INTRODUCING : CARNIVALS

photo: c/o gatepostmusic

SOUTH-EAST LONDON QUARTET CARNIVALS ARE PUTTING IN THEIR TWO CENTS TO THE EVER-GROWING PSYCH-POP SCENE. I CAUGHT UP WITH THE BAND - CAL, HARRY, JOE AND GEORGE - TO FIND OUT MORE ABOUT WHO THEY ARE, WHAT THEY DO, AND HOW THEIR FIRST VENTURE INTO MUSIC WAS SURPRISINGLY VERY FAR FROM ANYTHING YOU'D FIND IN THE 60'S/PSYCH SECTION OF YOUR LOCAL RECORD STORE...

> TELL US A BIT ABOUT WHO CARNIVALS ARE. HOW DID YOU START MAKING MUSIC TOGETHER?

G - WE ARE FOUR NORMAL GUYS WHO FELL IN LOVE WITH MUSIC AND NEEDED AN OUTLET. WE ALL CAME FROM DIFFERENT ROUTES INTO MAKING MUSIC THOUGH. JOE (LEAD GUITAR) AND HARRY (DRUMS) WERE OLD SCHOOL FRIENDS WHO'D WORKED ON VARIOUS PROJECTS TOGETHER, REINVENTING THEIR FAVOURITE SOUNDS. CAL (LEAD VOCALS/GUITAR) WROTE AND PERFORMED A LOT ON HIS OWN AND WITH THE BAND HE WAS IN PRIOR TO CARNIVALS. I PLAYED WITH WHOEVER WAS AVAILABLE AROUND OUR AREA, DOING ORIGINALS, COVERS AND BLUES OPEN MIC NIGHTS. THEN I MET THE OTHERS AT A GIG WE WERE ALL BILLED ON. AND THAT'S PRETTY MUCH HOW WE GOT TOGETHER...

C - I WENT TO SCHOOL WITH JOE AND HARRY BUT IT WAS ONLY AFTER WE DISCOVERED OUR SIMILAR TASTES IN MUSIC THAT WE'D HAVE THE ODD JAM AT PARTIES, AND EVEN IN TESCO CAR PARK... THEN I JOINED THE BAND OFFICIALLY AND WE STARTED GIGGING. 

> FOR THOSE WHO HAVEN'T HEARD YOUR MUSIC, HOW WOULD YOU DESCRIBE YOUR SOUND?

G - OUR SOUND IS INFLUENCED BY A COMBINATION OF ERA'S AND STYLES. WE HARNESS A LOT OF INFLUENCE FROM 60'S AND 70'S POP BANDS, WHO ARE SOME OF THE BEST MUSICIANS WITH SOME OF THE MOST WELL-CRAFTED SONGS. LIKE THE DOORS, THE KINKS, THE ZOMBIES, PINK FLOYD, LED ZEPPELIN...

J - YEAH ALONG WITH THE CLASSICS WE LIKE GROUPS LIKE ARCTIC MONKEYS, TAME IMPALA,  TEMPLES, THE GROWLERS, THE CORAL...

G - TO SUM UP OUR SOUND: WE MAKE INDIE ROCK WITH A TINGE OF PSYCH AND SURF RIFFS BACKED BY A DANCEABLE RHYTHM. 

C - YEAH, WE MAKE PSYCH POP, BUT WE TRY TO KEEP IT AS CATCHY AS WE CAN AND SPICE IT UP WITH TRIPPY RIFFS.

> IF YOU COULD ONLY LISTEN TO ONE ALBUM FOR THE REST OF YOUR LIVES WHAT WOULD IT BE?

J - THAT'S A TOUGH ONE. I LOVE ARCTIC MONKEYS' HUMBUG, IT'S A REALLY UNDERRATED RECORD...BUT PROBABLY RUBBER SOUL BY THE BEATLES CAUSE IT'S A CLASSIC. 

G - LED ZEPPELIN II - LED ZEPPELIN

C - THE DOORS - THE DOORS

H - TAME IMPALA - LONERISM

> WHAT ARE YOUR EARLIEST MUSICAL MEMORIES?

G - MY EARLIEST MUSICAL MEMORY WAS PRETTY TRAGIC. I WAS ABOUT 7 OR 8 YEARS OLD AND I'D SOMEHOW MANAGED TO PICK UP ON THAT REALLY CHEESY R'N'B TUNE THAT GOES 'LET ME LICK YOU UP AND DOWN...' WHICH MUST HAVE BEEN DOWN TO MY OLDER SISTER'S CHOICE OF CAR MUSIC. ANYWAY I STARTED SINGING IT IN CLASS AND EVERYONE THOUGHT IT WAS GREAT. SO I DECIDED TO TAKE IT TO THE NEXT LEVEL AND PERFORMED 'MAMBO NUMBER 5' AT THE END OF YEAR SCHOOL DANCE...BUT FORGOT HALF THE GIRLS' NAMES IN THE SONG, CRIED ON STAGE AND NEVER MANAGED TO LIVE IT DOWN. PRETTY ROCK AND ROLL...

> AND FINALLY, WHAT'S NEXT FOR CARNIVALS?

OUR SINGLE 'SHADOWS' IS OUT NEXT MONTH WHICH WE'RE REALLY EXCITED ABOUT CAUSE IT'S BEEN A LONG TIME COMING. WE RECORDED IT AT THE FAMOUS PARR STREET STUDIOS IN LIVERPOOL. THEN ONCE THE SINGLE IS OUT WE'LL BE PLAYING A FEW HEADLINE SHOWS IN LONDON AND OUT OF TOWN TOO WHICH WE'RE LOOKING FORWARD TO. THERE'S A VIDEO FOR 'SHADOWS'  IN THE PIPELINE TOO. OVER THE SUMMER WE'RE PLAYING AT SOME FESTIVALS WHICH WILL BE AMAZING FOR US. WE'VE ONLY BEEN TOGETHER COLLECTIVELY FOR A YEAR SO TO HAVE THESE OPPORTUNITIES IS REALLY COOL. 

YOU CAN CATCH CARNIVALS LIVE ON THE FOLLOWING DATES:

12TH MARCH @ THE WINDMILL BRIXTON (LONDON)

1ST APRIL @ THE SOCIAL (LONDON)

29TH APRIL @ AMERSHAM ARMS (LONDON)

& FIND THE BAND ON:

TWITTER

SOUNDCLOUD

FACEBOOK

INSTAGRAM

song of the week: public access tv // in the mirror

I've been keeping my eye on New York's latest and greatest, Public Access TV, for a little while now. They've not quite reached the realms of Radio 1 airplay (thankfully), but they're banging out a succession of cracking singles; In the Mirror being the most recent. 

I can't help but compare their evolution to Circa Waves, who've given us a hefty dose of indie-rock anthems in the past six months, and now it's Public Access TV's turn to put a Brooklyn spin on things. To date, the singles have followed a pattern of off-beat riffs, call-and-response choruses, with a sharp attitude laced through the vocals. Unsurprisingly, In the Mirror fits this brief too.

However, what caught my eye was the B-side Hangin' Around, which nods more to a classic rock sound than the early 2000s British indie scene; straying from the offbeat riffs and throwing in a nifty guitar solo or two. The vocals are still cynical as ever though, in the band's true fashion: "four years at college // and all for nothing" "you're never going to get things right". 

But could this be the band asserting themselves as far more than just another run-of-the-mill, indie-rock-anthem-making machine? Or are they simply trying harder to shake off the Strokes comparisons that they overtly despise? Who cares, because it sounds great either way. 


Written for Post Music Depression

review : beverly // honey do

Beverly is ex-Dum Dum Girls Frankie Rose’s latest venture. They formed in 2013, their debut album was released mid-2014; these guys aren’t hanging around.

Combining 60’s girl-group vocals with grungy melodies, they’d fit in amongst Summer Camp and Alvvays in your record collection. ‘Honey Do‘ is a prime example of this; its fuzzy looped guitars provide a heavy contrast from the immaculately polished female vocals.


Written for Post Music Depression

review : circa waves // so long

 

'So Long' is only the third single from Circa Waves, although it somehow feels as if we've heard enough to fill an album, but this one's not quite on par with their typical indie-pop anthems.

Fast paced? Yes. Guitars? Plenty. Upbeat? Check. But despite having most of these usual Circa Waves qualities, it doesn't feel quite right, having more football match chanting than catchy, can't-get-it-out-of-my-head choruses.

They may well have veered off course with the content, and in all fairness, there are only so many times you can bash out a melodic riff before it gets repetitive; but they're by no means short of energy.

Written for Post Music Depression

review : childhood // lacuna

photo: pitchfork

Waiting for Childhood’s debut album has felt like forever. But has it been worth waiting for?

Just falling short of an hour in length, its tracklisting won’t come as a surprise to anyone who’s seen the band live before, as it is not dissimilar from their setlist. 'Blue Velvet' is the opener, followed closely by 'You Could Be Different', and singles 'Falls Away' and 'Solemn Skies' are placed not too far behind, with their familiarity helping to bring the album to a close. The overall feel of the album is, vocally, much less distant than the singles felt. This again shows the band’s desire to let their live performance bleed into the record and give it a more personal touch, which is great for a band who may have previously been misinterpreted as impersonal due to their lack of interaction on stage.

Sonically, Lacuna combines hazy-Mac Demarco-style vibes, on 'Right Beneath Me' and 'Tides', with some more brash, grungey moments, such as 'When You Rise'. Of course the crashing, swirling outros of 'Falls Away' and 'Sweet Preacher' could only belong in the latter category too. It miraculously manages to flow well despite this ambitious combination of varying paces and rhythms throughout.

A highly sophisticated album for a band’s debut, but considering how much time they’ve spent working towards it - and playing live too - Childhood have proven that practise makes perfect, and that the best things come to those who wait.

Written for Post Music Depression

review : the drums // magic mountain

No one does drums quite like The Drums, and that is the distinguishable feature of 'Magic Mountain'. The other is the vocals; an astounding sound that is unique to one man only, and that man is Jonny Pierce. Choruses are looped, amongst a series of 'oohs', which is another running theme with The Drums.

But the most significant difference here is that this is much darker than anything we've heard before from the band. It's almost as if they've been transported from the glorious Californian beaches into the darkest depths of outer-space, judging by the unusual variety of sounds used here. Frontman Jonny described the new material as 'full of magic and surprises', and it would be wrong to say 'Magic Mountain' lacks either of those qualities. It's still quite obviously The Drums, just with a different spin on things; a different setting in their ongoing story, as opposed to an unexpected plot twist. 

It's been a long time coming, anticipating what this band's next move will be, but I'm certain that it'll be worth the wait. Encyclopedia is out 23rd September.

Written for Post Music Depression

review : alt-j // left hand free

I felt quietly confident about my judgements of what Alt-J’s next moves would be after hearing ‘Hunger of the Pine‘, which featured a vocal sample of Miley Cyrus’ track ‘4×4‘. They wanted to keep their unique, albeit obscure sound, but update it slightly to make it more ‘current’. More 2014, where it’s the norm to mix together whichever genres you please, as shown by the likes of Arctic Monkeys, and listeners are far more open minded – pretty much anything goes these days. 

However ‘Left Hand Free‘ - the second song to be previewed from their upcoming album, This Is All Yours – has made me doubt those assumptions. It wouldn’t sound out of place sitting between any of the fourteen tracks on their debut, An Awesome Wave, and seems to follow that older Alt-J approach to songwriting, rather than the 2014 spin they put on things with ‘Hunger of the Pine‘.

Quite frankly, it’s left me stumped. I just don’t know what to expect now from the second album. Did they lure us in with ‘Hunger of the Pine’ to make us think they were slowly and subtly making changes to their sound, which would have been a healthy progression, only to fill the rest of the album with the brothers and sisters, possibly even twins, of the tracks on An Awesome Wave. 

Whatever happens, we'll still love them, because there really isn't anyone quite like Alt-J.

Written for Post Music Depression

review : alvvays // alvvays

photo: pitchfork

I can't express how excited I am about Alvvays. I feel like this band mixes together some of my absolute favourite sounds, to create the most perfect metaphorical cake; not full of crap, not over-done, sugary-sweet yet unrefined, and certainly not following a recipe. Their self-titled debut album showcases their ability to create exciting, energetic numbers - such as 'Adult Diversion' and 'Next of Kin' - as well as slowing the pace down with tracks such as 'Ones Who Love You' and 'Red Planet', which have a slight Warpaint feel. 

Lyrically it's filled with conflicting emotions of love, angst and uncertainty: "how do i get close to you // even if you don't notice as i admire you on the subway", "is it a good time // or is it highly inappropriate" (on 'Adult Diversion'), which are intensified by Molly Rankin's vocals. 

Beachy vibes are running through the album - just as I had anticipated - but there's something deeper on the slower tracks particularly, further proving that Alvvays are much more sophisticated than their peers. I'll be interested to see if they pursue that sound in future work, and leave behind the slightly more trivial surf-rock components. 

To summarise: it's a well-rounded, no-filler album; something that many bands don't achieve on even their second or third album, nevermind the first. I dare you not to like it. 

review : lucy rose // cover up

If you first heard ‘Cover Up‘ played on the radio, not knowing who it belonged to, you’d think Jack Steadman and co. had roped in Lucy Rose to appear once more as a guest vocalist on a new song. But surprisingly this is purely her own creation, although it is very much in keeping with Bombay Bicycle Club’s recent work, and has that same oriental/electronic feel as the material on So Long, See You Tomorrow.

It’s a far cry from the singer/songwriter’s debut album Like I Used To; but two years down the line, it would seem that she’s eager to shake off the label of ‘singer/songwriter’ (and rightly so too, as they’re coming in by the dozen). Her soft vocals are still apparent – being the only feature of ‘Cover Up‘ that makes it recognisable as a Lucy Rose track - but the obvious message she wants to get across here is that she’s stepping out of her comfort zone, putting down her trusty guitar, and trying out a more grown up sound.

I can understand her reason for moving into a different genre entirely; there’s only so much you can do with a voice and a guitar, but it’s a bold move for a second album and certainly raises a few questions. Is she still living in the shadow of her older and wiser mates, Bombay Bicycle Club, and trying to keep up with their ever-changing sound? I’d previously got the impression she wanted to escape from all of that. She’ll have to be careful how she handles this change if she doesn’t want any more comparisons. 
There’s no denying that this girl has talent, let’s just hope she puts it to good use.

You can download ‘Cover Up‘ for free here.

Written for Post Music Depression

review : alvvays // adult diversion

It would be fairly easy to mistake this track for Best Coast initially, with the surf-rock-tainted melody, and fuzzy female vocals; which to most people is a sound made solely by the inhabitants of the Golden State. But if you listen closely, you'll realise that Alvvays' music is a far more complex affair than the Californian duo's simplistic, and - let's be honest - often dreary sound. 

There are hints of post-punk in the guitars on 'Adult Diversion', but it's got beachy vibes through and through (despite being manufactured in Toronto). The vocals are more upbeat than those of the aforementioned band, whilst still retaining the raw and unrefined sound synonymous with surf-rock; well, apart from those Beach Boys, with their silky-smooth voices..damn.

Alvvays' debut album is due for release on 21st July, and I can tell already it's going to be a strong competitor for my favourite summer album.

Written for Post Music Depression

review : by the sea // i see a crystal sky

By The Sea are the quite possibly the most underrated band out there at the moment, or as Bill Ryder-Jones once put it: “the kind of band that in ten years everyone will pretend they loved in the early days”. Very true.

Their self-titled debut album was released back in 2012, and provided us with nine tracks of the most heavenly surf-rock/dream-pop goodness. But this summer brings album number two - Endless Days, Crystal Sky - and the band have given us a preview with 'I See A Crystal Sky'.

Unlike some bands who take a different route with every album and completely re-invent themselves, it would seem that By The Sea are simply letting their sound evolve naturally, which is how it should be done. On 'I See A Crystal Sky' any remnants of surf-rock from their debut have been washed over; the jangly guitars have been smoothed out to the point of being unrecognisable. Synths are brought to the forefront – being the overriding element on this track – and the vocals are far more prominent, having previously been merely a distant echo. The synth-led sound will hopefully gain them some well-deserved recognition, potentially appealing to the hoards of Horrors/Toy fans out there.

Whilst it’s quite an obvious transition sonically, it still works because these guys have the knack for making great music, the sort of music that would soundtrack your dreams, and that’s pretty hard to come by. Endless Days, Crystal Sky is set for release on August 18th.

Written for Post Music Depression

review : circa waves // young chasers

Circa Waves certainly are making a splash in the music world, and quickly too. Six months ago they were barely a band, and now they’re feeding hit singles to the masses via Transgressive. Young Chasers is the latest, and I personally think it's the best so far.

They're universally branded with The Strokes/every-other-remotely-catchy-indie-band-since-2000 comparisons. But Young Chasers is a sharp slap across the cheek for these people, and proves a point; they can put a gritty, post-punk spin on things if they want to, and pack it all into two minutes and eight seconds in true punk fashion. Just wait for the ‘ooohs’ to kick in, and the guitar feedback, and you’ll see what I mean.

It’s totally different to previous release Stuck In My Teeth, which is painfully catchy, yet admittedly a bit too poppy. Hopefully they will stay off the indie-pop bandwagon, and continue to experiment with sounds that are a bit more rough-and-ready, like they have done with Young Chasers. There’s no denying they’re obviously still very Strokes-influenced, and probably always will be. But hey, if that reunion never happens then at least we can bank on these guys to provide us with sufficient listening material for the foreseeable future.

Written for Post Music Depression

review : the 1975 // robbers

You’re either pro-1975 or anti-1975 – there are two clear parties when it comes to this band. Having admired their work for the past four years, it’s been incredible to watch them grow and succeed, albeit almost overnight. ‘Robbers‘ always held a firm place in their setlist despite their many name-changes, and throughout this time it has been a personal favourite of mine.

The video for ‘Robbers‘ landed in my inbox this morning, and is essentially acting out the story of recklessness and adventure that's told within the lyrics. It’s centered around frontman Matt Healy and his love interest; they do everything from drugs in the cinema, to conducting a gun robbery. 

To accompany the video release, Matt revealed the meaning behind the song:
// Robbers is a love song, that was inspired by my love of the Quentin Tarantino film ‘True Romance’. The sentiment behind the film appeals to me – the hopelessly romantic notion that two people can meet and instantly fall in love. It’s the type of relationship where actions are fuelled by blind, unconditional love. //

It’s a song rife with emotion; the minimal melody allows Healy’s heart-wrenching vocals to stand out above all. It’s a real contrast from their other singles such as ‘Sex‘, ‘The City‘ and ‘Chocolate‘. 

So if you’re not in pro-1975 camp already, I suggest you listen to ‘Robbers‘ and it might just change your mind.

Written for PostMusicDepression

review: skaters // manhattan

photo : www.gigslutz.co.uk

Well, New York bands are really bringing it with their debut albums lately - first Drowners, and now Skaters.

'Manhattan' is equally as likeable; it's faultless from start to finish. 

This one's for you if you're a fan of extremely catchy guitar riffs paired with brash, anthemic choruses.

Their post-punk influence was clear from the start with debut single 'I Wanna Dance (But I Don't Know How)',

and is still prominent throughout the record, but that doesn't mean Skaters aren't exploring other avenues too.

'Band Breaker' and 'Fear Of The Knife' have a reggae feel, that makes me long for some sunshine..

whilst 'Nice Hat' is the most rowdy of the lot.

Stand out tracks would have to be 'Miss Teen Massachusetts', 'Symptomatic' and 'Schemers'.

I honestly don't have much else to say because it's just a brilliant piece of music.

Five stars from me.

★★★★★

Skaters are currently on tour in the UK (and I'm seeing them tomorrow, should I write a review?)

 You can find tour dates here.

coming soon : 2014 releases

Drowners - Drowners

The band's debut album.
If you've been asleep for the past 6 months, you may not be aware that I am very excited about this.
Out January 27th via Frenchkiss Records.

Bombay Bicycle Club  - So Long, See You Tomorrow

It would seem the band are taking a more 'electronic' approach with their 4th album, 

and I've got a feeling they've nailed it.

Out 3rd February via Island Records.

Temples - Sun Structures

Finally, the album we have (well, I certainly have) been waiting for!
Out February 10th via Heavenly Recordings.

Skaters - Manhattan
The debut album from New York boys, Skaters.
Out February 24th via Warner Bros. Records.

Metronomy - Love Letters

3 years ago they gave us 'The English Rivera'.

 I'm really looking forward to this - lets hope it's just as good, if not better.

Out March 10th via Because Music.

I've also heard a few rumours about what may/may not be coming our way this year.. 

I suppose we'll just have to wait and see.

ALL IMAGES BELONG TO THEIR ORIGNAL SOURCES

single of the week // telegram

photo: theguardian.com

I discovered Telegram after a recent Temples gig where they supported. 

Personally, I thought it was an unlikely pairing in terms of sound.
They'd have been better suited for a support slot with the likes of Charlie Boyer and the Voyeurs,
 (who they're apparently good mates with anyway)..
It's distinctively punk, although there's definitely an element of psychedelia to their sound. 

'Follow' was produced by Dan Carey, and self-released by the band on 10th November.
It's a strong choice to showcase the band's talent, and gives the listener a taste of what to expect from future material.
The b-side 'Under The Night Time' isn't quite as explosive, which is why it's the b-side,
but still carries that brash punk sound, particularly during the chorus.
Both tracks mesh well together, making it a brilliant debut overall.

single of the week // drowners

photo: spin.com

I've posted about Drowners a few times now on here, because they're a band who consistently impress me with every release. 

The story: lead singer Matt Hitt is originally from South Wales, but relocated to New York a few years ago. 

He met a few guys who were into music, and Drowners were born.

Their debut EP 'Between Us Girls' was released in the UK in February, via Birthday Records. 

It featured three tracks, all under two minutes in length, and paints the perfect picture of the band.

Leather jackets, Jack Kerouac, skateboards, New York's East Village. These guys are the epitome of cool. 

It's no wonder they're best mates with Alexa Chung.

Their latest single 'Luv, Hold Me Down' showcases a more polished sound than what we heard on the EP. 

Hitt's vocals are noticeably enhanced, not that he needs them to be, and the guitars are more Smiths-y (which isn't a bad thing).

His writing is still the same though; describing real-life situations, which makes the songs relatable (but not in a Mike Skinner way, a much more refined way..)

He once joked that he doesn't walk around with headphones on, because he'll hear a couple arguing and think 'oh, there's a chorus'.. and to a certain extent I can see this is true. 

Surely this can only mean that the album, which is due for release in January 2014, will be even more impressive.

review : arctic monkeys // AM

photo: thisisfakediy.co.uk

A little bit later than I'd hoped (better late than never).. here are my thoughts on Arctic Monkeys' 5th album, 'AM'. 

The first thing I'll say is this: if you're the kind of person who likes a band to stick to the same sound throughout their career, then you probably won't like it. 

But who is stupid enough to have that mindset? A few pretentious Alex Turner fangirls perhaps, but certainly not me. 

I've loved seeing the evolution of their sound. Every album is completely different from the previous one, and somehow it always works. 

'AM' is a proper rock record, but it's got a lot more to offer than just noisy guitars. 

The beats are unmistakably R&B/hip-hop, and there's enough shoo-wopping to make any 1960s girl group envious.

It truly is modern-age rock'n'roll (which was only to be expected once Alex Turner began channelling his inner Elvis).

photo: nme.com

It's obvious why the singles were chosen as the singles.. but as a collective it works so well together.

My personal favourites are 'Arabella' (not biased, promise), 'Fireside', and 'I Want It All'.

I think this record shows Arctic Monkeys in a different light - so much more sophisticated than just a bunch of likely lads from Sheffield (with a lot of attitude).

I can't wait to see what's next.