GIG – Andy Burrows at The Talking Heads – Sunday 26th October 2014

andy burrowAndrew William Burrows  is an English musician. He was the drummer in the band Razorlight from 2004 to 2009, and has been drummer with We Are Scientists since 2009.

Burrows first solo album The Colour of My Dreams (2008) was released while he was still member of Razorlight. After he departed the band he released his first album with the solo project I Am Arrows, called Sun Comes Up Again in 2010. His third solo album Company was released 22 October 2012.

He has worked with Tom Smith from Editors under the moniker “Smith & Burrows”. He also co-wrote the soundtrack to The Snowman and The Snowdog with Ilan Eshkeri, which was nominated for a BAFTA Craft Award in April 2013. Burrows has also worked with Delilah drumming and co-writing on some of her debut album. Andy has also been working with Tom Odell, whose debut album is originally due out in early 2013 but postponed until the end of June in 2013.

From Wikipedia, the free encyclopedia

GIG – Tankus The Henge at The Joiners – Wednesday 22nd October 2014

Tankus the Henge

The world of Tankus the Henge is uplifting and wild, dark and heartfelt.
A six piece powerhouse of a band drawing visual and musical influences from old time Fairgrounds to modern day Circus; The Beatles to Tom Waits and Gogol Bordello to Radiohead, they embody a look and a sound that lies somewhere between their South East London home and the carnival town of New Orleans.

With their charismatic frontman, Jaz Delorean, looking like a lost character from a Terry Gilliam film and the pump and grind of the Tankus the Henge sound generating a groove that makes it impossible to stand still, their live show ebbs and flows like a small boat on a turbulent sea.

Any other band who billed themselves as “the most fantastic band in the world” would rightly quake in their boots at having to live up to such fanfare. Tankus the Henge defy you to contradict them!

From band website


GIG – Dan Croll at The Wedgewood Rooms – Monday 20th October 2014

dan crollDaniel Francis “Dan” Croll (born 18 July 1990) is a British singer-songwriter born in Newcastle-under-Lyme, Staffordshire, England. He moved toLiverpool when he was 18 to attend the Liverpool Institute for Performing Arts (LIPA). While at LIPA, he won the national Songwriter of the Year award from the Musicians’ Benevolent Fund and was one of eight students picked to have a one-to-one with LIPA founder Sir Paul McCartney. He is currently signed to Turn First Records.

Croll signed to Turn First Records at the start of 2012. His debut single, “From Nowhere”, was released worldwide on 24 September 2012 via Turn First / Racquet Records (Croll’s own imprint) as a digital download and limited 7″. “From Nowhere” spent 3 days at the top of the Hype Machine popular charts, was playlisted in the UK on BBC 6 Music, XFM and Amazing Radio, and received spot plays on BBC Radio 1. Croll was named a Guardian New Band of the Day in November 2012 and described as “Paul Simon jamming with Prince. Very nice”. DJ duo Åme produced a remix of “From Nowhere” which was, despite its popularity in the deep house scene, rejected by Croll’s management.

Croll released his second single “Compliment Your Soul” in March 2013. This was followed up by the release of “In/Out” in July 2013.

On 13 October 2013, Croll released the song “Home” on his own VEVO channel on YouTube.

On 29 October 2013, during an on-air Virgin Radio interview, Croll confirmed he had finished recording his full length debut album. The LP was expected to be released early in 2014.

His song “Compliment Your Soul” was included in the soundtrack for the video game FIFA 14. As well as FIFA, a remix of From Nowhere, titled From Nowhere (Baardsen Remix), was featured on the soundtrack of Grand Theft Auto V. The song was featured on one of the game’s radio stations, Radio Mirror Park, and in the official trailer of the game regarding its release on PC, and the next-generation Xbox One and Playstation 4 consoles.

In November 2013, he announced during a concert in Camden Town, London, that his first album Sweet Disarray, would be released on 10 March 2014.

On 19 April 2014 for Record Store Day, Croll released a limited 10″ orange vinyl featuring 2 unreleased songs. Side A featured Hello My Baby (featuring Ladysmith Black Mambazo)’ which was backed with Ever at Your Side. Croll went to Durban to record Hello My Baby with the group. The limited vinyl was released in independent record stores on the day.

From Wikipedia, the free encyclopedia

GIG – Hafdis Huld at The Railway Inn – Sunday 19th October 2014

Hafdis HuldHafdís Huld Þrastardóttir (born 22 May 1979), known simply as Hafdís Huld, is an Icelandic singer and actress. She began her musical career as a member of the electronic band GusGus in 1995 and left the group in 1999. Hafdís made her solo debut with her 2006 album Dirty Paper Cup.

Hafdís joined the Icelandic electronic band GusGus at its inception in 1995 at the age of 15. 

After leaving the band she started writing her own songs, and collaborated with FC Kahuna, co-writing their singles “Hayling” and “Machine Says Yes”, which were included in the 2002 album Machine Says Yes.

Her official debut album Dirty Paper Cup was released in 2006 on MVine/Red Grape Records and won the award of best pop album at the Icelandic music awards. She was also nominated for best video with “Tomoko”. The result of productive collaborations with a number of highly respected co-writers including Jim Abbiss, Boo Hewerdine, Pascal Gabriel and Chris Corner. The album was universally acclaimed by the press in the UK and Europe and received national radio play on BBC Radio 1, Radio 2 and 6 Music and also won the Icelandic Music Award in early 2007 for Best Pop Album. The album features a cover of The Velvet Underground’s “Who Loves the Sun” with a ukulele accompaniment. This was one of four singles released from the album. The b-sides of all the singles were tracks from the album.

Shortly after releasing the album in October 2006, Hafdís and her band were asked to go on tour with Paolo Nutini on an 8-date sold-out tour of the UK. On these dates and her headline shows Hafdís performs with a three-piece band of Sarah Croft, Alisdair Wright and Steve Ling. The band use guitars, keyboards, ukulele, xylophone and banjo. Hafdís also toured venues and festivals across the UK and Europe, taking in The Glastonbury Festival, The Secret Garden Party, The Big Chill and Camden Crawl in the UK, Hultsfred Festival in Sweden, Airwaves in Iceland, Spot Festival in Denmark, Les Femmes S’en Melent and Europavox in France and the Midnight Sun Festival in the Czech Republic. In 2007 she supported Mika in London and performed at In the Cityin Manchester and South by Southwest in Texas, United States.

In February 2007, a headline UK tour was cancelled due to a serious lung infection, from which she took 6 weeks to recover. The dates were re-scheduled to May 2007. On the re-scheduled dates she performed “Boys and Perfume”, a song from her (then unreleased) second album.

Hafdís was one of the guest vocalists on Tricky’s 2008 album Knowle West Boy, performing on the track “Cross to Bear”.

Hafdís recorded an a cappella version of the Sam Brown classic “Stop!”, which was used on a pan-European TV ad campaign for Mercedes-Benz. A fully instrumented version of the track charted in Iceland in 8 October 2008 and had a worldwide release on 24 November 2008.

In 2009, Hafdís recorded a second solo album, Synchronised Swimmers. Two singles from the album went to No.1 in the Icelandic singles chart: “Kongolo” (which means “spider” in Icelandic and was written about the urban climber Alain Robert) reached No.1 in July 2009 and the title track from the album reached the top spot in October 2009. The album was released in Iceland in October 2009 and went straight into the chart at No.2. The album is available outside of Iceland, since July 2010.

From Wikipedia, the free encyclopedia


PLAYLIST – Geronimo by Sheppard

Geronimo by SheppardSheppard is a Brisbane-based indie-pop band. Originally formed in 2009 as a duo consisting of siblings Amy and George Sheppard, they expanded by adding Jay Bovino in April 2011 before reaching their current six-member state, including the third Sheppard sibling Emma.  They have released two singles to date and one extended play under their own label entitled Empire of Song. Their second single “Geronimo” spent three weeks at number one, knocking Pharrell Williams’ single “Happy” from the top spot after its 12-week run.  “Geronimo” was accredited platinum by ARIA in April 2014.  “Geronimo” is the first #1 single to be recorded in Brisbane.

In March 2014, Sheppard became the first Australian band to sign a contract with Decca Records; within Australia, however, the band’s material will continue to be released under Empire of Song/Chugg Music. 

Sheppard performed at the 2013 ARIA Awards ceremony, and were nominated for an ARIA Award at that ceremony in the category of Best Independent Release. They also played at the Sonic Bang festival in Bangkok on 24 August 2013, sharing the line-up with Placebo, Pitbull, Far East Movement, Jason Mraz, and Owl City. 

Sheppard also performed at Sullivan Hall in New York City on 18 October 2013 for the 2013 CMJ Music Marathon showcases. Sheppard opened for Michael Franti & Spearhead in Sydney’s Metro Theatre (15 April 2014) and Melbourne’s Prince of Wales Ballroom (16 April 2014).  The band were also the main support act for Australian dates on Keith Urban’s Light the Fuse Tour in June.

From Wikipedia, the free encyclopedia

GIG – The History of Apple Pie at The Joiners – Sunday 12th October 2014

history of apple pieThe background: With Mona’s debut album getting so-so reviews, the Vaccines record underperforming, and Brother hardly becoming the stadium giants of their frankly unrealistic ambitions, it’s not been a vintage year so far for bands. Meanwhile, outfits from opposite ends of the sonic spectrum such as Wu Lyf and Odd Future are doing things differently, operating, notionally at least, more as collectives with music as just one aspect of their outputs. And the sheer plethora of singer-songwriters and solo performers, whether folk, country, grime-tinged or neo-soul, suggests the writing’s on the wall for the traditional four-square indie rock band.

But there’s Yuck getting rave notices, and now here come the History of Apple Pie, helping to keep the guitar/bass/drums unit alive. In fact, they’re mates of Yuck, or anyway Yuck have been saying nice things about them, and like their London counterparts they appear to have a similar reverence for late-80s US and UK rock. We’ve had the C86 revival, courtesy of Vivian Girls and, oh, too many to mention. Now it makes sense to move on to the 1987-8 revival as we approach the 25th anniversary of that period. We’ve read that they’re also influenced by 13-era Blur and Pavement, but that amounts to the same thing, because they, too, were born out of the dream melange of melody and noise as pioneered by Sonic Youth, Dinosaur Jr and My Bloody Valentine.

This isn’t quite clear from their debut single You’re So Cool, which incidentally was written about a schoolfriend (of theirs, not ours) who knew every word to the film True Romance. This one, in terms of clarity of production and vocals, nods more to 60s girl groups as per the C86 bands. It’s on B-side Some Kind that their 88-worship becomes apparent as a burst of guitar-noise like a revving motorbike leads into a tune that uses Dinosaur Jr’s Freak Scene – the Smells Like Teen Spirit of the pre-grunge generation – as its model, with an MBV-ish approach to dazed-and-confused, when-you-wake-you’re-still-in-a-dream sleep-singing from the two girls in the band, who play the Bilinda Butcher/Deb Googe roles to near perfection. On Tug, over a chugging rhythm and an overlay of solo guitar drizzle, “singing” becomes a series of gaseous, sibilant sighs. Woozy does it. We’re not sure about their name – it’s a bit twee – but the History of Apple Pie are giving bands a good name.

From The Guardian


GIG – Childhood at The Joiners – Tuesday 7th October 2014

childhoodA little over two years ago Childhood frontman Ben Romans-Hopcraft had a revelation. “I’d gone to uni purely to meet people, and I’d just started hanging out with Leo,” he says, referencing his songwriting partner and Childhood’s devil-eyed guitarist Leo Dobsen. “And even though we’d had this vague idea about forming a band together, we didn’t have any songs or anything. We’d never played a single note, in fact, but for some reason we just started going around telling everyone that we were this amazing new band, like, ‘Yeah, were Childhood, have you heard us? Oh, you haven’t?! You really should, we’re pretty sweet…’.”

Somewhat bizarrely, this back-to-frontapproach paid off, kicking Ben and Leo into action so that by the time their first demos – recorded in Ben’s room between listening to everything from old Marvin Gaye records to new Bradford Cox ones – found their way online, there was already a baying audience waiting for them. Record industry scouts and tastemakers soon followed, even though the twosome weren’t anything approaching a proper band yet.

“We literally had no idea what we were doing!” Ben laughs now. “We were still experimenting with everything – how to write together, how to play live, what gigs to do, who ran them, what line-up. It wasn’t until we left that we released ‘Blue Velvet’, and then we got it together with Dan (Salamons, bass) and Jonny (Williams, drums) and became what you know today as Childhood.”

Still one of the band’s best loved songs, ‘Blue Velvet’ tells you everything you need to know about the mini-masterpieces Ben, Leo, Dan and Jonny craft. Lush, sonically-infused, scarily melodic, boisterous and brimming with a dreamy wanderlust that sets them apart from the rest of London’s new band scene, it’s one of the many gems they’ve come up with ondebut album ‘Lacuna’, made earlier this year with London’s producer-of-the-moment Dan Carey.

A re-recorded and beefed-up version of ‘Blue Velvet’ opens the album in fine style – unequivocallyrealising its full potential. “It had to be good, really!” says Ben, adding,“I think the main thing we were going for, and this counts on all the tracks, was to get this juxtaposition between having loud guitars and soft melodies. We’re all about the contrast and personality.”

It’s this idea of split dynamics that drives Childhood, he continues. “I love people like the Cocteau  Twins ” and Felt, but then you’ve got Leo who’s totally on newer stuff. He was onto Mac DeMarco before anyone else in the world, and Real Estate and Deerhunter. It’s quite a potent mix, and we always try to define Childhood as that. It’s always eclectic, it’s aware of soul, and dub, and indie, and dance, and it’s all about mixing up English and American music and seeing what you get.”

Mind you, ask Ben where the beating heart of Childhood lies, and the singer will tell you south London. Brixton, where he grew up and still lives now, is a key influence – most obviously on the likes of the slow, dubby ‘Right Beneath Me’, but also more ambiguously on the album’slyrics. “It’s nostalgia,” he explains. “The gentrification of Brixton pisses me off massively, and a lot of the songs are about having that foreign feeling of when you’re somewhere so familiar that’s changing. ‘Blue Velvet’ is about that, ‘Falls Away’too in a way. Similarly, I can’t help but write songs after the name – Childhood. Maybe I’m inherently nostalgic? I almost think I don’t wanna be like that, but the truth is I can’t avoid it. I think writing about it is my way of taking the shackles off…”

Perhaps the most commendable thing about ‘Lacuna’is how as an album it twists and turns, showing off manydifferentsides to a band who, lest we forget, are still in their infancy. One minute they’re evoking Motown if re-imagined for the post-noughties generation (‘You Could Be Different’) before taking in krautrock (‘Pay For Cool’), baggy (‘Solemn Skies’) and even veering deep into Todd Rundgren territory (‘When You Rise’).

It all makes for a thrilling listen, but Ben’s unphased when it comes to trying to pin down what it is that makes the songs work so well together. “A lot of bands have a certain sound they’re defined by,” he says. “But in Childhood we do it all on a vibe. When I feel like I’m listening to us then I know we’re onto something good.”

Make no mistake, on ‘Lacuna’ Childhood have come up with something very good indeed. And as they’ve been telling all and sundry since even before theygot going – you really should check them out, they’re pretty sweet…