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

song of the week : craft spells // breaking the angle against the tide

‘Breaking the Angle Against the Tide‘ is a prime example of the more relaxed, less in-your-face approach Craft Spells have taken with their second album, Nausea. It’s refreshing for us as listeners, when Idle Labor felt as though frontman and founding member Justin Vallesteros had a sizeable amount of relationship-induced angst to get out of his system. The guitars aren’t weighed down by loss and longing and sadness on ‘Breaking the Angle Against the Tide‘. Instead, they’re shimmering and sun-soaked, and backed by dream-like string melodies.It’s the perfect first release from Nausea, as it really does feel like there’s a shift in perspective during the song – like a beam of sunlight breaking through the metaphorical clouds of sadness.

But sometimes the best music is made when people are in their most raw emotional state, and that would be true for Craft Spells, because despite their best intentions, Idle Labor will always come out on top.


Written for Post Music Depression

song of the week : palm honey // palace

We're well and truly in the midst of summer here in the UK, although you'd never have guessed, but Reading four piece Palm Honey's track 'Palace' makes up for the summer vibes that aren't being provided by our typically British weather.

The track sits comfortably between the hazy, fuzzy melodies of Tame Impala, and one of By the Sea's dream-pop/rock fantasies. It's early days for the band, who have only got four demos on their Soundcloud page - 'Palace' being the most popular by a long way - but with a bit more confidence and practise under their belts, they wouldn't sound out of place on a label like Captured Tracks.

NME have already cottoned on to their potential, so catch them while you can. 



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 : 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 : alt-j // hunger of the pine

I have to admit, I was a little bit worried when I heard that Alt-J were releasing a new track. Not because I doubted their ability to create an equally mesmerising impact with album number two now that bassist Gwil Sainsbury has left, but because of the hideous images conjured up in my mind upon discovering that the track featured a sample of a Miley Cyrus song. Using music made by the most controversial figure in 2014′s ever-worsening world of pop was a huge risk to take and could of gone horribly wrong, but it didn’t. After hearing ‘Hunger Of The Pine‘ I have fully realised the extent of Alt-J’s musical ability – and that proves exactly why they won the 2012 Mercury Prize with their debut album 'An Awesome Wave' – because they are undeniably a very talented bunch.

‘Hunger Of The Pine‘ opens with nothing but a steady triplet rhythm and Joe Newman’s soothing vocals. Gradually, in true Alt-J fashion, more orchestral instruments are introduced. This build up leads to a sudden but typical Alt-J infectious beat kicking in, with the vocals subsiding to make way for a distant calling of “I’m a female rebel” by none other than..Miley Cyrus. The use of the vocal sample is far more subtle than I’d expected -thankfully - proving furthermore that Alt-J really do know what they’re doing.

It would seem that the band are going to continue following their original, extraordinary sound and let it evolve naturally; rightly so too because it’s very different to anything else out there. But ‘Hunger Of The Pine‘ has shown that they are equally as keen to incorporate a more current 'pop' element, perhaps to appeal to a wider audience. But if these guys can find a place for Miley Cyrus in their music, then who knows what their next move will be. I’ve got every faith in them.

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 : metronomy // reservoir

photo: guardian.com

'Reservoir' opens with an alienated-electro sequence which is in keeping with past releases, such as 'Radio Ladio', rather than the rest of the motown-feeling tracks on Metronomy's latest offering 'Love Letters'.  It's also noticeable that Anna Prior has, sadly, been replaced by a barely-there drum machine. 

The intergalactic theme continues as a spiralling techno melody fires off into the distance, and bounces back again, creating a build up to the chorus. Here Joe Mount's voice lifts an octave or two, belting out "heartbeats, drifting together", and that's where you see that 'Reservoir' is different. It's the affectionate lyrics that have earned it a place on 'Love Letters'. 

There's an aquatic feel subtly encorporated with the album's sound - it reminds me of the soundtrack Wes Anderson's 'The Life Aquatic (with Steve Zissou)' - and 'Reservoir' is where this is most prominent. The lyrics are referencing a metaphorical boat, which represents a female, and the song's title is water-related too. 

So despite my initial thoughts that it was similar to past releases, I now see that it is in fact very different. It explores some unconventional themes - from outer space to under the sea - proving that Metronomy are becoming increasingly hard to pin down to a specific sound with every release.


Written for Post Music Depression