NEWS/LIVE: Glass Animals play a packed homecoming show in Oxford

                             Photograph taken at The Great Escape Festival in Brighton by Andrew Novell.

*Originally published for The Line of Best Fit (15/11/13)

Glass Animals have had a busy summer diet: European festivals, new singles and even closing a deal with producer Paul Epworth’s (Primal Scream, Bloc Party, Adele) new label, Wolf Tone. Last night saw them digest it all with a packed-out homecoming show.

The small space in The Jericho Tavern, renowned for housing Radiohead’s debut gig, was well suited for the close textures of Glass Animals’ experimental sound. Better still, it enabled vocalist/guitarist Dave Bayley’s abstract and poetic lyrics to float between the many pairs of ears stacked to the front. Bayley is a natural frontman, with finely-tuned support from his bandmates.

The gig also gave the four-piece the chance to debut new material; 'Gooey' and 'Fresh Coast' sounded almost as established as buzz-hits 'Cocoa Hooves' and 'Black Mambo'.

A taste of what to expect of their debut album (due to be released in March/April 2014) hung heavy in the air at the show’s close, but at least we won’t have to wait too long for new recorded material. The band plan on releasing a mixtape as a late Christmas present in January.

Setlist
Exxus
Dust In Your Pocket
Psylla
Gooey
Golden Antlers
Fresh Coast
Cocoa Hooves
Toes Wyrd
Black Mambo

LISTEN: Glass Animals - Woozy [feat. Jean Deaux]

*Originally published for The Line of Best Fit (5/11/13)

It’s been more than a year since Oxford’s Glass Animals unleashed the unnerving, electronic sounds of 'Cocoa Hooves'. 'Exxus' ran in a similar vein. But a balmy, unexpected collaboration with Chicago rapper Jean Deaux proves we still haven’t worked them out yet, and neither have they.

What is clear, however, is the quartet’s love for experimentation. Where 'Golden Antlers' touched upon post-dubstep, new song 'Woozy' is an intelligent jazz/electronica/hip-hop hybrid, replete with brush-taps, fluid bass and Jean Deaux’s self-assured rapping.

Perhaps it’s not best to signpost genres here, but with the band’s constant evolution, a little orientation might be in order.

Glass Animals play Broadcast, Glasgow on 8 November, Concrete, London on 12 November, and a hometown show at The Jericho Tavern, Oxford on 14 November.

REVIEW: Gathering 2013

*Originally published for The Oxford Mail (25/10/13)

Oxford gets its fair share of buzz bands and international stars, but sometimes a quick journey to London is needed to satisfy musical needs. When Gathering comes to town, however, it’s all eyes on us.

The festival, now in its second year, sees more than 40 acts descend on the city for one night of explosive music across different East Oxford venues. It’s a real treat for music lovers.

First on at the Cowley Road Methodist Church was singer-songwriter and St Edward’s School alumnus, Nathan Ball. His lulling, acoustic songs are reminiscent of British songwriter Alexi Murdoch, with his half-whispered vocals and warm guitar chords. Nathan was nervous of playing to a tiny crowd in a giant room, but it did the intimacy of his songs great service.

A brisk walk up the Cowley Road to The Art Bar (formerly The Bullingdon Arms) found 80s synth-popstress Pawws entertaining a lively crowd. Lucy Taylor’s vocals were crystal-clear and the energy rose once she beckoned the crowd to move closer to the stage for 'Slow Love'. Impressive, upbeat pop.

Laura Welsh was the evening’s game-changer over in the East Oxford Community Centre. Her take on modern soul (akin to electro-soul goddess Jessie Ware) is astonishing, and it’s easy to see why she drew a big crowd. Taking things up another level is Rhodes, who plays to a busy crowd in Truck Store. The Hertfordshire singer-songwriter only picked up a guitar in January but, coupled with his beautiful vocals, it’s like he’s been performing all his life. He completely unravels onstage, tugging at many a girl’s heartstrings with striking balladry.

One of Gathering’s low points, as to be expected at an urban festival, is venue capacity. You have to queue for a good 45 minutes to see the bigger acts and you might not get in. This was the case for many London Grammar fans. The O2 Academy was crammed with excitable gig-goers. Opener 'Hey Now' sounded sublime, with Hannah Reid’s arresting vocals soaring high.

Restoring any faith lost in technical issues were Temples, upstairs in the Academy. Close your eyes and transport yourself to the 60s; here lies flowery guitar, prog-rock basslines, electronic organ and supple harmonies. They were the slickest act of the evening.

NME favourites Wolf Alice brought their 90s rock to the East Oxford Community Centre at the end of the night. Singer Ellie Rowsel’s raw vocals helped to build mini mosh pits – a sure-fire way to leave everyone satiated.

Despite inevitable, though frustrating, logistical problems, Gathering is slowly starting to establish itself against the big one-day festivals. We’re more than lucky to have it in our humble abode.

REVIEW: Stornoway - Tales From Terra Firma

*Originally published for Artrocker (12/3/13)

When this studious Oxford bunch were tipped for big things in 2010, there was little doubt that their charming folk pop would appeal to the mainstream. In the years since, Stornoway have toured extensively, signed to 4AD and released their praised debut, Beachcomber’s Windowsill. But breathe their name and some people still think you’re talking about that Scottish town on weather forecasts. Perhaps their second release will put them on the map.

‘You Take Me As I am’ welcomes listeners in medias res, with burring gospel keys, playful bass and drums akimbo. Unfortunately, it feels as if you are trespassing upon the band’s hodgepodge experimentalism and it's a messy introduction to Tales From Terra Firma.

Following track, ‘Farewell Appalachia’, is arguably the strongest on the album. A Middle-Eastern zither dances around warm acoustics and harmonies, whilst jazz rhythms carry a dulcimer in woozy enchantment. It’s a triumph and will compel you to hit repeat.

Exasperatingly, the mature moments stemming from tracks like ‘Farewell Appalachia’ are very few and far between in the album’s early stages. ‘The Bigger Picture’sees a return to Stornoway’s idiosyncratic happy-go-lucky pop and feels like it belongs to their previous release, save for the rather REM-inspired mandolin. Brian Briggs’ sparkling vocals often fail to command attention above the rollicking rhythms and, sadly, the tune fades into the ether. 

'Hook, Line, Sinker’ tells a nice story of journeying by the Thames to meet a lover, but musically-speaking,what the hell is it? Oddball phaser effects, rhythms unsure of their direction and removed vocals are but a few of its quirky components. It’s a confusing listen, written in what appears to be a wacky stream of consciousness. If opener ‘You Take Me As I am’is a bit messy, this is chaotic. 

The cascading guitars in ‘(A Belated) Invite To Eternity’ owe a lot to Vampire Weekend and nicely break up the early tracks. Rather cleverly, Stornoway have planted the strongest songs in the second half of the album, leaving a lasting impression of infectious melodies. 

Among these is the meaty ‘Knock Me On The Head’ with its joyful bass, seaside keys and trigger-sharp harmonies and the back-to-basics folk ballad, ‘November Song.’The most dramatic song on the album, ‘The Ones We Hurt The Most’,hears an Appalachian dulcimer glide over rich bodied harmonies –something Fleet Foxes could have penned. Briggs and co. have absolute conviction in every word they spit whilst this brooding, experimental Americana builds and builds, and it’s beautiful to listen to.

With its smorgasbord of instruments, Tales From Terra Firma is much bolder than its predecessor, but its weakness lies in the frustrating dichotomy between fresher sounds and the band's old folk-pop roots. Thankfully, it’s a healthy step forward.
3/5

REVIEW: Rainbow Shark - Rainbow Shark EP

*Originally published for Spires Magazine (14/12/12)

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FEATURE: Richard Walters

*Originally published for The Generator's Tipping Point blog (19/9/12)

Oxford singer-songwriter Richard Walters is one of those musicians with the ‘that voice’ effect; it has warm familiarity, ecclesiastical clarity and a gravity of tone that you cannot help but completely resign to. This autumn sees the release of his second album, Regret Less, following widespread praise from The Guardian, The Fly and Uncut for his debut LP, The Animal (2009).

The lead single from Walter’s new fan-funded album, ‘The Escape Artist’, shows off the workings of a classic songwriter, blessed as he is with a vocal range as agile as fellow Oxfordian Thom Yorke’s. Walters may not favour the forthcoming comparison, but the crystal-clear quality of his voice is also not unlike Tom Chaplin’s of Keane.

It’s fairly unusual to hear such basic and raw instrumentation during an age of heavy synth/beats-driven music and excessively layered ‘nu-folk’ balladry. Clean guitar and hushed violins run alongside Walter’s metaphors about the pains of love, but he does not overindulge in superfluous crescendos like all the Mumfords and Sons of late. In fact, the track’s safe composition forces you to focus on the lyrics and the dexterity of Walter’s voice – at once fragile and powerful, discreet and arresting.

Keep your eyes peeled for him playing at some charming little venues around the country this month, as well as the expected release date of his new album Regret Less on 15 October.

*Today's Generator tip comes courtesy of Matt Marlow (KYEO.tv).