Bloc Party Collection. Ares sounds fantastic with its wonderfully deep resonating bass, Mercury is so awkward and difficult that it works perfectly, Talons with its incredible music video, something that Bloc have been lacking for me for a while. It is a great package. But in what may come as a shock to you all, there were better this year. Though I understand the reasons, for some reason the staggered release annoyed me. The price was more than reasonable for the digital and physical release and I commend Bloc Party heavily for that as it is rare that I pay for CD’s these days. It is hard to quantify why but I just was not a fan, it ruined the anticipation, ruined the excitement period that accompanied AWITC so well. But still, that’s not the only reason. There were songs on the album that I could go without hearing again, a key change that still I find awkward to listen to and lyrics that were simplistic at times and others, too obscure to garner interest. This is by no means me rubbishing a fantastic album, more justifying why a band that most would’ve thought were dead certs to be number one, just aren’t this time around.


3) Simian Mobile Disco – Attack Decay Sustain Release
Breathtaking. Simply breathtaking. Admittedly, this is a 2007 release so please; don’t shout at me saying this shouldn’t be on the list. It should, it will likely be on every album list I ever write. Electronic music is an interesting conundrum. On the one hand there is no voice, no lyrics to identify with, and no identifiable performance to hone in on and appreciate. But this is where, for me, Simian Mobile Disco break all the rules. In every song, there are parts that I love, that make the song what it is and would ruin it where they not there. The album is perfectly designed to touch on everything you want from a dance album. There are fast, grimy tracks, echoey spacey tracks and sing along tunes. It is perfectly paced, perfectly mixed and perfectly titled. What a fantastic album title and equally brilliant for the disappointing remix album – Sample and Hold. A performance at Reading that will stay in my mind forever, a brilliant live album and the promise of a new album very very soon, despite all of Ford’s side projects. An exciting, innovative and brilliant outfit.


2) Lykke Li – Youth Novels.
No surprises here I imagine. Fantastically produced, wonderful lyrics, superb voice, the perfect pop package. And of course, my song of the year – Little Bit. When this track first appeared god knows when, blogs as they do by nature, went mental. Thankfully, the interest was upheld until an album appeared and what an album. From the wonderfully dark Complaint Department, the anthemic Dance, Dance, Dance and of course, Little Bit. A beautifully crafted song with the perfect ingredients – catchy hook, heartbreaking lyrics, a voice so sweet it’s practically syrup and a shy, faltering admittance of love. Bloody marvelous.


1) Foals – Antidotes.
A love affair that started way back in August 2007, this album has been consistently listened to over the year and despite only seeing release back in March, it has been a tireless and energetic year for the Oxford 5 piece. After rejecting mixes of an album produced by one of the hottest producers around and choosing to go it alone, they created a wonderful, atmospheric but insistent spiky indie rock record. Red Sox Pugie could also be my single of the year, it is certainly my most played song on iTunes, but that spot is saved for a song that is a little more special to me.