Christmas is overrated and New Year is a let down when you've got 4000 words to write on what names are and whether John McCain exists in a far off galaxy and actually got elected in 2008. Yes this is my degree. Happy 2010.

Rage for number 1

Fans of one of my favourite bands ever, Rage Against the Machine have created a facebook group in an attempt to get the band's 1992 hit "Killing in the Name" to Christmas Number 1. Over 800,000 people have joined the group which is predominately a backlash against Simon Cowell and the X Factor parade which has dominated the Christmas Chart for the last few years. Although they're signed franchises of the same record label, it's a inspirational statement of anarchy by over three quarters of a million people, who do not wish to see a brand control the music industry. Although singles do not hold the same credible chart status that they once did, the fact that the chart has developed into more of a wiped up, glossed over karaoke competition is shameful. Britain has the most decorated and established music scene and produced more world-famous bands than any other nation in the world, and when this age old tradition becomes tarred with reality shows, rather than unique, cutting edge and experimental musicians breaking onto the scene, action had to be taken. Rage themselves have backed the bid and appeared on morning radio performing the song, which you can listen to here http://www.guardian.co.uk/music/audio/2009/dec/17/rage-against-the-machine-bbc-5live

Ok, so it's not friendly listening, but since when was music supposed to be? Music is about a cause and emotion, not hand-picked models on glorified talent shows singing a song written by a Disney icon, which is why this Christmas it will be a refreshing change to have musicians who write and play their own music at the top of the charts, so download Rage Against the Machine's "Killing in the Name" and give music it's voice back.

The Last 10 Years.

Well, we're drawing close to the end of the noughties. In terms of music, there's a lot of debate as to defining tracks and artists of the decade, The Strokes, Arctic Monkeys, Arcade Fire, Bloc Party, Kings of Leon, Muse, Razorlight...actually scrap the last one. Ten years ago I was 10 years old, had just started high school, I thought letting myself in to my house after school was a big deal, England were about to be knocked out of Euro 2000 by Portugal (again) and some huge bug was about to eat all our computers. Now, I'm half way through a degree, living away from home, England are probably due to be knocked out of the World Cup by Portugal later next year, at least some things never change. I can't believe how quickly the last ten years have gone to be honest. A LOT has happened, and I pretty much couldn't have asked for any more. Seven years of high school, various jobs, a Gap Year, starting Uni, making some friends for life, seeing more live bands than I care to mention, four Leeds Festivals (one Wakestock) GCSE's, A Levels, The Commonwealth Games in 2002, a ridiculous amount of alcohol consumed.

In ten years time, I hope I'm able to look back on the 10's with such fond memories.

And the Time Spent Alone

I miss being young. I mean I guess I'm still pretty young, I turned 20 earlier this year, so even if you're just a bit older, (my Mother namely, I can't imagine that many 40somethings casually read this blog on Sunday evenings) you'll probably tell me to shut up right now. No, because despite what appears to be a pessimistic article on the basis of the first four words, I'm going somewhere with this, so bear with me. Cool.

I don't actually miss being young as such, I like the fact I live away from home and can do my washing up whenever I feel like it, get in at 4am and play Mario Kart until 6. I like being able to drink and generally just do whatever the hell I like. The fact I can jump on a train and go see my mates or my football team at the drop of a hat. I like going to live music on my own, without permission, because y'know, Monday is a school night. I like where I am now, and love my life. It's pretty great. But, I still feel like I'm growing up a little bit too fast. I miss the days of playing football at Chapman's house and practising our goal celebrations to "That's the Way I Like it". I miss seeing Ruth Jones and Becky Brown every day in Sixth Form and doing nothing in our free periods. I miss my Gap Year with the boys, sharing McFlurry's with Jonny in Brisbane, me and Nick zorbing, navigating Rick across California, and losing Muc in the Malay rainforest. The beautiful thing about all these memories is that I just enjoyed being there. I can't remember worrying about about where I was going, or even what I was going to eat that night. I just enjoyed myself.

Which is why I'm so keen to enjoy myself now just as much, because in the foreseeable future my "youth" will be over, I'll have to get a job, loans, rent a flat and do grown up things like that. Why shouldn't I go to the pub, play football three times a week and stay up ridiculously late with my mates? At the end of the day, I think these are the times and the memories I'll remember when I'm 48. I'd hate to look back and think that I never made the most of the opportunities and freedom I had when I was 20. I'm beginning to sound like the opening credits of Trainspotting, but still. You only get so long on this planet, and I want to experience it for all its worth while I can. It's a good lesson to learn, and agreeably a compromise between work for later, live for today must be met in good balance.

I suppose this profound(!) blog has been brought on by a huge indecision about which career path to take. This is my attempt to justify not having my life planned. I think my problem is not that I'm indecisive, but that I don't want to restrict my options and pursue something which might not work out. Usually things tend to work out though, so hopefully this will be the same. If not I'll just sit on a street in San Francisco, preaching to the Yuppies enjoying their Starbucks the true meaning of life, vocally rather than through a blog.

The Times They Are A-Changin'

The title of this post is eponymous with Bob Dylan's famous song, and pretty much sums up what he sings about in it as well as my life; times are changin'. Lately a lot of things have started to change, not least my music taste. Angry and volatile playlists have been replaced with more mellow and sober ones. Rage Against the Machine and Rise Against, for whom it should be noted I'll always love, have been outplayed by The Smiths and The Cure recently. I'm discovering these band's lyrical genial and sensitivity. I'm falling in love with Robert Smith's insecurity and Morrissey's shyness. I'm also listening to Lennon and Dylan excessively, and discovering the beauty of a fantastic songwriter and artist with just a guitar for support. The Velvet Underground, Neil Young, Johnny Cash. Just what is going on? I was also aware of these bands, but never had taken the time to listen before. One of my favourite lines from Dylan's song is

"Don't criticise what you can't understand".

I have no idea why this is relevant to this blog, but I like the line all the same, and therefore it is certainly worth mentioning. It is very true, how can you make a judgement on things, if you have no scope of understanding? I'm not just talking about music. I guess I used to be cynical about alot of things, but like The Smiths and The Cure, until you really discover things for yourself what all the hype is about, you can never truly understand them. But we all get there in the end, thankfully.

Stuck in the Middle With You

Frank Turner /19th October / Wulfrun Hall / Wolverhampton

This is the third time this year I’ve seen Frank Turner live. After supporting The Gaslight Anthem and his set at Leeds Festival, I’m excited to see him headline on his own tour. The twentysomething singer/songwriter from Winchester combines basic guitar chords with upbeat rhythms along with very insightful and well written lyrics. This is the genius of Frank Turner, a guy with an acoustic guitar singing about waking up and not knowing where you are, getting a few too many pints in at the pub and never getting the girl. We can all relate to him.

I have mixed opinions of the gig itself. The set list started unfavourably for me with tracks from the new, more electric album dominating proceedings. This is not the Frank Turner I necessary came to see, however I realise when on tour for an album I don’t particularly enjoy this is to be expected. However, he makes up for it in the last half an hour of the 70 minute set. He performs fan favourites such as Love Ire & Song, I Knew Prufrock Before He Got Famous and Reasons Not To Be An Idiot to the rapturous Wolverhampton crowd. It gives a sense of collective despair when 1,500 people sing together “Life is about love, last minutes and lost evenings, about fire in our bellies and furtive little feelings, The only thing that's left to do is get another round in at the bar.” Yes we’re screwed but we’re all in this together.

He closes with the magnificent Ballad of Me and My Friends (“If you’re all about the destination, then take a fucking flight”) and finally Photosynthesis. All in all a great night enjoyed by myself and a good performance by Frank Turner who is either a lyrical genius who represents an entire demographic or a pretentious posh boy with a guitar wallowing in self-pity who sings about getting drunk. Make up your own mind.

Max Raptor Article

The Sound Avenue in Redbrick

Redbrick Article

No Half Measures

I've been regrettably taking this blog for granted recently. There have been a lot of interesting things developing in the last week or so though. Firstly last night I was privileged enough to be sent by Redbrick to Kerrang! radio studios in Birmingham to review a set by a local unsigned act Max Raptor. I wasn't sure exactly what to expect and didn't really know what the agenda was, but stepping into the studio was an experience in itself. There were signed gold and platinum records on the wall, a signed Green Day drum kit and a couch which had been scarred by the likes of the Editors, Bombay Bicycle Club, Maximo Park and Klaxons. I'm indifferent to all these bands, but the very fact these great musicians had been there, brought the reality of the radio station home. It inspired me. When you stand in a crowd of thousands and look up at these bands getting paid to perform, I find it incredibly hard to relate to them at all, you're just another concert, and another fan. Which is why when a band are genuine towards a crowd, or sing about issues I can relate to it means the world of difference. Anyway, back to the couch. So this couch brought home the fact that all these people are exactly that, just people. It was just insightful. I managed to grab a few business cards, so I'm currently looking at pursuing a possible placement at a radio station sometime. Is this just a fad? I hope not.

"Max Raptor are a four piece unsigned band from Lichfield, just South of Birmingham. Last year they won the Battle of the Bands which was held at the Bullring, which ensured them the right to play behind Cage the Elephant at Festibull (did you see what they did there?) This year they have been steadily growing in support and attention, and they have supported Calvin Harris, Billy Talent and The Zutons."

This is an article preview, and if it doesn't make it to the paper, I'll stick the whole thing on here. The experience of being at a radio station and watching a band with 30 people, was just really fucking cool. They were a really good band to watch live, and really genuine people, which re-enforced the couch. They invited me to the green room, and offered me a beer. We talked about music and influences for a while, and they even had the decency to ask me about my musical preferences. Even though this band are unsigned I still felt like Zane Lowe.

Check out Max Raptor at www.myspace.com/maxraptor

Later on that same night, I presented the second show of "The Sound Avenue - Live" which I'm pleased to say went really well. For those who listened, thanks very much and for those who didn't, unfortunately the podcast recording failed, so there won't be a show. We're all pretty gutted because myself, Alex and Mike all felt the show went especially well, aside from 2 minor hiccups. We kicked off with a bit of Alkaline Trio and played a bit of Refused, which Alex insisted I cut short, Florence and the Machine, The Jam and The Loved Ones. Listen again next week. 10pm on Thursday evenings at www.burnfm.com

In other news, I've been shortlisted on the Weakest Link, so could soon appear opposite Anne Robinson soon, and I also completed the Birmingham Half Marathon on Sunday in 1 hour 51 minutes, which I'm very happy about.

The Sound Avenue - Live

On Thursday at 10pm I hosted the first of my radio show's on burnfm.com, The Sound Avenue - Live. I'm pleased to say despite a hiccups of transitions between songs, and a spot of bad language the show was very successful. You can download the podcast by clicking on the iTunes symbol on the right.

Tune in every Thursday at 10pm to The Sound Avenue live at www.burnfm.com.

Second year thoughts

I am truly back at University now. Various signs have shown that second year is under way, the always awkward conversation in passing with people you don't really know, but should say hi to, a disease infested kitchen and the daily pint down at the pub. University life cannot be beaten. I will miss the days of waking up whenever you feel like it, except on Thursdays when I've got a 9am lecture, and just the freedom and independence. Of course I'd love to think the seminars and the lectures are the main reason I'm at University, but to be perfectly honest that's just not true. University is not a means to an end, it's all about the journey and I believe I will progress in life from experiences and learning how the world works rather than my ability to write an essay on Methodology. Depending on your perspective this is either incredibly insightful, or incredibly stupid. I think it's somewhere between the two. The University life is all about Scream Burgers and a beer for £5.75, playing football 3 times a week, staying up far to late and trying to change the world through a music blog. Hmmm. And it's these things I'll miss in 2 years.

In other news I will be presenting "The Sound Avenue - Live" on the University's student radio station - Burn FM. I guess it's pretty ironic to all those people who said I had a face for radio. It will mainly focus on the music which I discuss in this blog - punk, rock, indie and alternative. I've been sitting with my laptop, shuffling through iTunes and attempting to introduce songs and make links between tracks to an imaginary audience, cue very strange looks from a housemate's parent as they moved his stuff in. The show will take place on Thursday's at 10pm and will just involve me and a few mates playing some good music and discussing witty anecdotes about our ever-so interesting lives. Original hey. Anyway we went into the studio to learn a bit about producing and it looks pretty cool. I now know what beds and stings are within the medium radio production as well. Along with football, going out and pub quizes, it should provide enough activity for me to avoid actually doing a degree. The last few days I've been assembling track lists, editing beds and frantically trying to censor all the songs I wish to play as the Guild forbid any form of bad language or slander.

Anyway on with Kripke. I'd better just check Facebook first though.

Refreshers

So, this has been my first week back at University after 3 months away for summer, and alas I've done no work. I did order a book off Amazon today though, so things are looking positive. It has been a pretty eventful week, and after arriving back last Friday, today (Saturday) is the first time I have stayed in. Last weekend was spent moving 700 freshers into my old hall, trying to reassure anxious mothers that their children would survive and meeting fathers who seemed a little too keen to wave off their offspring. Aside from fresher nights out, I've been to a few alternative clubs. Snobs on a Wednesday is Bimingham's answer to 5th Avenue in Manchester and a weekly staple for the alternative crowd. It's an independent, self promoted albeit a bit sweaty (all the good places are) club which plays various styles from jazz to folk in one room and more crowd-pleasing alternative songs in a second room. It was an enjoyable night out for one of my housemates birthdays and was pretty much like greeting an old friend and catching up. Snobs is still definitely a must on a bi-weekly basis for me. The second place was GateCrasher's new replacement indie night Supersonic vogue as last year's night, Propaganda, has since moved to the O2 Academy. Although there was a lot of hype surrounding the night because of the quite brilliant free promotional remix CD, the night itself wasn't the "alternative Loaded" which we had maybe been expecting.

I also managed to visit The new O2 Academy to see Florence and the Machine on Sunday, which was fantastic. To be honest I never really listened to them before my girlfriend introduced me to them, however I'm glad she did. They were breathtaking and performed the whole album to perfection. The Academy is also a lot nicer than the old one, which in a strange way I dislike, I prefer my music scene to have a bit more character than cocktail bars, carpets and bathroom attendants, but maybe that's just me.

All in all a great first week back. I also applied for my own Radio show on the University's Burn FM (www.burnfm.com) to host a punk/rock show, so hopefully some more information on this will follow. All I have to worry about now is getting a degree.

Royal Orchid

What exactly does it mean to be "mainstream"? How can we define this most tarnishing of labels, which if given to many bands is a death sentence in the eye of cool? Popular opinion will state that if a band goes "mainstream", tags follow such as sell-outs, commercial and ultimately become uncool. When no-one knows that band which you own all the original EPs, the handprinted tee and who who you've met 3 times at the local Wetherspoons, you feel insanely cool telling this to people. For them, you are on the brink of revolutionary new music and influential new bands. Just think Zane "I love what this band do" Lowe. And that's his job. You better hope they don't actually sell some records and have some commercial success. Telling people they're your favourite band would then look like a you're simply clutching NME's coattails. Not moving off topic, what does "mainstream" mean? I have two proposals and when trying to answer this question. Mainstream could mean airplay on Edith Bowman, MTV charts, massive selling singles and hearing a band's songs in Marks and Spencer on your weekly "nice" food shop. This is one theory, and usually incorporates pop(ular) inoffensive music, and bands which are good to know for a conversation with the GateCrasher DJ. But, surely "mainstream" is more than this. A band can be "mainstream", even if not being playing on Radio 1 24/7, time has it's influence, can a band ever fall from the dizzy heights of "mainstream success"? and airplay tends to revolve around more break through acts.

However, I have a different theory, I will focus on the band Radiohead to explain my thoughts. I believe that within genres, circles, styles (whatever) of music there are "mainstream" bands. Just because a band hasn't got a sound or style which everyone listens to does not make them "unmainstream". A band at the fore-front of an alternative genre, can still be "mainstream". This is the Radiohead theory. Although Radiohead have evolved like no other band in the last 20 years, and the sound isn't pop(ular) as such, as a band they are, I maintain that the record sales, gig sales, admittedly limited airplay and mass following means they are a "mainstream" band. Furthermore, there is the grey area of popularity and "mainstream"? Surely if a band can sell a platinum album, then they are "mainstream" because a huge amount of people are listening to them. Although a band's sound may not be considered "mainstream", a band can still be considered guilty. I appreciate the sound of In Rainbows is alternative and certainly not "mainstream", don't get me wrong, however the band as a name or brand are. It is a marred difference between judging a band by name and reputation or musically. Unfortunately I believe the former dominates. Hence, explaining why when that small band with a great new original sound which you love, becomes world famous, there's a part of you that resents it, and that indie kid in Snobs will always prefer the early stuff, and why didn't you buy that ultra rare import from Tokyo? Honestly it's amazing.

I Got Love

This band speak to me. The King Blues. Flirting with the genres of reggae, folk, ska and punk, The King Blues released their debut album "Save the World, Get the Girl" earlier this year. Made up of 3 members and various unorthodox instruments, The King Blues draw influence from The Clash, Minor Threat, Against Me!, Refused and Sham 69. The album has interesting themes running through the course of 11 tracks. In some respects it an account of Jonny "Itch" Fox's teenage years living on the street selling big issues and sharing squats with the homeless. In some parts I sense a highly personal account of the challenges of growing up and maintaining principles which do not always see eye to eye with society. It is a record which sends a message to keep faith in whatever you believe in. It digs deep inside the human soul and to "take pride in whoever the fuck you want to be". He is an inspiration. "What if Punk Never Happened" is a hell of a song and sends shivers down my spine every time I hear it. It is a 7 minute long monologue analysis of contemporary society. As Itch puts it “The album tells the story of a protester who falls in love on the frontline as it were, has his heart broken, gets into drugs, then comes out of it in the end realizing that ultimately he is nothing without love. The over-riding theme then is: ‘love conquers all’.”

One Month Only

Once every four years for a month or so, a number of football teams each representing a nation assemble in a pre-appointed host country and play some games of football. For one month goals will be scored, heroes will be written into folklore, villians will be spited hereon and forever after, tears will be shed for joy, for misery, pundits will analyse, fans will over-analyse, column inches will be read and re-read and most of all the world will stop. For one month every four years, the world and all that it is takes a backseat, in place of it, a simple game involving two teams, two goals and most importantly a ball takes centre stage. The FIFA World Cup, the showpiece of humanity and the greatest event in the history of mankind. For anyone reading this and thinking I'm being ironically sarcastic, please don't.

192 nations in qualification. 32 at the finals. 64 games. 8 groups. 1 winner.

Football is more than a game and The World Cup is more than a tournament. Football has the ability to united nations, united the world, through a common ground. The beauty of the beautiful game lies within its simplicity. One method of scoring, one instrument, one goal. I cannot explain how much joy I gain from this sporting extravaganza. I love football every season, and I love my club, but The World Cup is something different and unique. There is nothing quite like it. For me there is nothing more exciting, anticipated or superlative in my life. The chance for my country to prove itself undisputedly as the best in the world. I look forward to this the day after England get knocked out of the previous tournament. And for a month every four years, there is literally nothing else to watch, think about or consider in my life. June 2010 is a write off. I've watched England at 3 previous World Cups, I've believed we can win everyone, but just this time is different. Maybe. Maybe we will. It sends shivers down my spine and tears to my eyes to think of Owen scoring against Brazil in 2002 and throwing it away, or the pain of defeat to Argentina in '98 or Portugal in '06. Even memories from before I can remember anything hurt. Brazil in '70, Maradona in '86, West Germany in '90. You've got to believe. 11th June Johannesburg, South Africa. The World Cup Final.

I Love The Smiths

Looking forward to seeing this movie a ridiculous amount tomorrow. Song: "Sweet Deposition" by the Temper Trap.

Nighthawks

Edward Hopper


Banksy

Why the Arctic Monkeys may be more important than The Beatles.

One thing that is proving different with current bands attempting to get signed compared with previous generations is the dotcom revolution. I fear I'm stating the obvious when I say music is more accessible through many more mediums than ever before. In a way parallels can be drawn between The Beatles and the Arctic Monkeys and how they changed music history. The Beatles will live a greater musical legacy than the Monkeys, but both re-shaped the status quo. The Beatles redefined how bands behaved and conducted themselves. They reshaped how bands could be perceived. It set the path for every single band today. Pre-Beatles, bands were not seen as artists or pioneers but entertainers. This was their job. They performed. They recorded what the record company deemed popular. I'm not undermining The Beatles musical talent in any way, but they were in the right place at the right time to gain the exposure they did. Four plucky lads from Liverpool, looking to make a name for themselves. The Beatles brought some sex, an attitude and a confidence that, aside from Elvis, had not been seen my musicians previously, certainly not in Britain. Beatlemania grew and the world changed forever. Now music is probably the most widespread and enjoyed form of expression and art in the world.

The Arctic's followed suit. Four cocky lads from Sheffield, writing songs about saturday night fights with bouncers, the Sheffield gig circuit and getting too drunk to stand up. Mix in some funky bass lines, a Smiths-esque lyrical frontman and a cult following and the Arctic Monkeys had the press-coverage that signed bands had been after for years. All this was achieved unsigned, simply by posting links on myspace and handing out free CDs, as word of mouth spread popularity increased. It was the dawn of music being easily accessible via electronic mass communication. When they did finally record and release "Whatever People Say I Am, That's What I'm Not" it outsold "Definitely Maybe" and became the fastest selling British debut album of all time.

Which is why the music industry has changed forever, and why the Arctic Monkeys may have done more for music than any other band in history. It's a bold statement, and I'm not even sure if I agree with it. But the fact is they represent a shift in how bands can sell records without being marketed endlessly or promotional stunts. Independent record labels have the ability to reach audiences never possible before and bands music can be distributed at the click of the button. From teenage garages or bedrooms in Camden and California, songs can be posted and then downloaded anywhere, the ability to promote music independently is easier than ever, this is a revolutionary event in the history of recorded music. Of course this was not all because of four lads from Sheffield, however they acted as the pioneers and catalysts, and for that reason, may have done more for music than The Beatles. It's a controversial idea. 70% of bands are still controlled by the big four record companies, but maybe, hopefully, this figure will start to reduce as the internet age of music continues.

On the subject of which, check out BlankTV's Channel on YouTube and this song from None More Black, signed to Fat Wreck Chords.

CBGB's

"Country BlueGrass Blues and Other Music For Uplifting Gormandizers" known as CBGB's for short was the legendary club on Bleecker Street in New York City and has become famous as the home of underground rock. The Ramones, Television, Patti Smith and The Velvet Underground all contributed to the cult status the bar earned over the years and which helped attract so many artists, musicians and poets to the Lower West Side. Anything was accepted. Drugs were freely available, bars were open into the early hours and people could express their souls however they felt the need. Founded in 1973 it was inspired from the bohemian alt lifestyle that New York provoked at the time, it was the place in Greenwich Village in the 70's and 80's which helped spawn East Coast cult alternative rock. This was a unique time in New York's history. As well as these alt-lifestyle tortured souls such as Bob Dylan and John Lennon moving to Manhatten, hip -hop was emerging in black neighborhoods such as Harlem and Alphabet City. Disco was becoming the scene to be seen at in Mid-town and providing the city with a Mo-town vibe. New York in the 70's and 80's is still an overwhelming influence on today's American music. However, this did bring sociopolitical problems for the city. There were high crime rates, a huge sex trade and neighbourhoods were often perceived as lawless. Cab drivers wouldn't venture into some areas for fear of racial or xenophobic attacks. This is the side of the city which Martin Scorsese portrays in his film "Taxi Driver". The city wasn't in the best condition, but it still managed to produce some musical legacies which will always will remembered. Unfortunately CBGB's was abandoned by the owners a few years ago, and is now a fashion boutique. The spirit lives on at www.CBGB.com where you access a virtual tour of the club in its heyday. And I want this t shirt.

Summer Epiphany

Summer 2009. What a time. I tend to approach life with a philosophical view and try to not let little irrelevant details, which tend to get blown out of proportion, spoil my life. I try to be as optimistic as possible, and draw upon some things I've seen and experiences I've had in countries such as China and Thailand, to never lose perspective of just how fortunate I am in relation. I'm extremely lucky to live my life. But even so, this summer was amazing. After speaking to two of my housemates today I literally cannot wait for 2nd year at University. To all the good times of the last 3 months. Newquay, the USA, Manchester, Sutton Hall, 5th Avenue, Font Bar, The Rectory, Tiger Tiger, Vodka Revs, Rymans(!) and Leeds Festival. To Europe and then University.

      

Leeds Festival 2009 Review

The drawing to a close for another summer and another August bank holiday weekend can only mean one thing; Leeds Festival at Bramham Park near Wetherby. £5 cheeseburgers, overflowing toilets, shouting abuse at Scousers, riots, drunken behaviour and nudity. A standard weekend for me and my mates, only with live music and camping. A spin-off from the older Reading Festival, this was the 11th time Leeds has been staged, to provide all of us unfortunate to live North of the m4 with something to look forward to. This year was the fourth time I've been to the festival, but it was one of the most anticipated, as the line-up had far more depth than previous years, in my opinion at least. 

Friday got underway with FIGHTSTAR on the main stage, although not a massive fan and only knowing one song, they did a good job of getting the ever-eager first morning crowd going. A personal highlight was the sign held aloft by a fan reading "Bring back Busted." After the essential journey to stock up on beer and Maryland cookies we returned to the main stage for the performance of St Albans finest: ENTER SHIKARI. Last time I saw them live they were on the on the NME/Radio 1 stage and had an evening slot, which is far better for a decent atmosphere and performance, so they did relativity well to engage a crowd looking to perfect tan lines in the mid-afternoon sun, rather than to join in with a wall of death. However even the hard-core moshers at the front were left a little disappointed by the lack of human pyramids as seen in previous shows. "Juggernauts" was a highlight though. The main stage then hosted IAN BROWN and MAXIMO PARK. Ian Brown was looking like he'd seen better days, but the older audience definitely enjoyed his set and for all Mancs, his opening lines could not have been better; "Who here is from Leeds", cue crowd cheering, "Fuck off". Class. Maximo Park and Paul Smith especially, were as charismatic as ever, but the majority of the set was spent trying to stock up on beers. THE PRODIGY were given the second closing slot on Friday night, behind the Arctic Monkeys, the question was should they have headlined? Probably. They were unreal from the off. Gunning through crowd favourites "Breathe", "Omen", "Smack My Bitch Up"and "Voodoo People". Mosh-pits were crazy, people were naked and flares were alight. The highlight track for me was "Warrior's Dance" when the whole place went so crazy the Met office probably had a reading on the Richter Scale. Unbelievable. I didn't see the Arctic's but friends said they were disapointing, plugging the new record, which isn't always a crowd pleaser when headlining a festival. RISE AGAINST on the Lock-Up were as loud and gun-ho as ever, but the crowd wasn't quite as involved as when I last saw them, so slightly disappointing, but in reality it was never going to compere to 50,000 people rocking to The Prodigy, who were without question the band of the day.

Feeling slightly worse for wear on Saturday, and deciding to chill out at the main stage for the first couple hours of the day. NOAH AND THE WHALE of "Five Years Time" fame earlier this year, were actually surprisingly worth a listen, which I did not expect, and begged the question why release your worst song as a debut single? Then it was over to the NME/Radio 1 tent for the hilarious performance of LETHAL BIZZLE. I don't mean that as in he amused me, but the sight of 1,000's of  white teenagers, all looking like they fell over in Topman and had definitely been brought up in nice suburbia with a sedan on the drive, singing along to "Fuck tha Po-Po", well it's hard not observe the cynical humour in that. The Nirvana remix was enjoyed by myself though, RIP my Ray-Bans. They were fake so it's all good. Next up was FRANK TURNER. Lyrics written with such a quiet, delicate level of intelligent observations of a 20something lifestyle, accompanied with an acoustic guitar, was thoroughly enjoyable. Check out "The Ballad of Me and My Friends" for a sample. BRAND NEW were given an afternoon slot on the main stage, and much like the performance of Enter Shikari, failed to get going, due to the time of day and the blasé and aloof audience. However, my most-anticipated band of the day were another band from the East Coast and were due on the NME/Radio 1 stage at 18.15. Dragging my friends to the tent trying to convince them that they actually were good, and not another band I'd hyped up excessively or that they wouldn't be "really angry" to quote one of them. THE GASLIGHT ANTHEM were on top of their game. They possess everything that I appreciate both in a band and a live performance. Onstage charisma, tight as a unit live, original songs that sound good live and a certain levelheadedness and genuine gratefulness towards the crowd, with a lot of times goes unsaid. New Jersey's finest had done themselves proud. Check out highlights, from Reading (The BBC can't be bothered to send anyone North it seems), here: http://www.bbc.co.uk/readingandleeds/2009/artists/gaslightanthem/

BLOC PARTY made an effort on the main stage to top that, and their set was impressive, but I wasn't too enthralled, I had seen the my band of the day already. The Beatles would have had to reform and do a duet with Elvis of "Bohemian Rhapsody" in order for me to care who was playing after The Gaslight Anthem.

Sunday is always a strange day at a festival. You can't wait to have a shower after camping for 3 nights, but you want to make the last day count. Sunday was my most enjoyable day, which was an unexpected albeit nice surprise. After watching successive unknowns MANCHESTER ORCHESTRA and THE VIRGINS, both worth a youtube, THE AIRBORNE TOXIC EVENT performed the NME/Radio 1 stage. To be fair, I was nursing the mother of all hangovers, and as much as I tried to stay awake it wasn't happening, so I can't really comment. It's a good job I'm not a music journalist. But, I was awake for the one song I knew "Sometime Around Midnight" which tells the story of an ex-girlfriend, complete with depressive solemn violins and dark lyrics ("Then she leaves with someone you don't know, she looks right at you and bolts") I can't really relate to the genre of "music-inspired-by-not-having-the-girl", so it passed me by. It really is a good job I'm not a journalist, because I'm far too emotive in my music taste. The rest of the set was dull enough to send me into a sleep. iTunes' single of the week a few weeks back was a great song by THE TEMPER TRAP called "Sweet Disposition" so we gave them a listen on The Festival Republic Stage. It was a good set, and quite obvious that many people were only there for the one song as they left after it had been played, which is a little discourteous. JACK PENATE was next on the NME/Radio 1 stage. This was repaying the debt which I had incurred dragging my friends to The Gaslight, because I really don't see what the hype is with him. Each to their own though, and at least he played "Be the One" which is quite a tuneful number, the rest of his stuff sounds the same. After him I went solo to see BOUNCING SOULS who I had never seen before. They were great. I only knew half the songs, such is the size of their 20 year strong back catalogue, but the ones I did know were fantastic. A highlight of the show was the lead singer jumping up on the barrier and singing "Manthem" in its entirety about 6 inches from me. Eye contact was made and maintained. After a quick bite to eat it was to the main stage for Leeds' own KAISER CHIEFS. A tradition at Leeds Festival is for everyone to always see the main headliner on a Sunday night. Three years ago, there was a big question as to whether they should have got the top spot instead of Franz Ferdinand, that question was again on Ricky Wilson's mind as he prefaced "Oh My God" with "Maybe one day we'll headline this fucker". However, despite the chants of Yorkshire and the battle of the Kaisers vs the Chiefs, if he wants to headline this festival he will need to write some more decent songs without using "Woahhhh" or "Naaaa" as a pre-chorus. He got the crowd going and poured his white rose heart and soul into this performance, but on comparison with the headliners, they looked like schoolboys. KINGS OF LEON made Leeds Festival 2009 their own. I have never really listened to them that much, putting it down to various reasons. I will now. They have successfully converted me, which not many bands (if any) have ever done, that they are worth listening to. They maintained a supreme aura of authority as well as humbleness throughout the entire performance. They know they're good, you know they're good, they know you know it and thrive off it. Just exactly when did a band have this much song diversity and successfully pull it all together perfectly for a live performance? My only criticism would be to learn the difference between gratitude and excessiveness, musically though they were simply breathtaking, and were the highlight of the day without a shadow of a doubt. 

As for Leeds Festival itself, a great weekend all round, and thank you to everyone who I had the pleasure of spending the weekend with. A special mention must surely go out to Poo Girl who fell into a toilet trying to retrieve her handbag, a la Slumdog Millionaire. Gutted. Four times seems excessive and five straight is too many. Bring on Glastonbury 2010.

Better Yet, Don't Forget, Leave Your Keys on the TV Set

The punk rock world owes New Brunswick, New Jersey alot. New Brunswick is a shitty place. Punk is a shitty form of music. Gritty, unclean and raw. Punk cannot be defined by anyone, no matter who writes about it. It incorporates any form of music that stands up for something and puts it on the line. Emo, Thrash, Grunge, take your pick, all have roots in punk rock. Punk is a statement, a vented message, that leaves no prisoners spared, unleashing whatever needs to be said upon who whoever cares to listen. And in reality, such is the nature, it doesn't care who listens. It fails to let itself be a genre or some iTunes classification, constantly evolving and adapting to the changing nature of any music scene, for this is exactly what punk stands up for: freedom of expression and opinion. It is because of this willingness to accept and tolerate that punk has a reputation for consolidating lost youths, with mohawks and full sleeves, looking like extra's on some greyscale Hollywood B zombie movie, outcast from mainstream culture and rejected by the Billboard Top 100. In some, or most, cases punk contains a sociopolitical message, this was not always the case and is a common mis-conception of an essential quality of the music. It is a mainstream method of communicating cutting edge ideals and philosophies and thereby uniting whoever could relate, untainted by media, the powers that be or 24 hour news neo-conservative "journalists". It is a message, a method, a statement, an extension of normal average Joe's playing guitars about what they feel passionate about. Punk is an attitude. 

New Brunswick, New Jersey. A shitty town, a shitty state for a shitty form of music. The perfect petri dish in which punk rock needs to thrive and go boldly to reach millions across The USA and in Europe. Located about 30 miles south of New York City in The Garden State, it has been a breeding ground for underground punk and rock. The bright lights of The Big Apple have acted like a catalyst igniting an attitude of DIY punk with a philosophy of "Why can't we". Like a labourer looking from the gutter to the stars, it is the bastard child American Dream of Uncle Sam and Lady Liberty. America has long preached via the mass media the endeavor and resilience of the American people and hidden it's blue-collar and working class problems from it's own people with patriotic propaganda. However, punk rock in these forgotten towns and disregarded communities has bitten back. In recent years it has revived a punk scene first inflicted on New York in the 1970's with the Ramones, the Misfits and Patti Smith Group. The Bouncing Souls and The Gaslight Anthem both hail from the town. The former is a band which has been playing together for over 20 years, writing songs about getting laid, working through a shitty life, with a shitty job and trying to have a fuckin' good time. Again, a common misconception that punk must be political is proved false here. The central themes of the Souls songs are never too serious, but everyday problems which most people come across and deal with. Never ones to take themselves too seriously, yet not without a bold injection of passion. The Bouncing Souls have never been interested in pleasing anyone else, and this is what makes them so endearing and provides them with an incredibly loyal fanbase. Although not attracting attention from major radio stations, the fact they are still going after 2 decades, arguably stronger now than ever, speaks volumes for the quality of the music they produce. Listen to any track from How I Spent My Summer Vacation or Gold Record to understand this band. A highlight track is surely "True Believers" - This clip is at CBGB's. 

The Gaslight Anthem are undoubtedly my breakthrough act of 2009. Their second album The 59 Sound is one of the most promising and complete albums since Hot Fuss. Every track sounds perfect and together the whole record is a jigsaw of musical genius. The lead single of the album "The 59 Sound" is a whirlwind of energy, unhindered rock and passionate vocals, climaxing in a fantastic and ultimately groundbreaking song. They have received airplay since June 2008 on Mike Davies' punk rock show on Radio 1. Two other tracks stand out on the album if pressed, though I still maintain the album as a whole is as near flawless as I've heard this year. "Here's Lookin' at You, Kid" named after a line in Casablanca, is Brian Fallon's heartfelt tale of lost-love and despair through his youth. Lyrically brilliant and utterly heartbreaking. But, I must say the final track "The Backseat" is my track of the record. I managed to see it performed live last February and was simply blown away. The beating drums mid-way through plus Fallon's strained vocal chords, are just superlative. I purchased both The 59 Sound and their debut Sink or Swim in October, and still can't get enough. In June they played Glastonbury and were joined by Bruce Springsteen on stage, giving them some press coverage, this band deserves it. They are destined to be big and in the last year have had some mainstream airplay. It will be one band I will not begrudge for becoming successful. I love punk rock, for me it is an expressive art form that carries a message. New Brunswick has produced two of the most relevant and finest punk bands around today, one with a huge cult following and underground status of over 20 years, the other is on the verge of becoming one of the greatest bands of a generation. 

Brian Fallon from The Gaslight Anthem performing.

Live Forever.

Oasis. Literally one of the most influential bands to ever grace our planet. And for anyone that was a part of the 90's Brit-Pop scene, surely one of the greatest bands of all time. They are timeless. No matter how much I listen to the Mancunian oufit I still have yet to decide which is my favourite song. It quite simply has been an impossible task for the last 12 years. The helicopter whirling at the start of "(What's the Story) Morning Glory", the unbelievable thumping drumbeat and whispered  "Oh yeah" of "Live Forever", Supersonic's quite incredible vocal performance by Liam, the energy of "Fuckin' in the Bushes" and of course the lyrically magnificent "Wonderwall", even if no-one knows what one is. The list goes on. "Rock 'N' Roll Star", "Roll with it" and "Slide Away". I have been lucky enough to see the band twice, both times in Manchester, quite honestly I wouldn't pay to see them anywhere else. The first time was in 2003 at the Lancashire Cricket Ground, the Gallagher Brothers saw to the fact that the location of the concert on the tickets should in way show a relation to any football clubs, such is their loyalty to the Blue Moon. The second time was the 7th June this year at Heaton Park along with 70,000 other fans. It was unreal. It was in Noel's words "A celebration of Manchester". This band has come to symbolise the pride felt in the city which I say I live in - Manchester, The UK's 2nd city. And I don't care if you're a Londoner, a Brummy or a Scouser. Come up here and tell me that this city does not excel in culture, character and soul where any bigger city falls flat on its face. Birmingham is a great city, I love spending time there, but after living there for a year, I still believe Manchester has the edge. 

For me Oasis sum up the Mancunian attitude towards itself and life. Not-giving-a-fuck, immense self pride, and a sense of community which the city engulfs and reverberates, which was certainly applicable at the concert. 

"Maybe I just wanna fly, Wanna live, but don't wanna die" 

And what on Earth is a Champagne Supernova? Who cares?

What I'm Listening to

I've been inspired to start a blog. The aim of this blog is to record anything I see fit to record on the internet, but which facebook would deem overbearing. It will mainly focus on music, social interactions and university culture.

I made a few rules for this blog. Firstly, I will always use my knowledge of music and never rely on trawling through iTunes to find a topic. I will only use Wikipedia sparingly. And I will never write an article critiquing how bands have sold-out. Especially since they've become popular. I will try, but I can't promise.

Recently I've been inspired by listening to songs which have an almost an oxymoronic feel to them. It's the film equivalent of a Dolly Zoom. Whilst the camera zooms in, physically it is moving away, giving an eerie effect of zooming on a target, whilst in fact widening the shot. Remember in Jaws when Richard Dreyfuss' character first realises the Shark is in the water. Well, I relate this in music to a song which in tune and melody has a very upbeat complexion and on initial listening can be uplifting. However, as with most music discussed on this blog, I tend to relate and delve into lyrical meaning, at least slightly. I believe anyway. Lyrically these songs have the exact opposite effect, and are depressing and morbid, and after careful listening reveal a complete reversal of meaning. The example I recently encountered which turned me onto this thought was "Unsatified" by The Replacements. To be honest it is a very easy example to pick up on, the tune is noticeably upbeat and lively, however the lead of the Minnesota 1980's band plagues the whole song with the words: "Look me in the eye, and tell me I'm satisfied, I'm Unsatisfied." Not an easy trick to miss. I've been listening to a couple songs by them, and I really like them. They slipped under the radar until on the way back from the USA I saw the film Adventureland. The film is suitably charming, though slightly uninventive, and is based on the Director's own summer experience of working as a carny at a theme park, whilst coping with teen angst, finding time to get high and generally work out what to do with life. All in the space of 90 minutes. Anyway, it opens the credits with their song "Bastards of Young" which until I went on the net after landing, I thought Jesse Malin had written. Apparently The Cribs and Against Me! have both covered it as well. Who knew. Anyway, these two contrasting versions are a perfect example of this Dolly Zoom music. Jesse's version sounds depressing, sad and downbeat, whereas the exact opposite is true of the original.

Bastards of Young - Jesse Malin

Bastards of Young - The Replacements

However, I was thinking and found a couple more popular songs, that may not initially strike the listener as having a darker tone. "Local Boy in the Photograph" (Friend killed by a train),  "There She Goes" (A heroin trip, although the jury is still out on whether The La's see this as a negative thing) and the classic "A Town Called Malice" (Hardships of life).

Anyway it got me thinking. I find it interesting how you can hear the same song and feel completely contrasting things. I guess it's like art, do two people ever get the exact feeling from a Monet? I'm no art critic, so I wouldn't have a clue. But I do know that music has very influential impacts on most people in this world. No matter what corner of the globe you travel to, music exists in some form. I think that's why it means so much to me, because no matter how the artist intended it to sound, or with what purpose music has been written, I can take something that, perhaps, no-one can take from the exact same thing, hence sharing a common passion, just interpreted in different ways. Like the new HSBC adverts. Music: the world's local art medium. And I think that's summed up very well by this track: 

Playing for Change, Stand by Me.