Live Review: Jaws @ Cavern

James Beeson went down to KINK’s first offering of 2014 and was ever so slightly unimpressed with Birmingham’s shoegazers. 

As the latest quintessential indie group to come out of Birmingham, it is somewhat inevitable that JAWS are often compared to fellow Midlands-based psychedelic rockers ‘Peace’ and ‘Swim Deep.’ However, as proven during Exeter’s first KINK night of 2014, comparisons in musical style do not always translate to equal levels of musical ability on stage. KINK returning this term has filled the student body’s musical coffers once again, and is set to have a stellar year.

Whilst the likes of Swim Deep and Peace rocketed to fame during 2013, receiving widespread critical acclaim and many plaudits for their nostalgic and carefree vibes, JAWS have languished somewhat, failing to achieve any real commercial success since forming in 2012. On the back of a largely disappointing performance at Exeter’s Cavern, it is easy to see why this is the case.

photocredit:thisisfakedit.co.uk

Having been touted by many as ‘the band to watch’ in 2014, a large audience had already gathered by the time JAWS took to the stage, following on from a powerful support set from local sensations ‘The Big V.’ However, despite the vibrant atmosphere inside the Cavern, the band struggled to create any meaningful connection with the audience with their mysterious, laid-back and distant demeanor.

An obvious lack of interaction with the audience, combined with a lack of ‘stand-out’ anthems, meant that the majority of JAWS’ performance fell flat, although fan favourites ‘Toucan Surf’, ‘Breeze’ and ‘Gold’ were still met with delight by the youthful and exuberant crowd. Unfortunately, the band’s new material is also disappointing, with the lifeless ‘Time’ and unimaginative ‘Think too much’ not boding well for their upcoming album, set to be recorded in 2014.

It would be unduly harsh of me to criticize JAWS for a lack of talent. The surf pop quartet are clearly a band not lacking in musical aptitude, as proven by their highly impressive 2013 EP ‘Milkshake.’ Nevertheless, talent is often easily wasted, and with this rather uninspired and dreary showing on Wednesday night, Connor Schofield and co. showed exactly why they have yet failed to reach the dizzy heights achieved by their Midlands counterparts.

JAWS have an exceptional sound on record; a combination of soothing and dreamy vocals, coupled with highly catchy guitar rifts.  Unfortunately, as of yet, this sound is not translated on stage, and thus the band, as a live entity, leave much to be desired.

James Beeson

Interview: Peace

Ciaran Willis talks to Worchester rockers Peace on dealing with hype and hard Midlanders.

For my first ever interview I ventured to the Anson Rooms in Bristol’s Student Union, where I met two members of Peace – frontman Harrison Koisser and drummer Douglas Castle. Though nervous and (gasp) sober, I was put at ease by their friendly manner and after half an hour we had covered all the big questions: what Douglas thought of Call of Duty, what Jake Bugg thought of Harrison’s trousers and their favourite Christmas song.

Harrison Coisser from Peace
Image Credit: commons.wiki.org

After a hectic year of tours, supporting their debut album In Love – including gigs in Australia, America and Japan – surprisingly “it was the first time coming back that was the best feeling”. The other highlight was their end of year British tour where I caught their penultimate gig. Interestingly they felt more pressure playing for a thousand people in Manchester or Nottingham than ten thousand at a festival. Ostensibly, as Douglas said, because it was a ‘Peace show’ and people were paying principally to see them.

Yet the tour “couldn’t get any better” – and where their previous highest audience was a one-off gig for a thousand people, on this tour that was a normal show, with their hometown Birmingham gig reaching three thousand.

For those of you that haven’t heard Peace before, they sound like The Cure and Suede distilled through The Stone Roses, early Blur and Nirvana – an amalgam of numerous indie bands. Reviewers have continually defined them by other bands and I asked if this bothered them. Harrison said, “I think that’s happened with every band ever… and if you make good records people will compare other people to you”; a fair point, though writing lyrics like “we’re gonna live forever” can occasionally seem less like pastiche and more a lack of inventiveness.

But Peace don’t seem too perturbed by the nit-picking of reviewers, like Alexis Petridis of The Guardian, who they compared to the “boy at school who calls you out over the slightest thing wrong”, with his esoteric references. At the time of their record release Harry “had just turned twenty one and was enjoying being in a band and playing music,” regardless of what critics had to say.

Peace seem like genuine guys happy to talk to anybody. On the tour bus they “play alarmingly little collective music except some northern soul”. Rather for recreation they “prefer stirring up a conversation with their new touring staff letting them tell stories” – they like a “good old chinwag”. They have a games console, but Doug played five minutes of Call of Duty and was disturbed that “within five minutes with no backstory I watched a man burn to death”.

The best moments of the interview are the most candid ones. Harry tells me how the album is sadder than people think, and that ‘Lovesick’, a Cure-esque bubble gum pop song, is “probably the saddest song I’ve ever written”. While there are plenty of light hearted moments; Jake Bugg (completely dressed in trackies) at a Beatles tribute band concert in Japan was bemused by Harry’s baggy paisley trousers and told him that “I just don’t get your trousers.” Harry replied, “Well I like them, just don’t worry about it Jake.” By the end of the interview Harry was breaking into ‘it’s Christmas’ with his best Slade impression; Slade and Wizzard being Peace’s favourite Christmas songs.

Peace have a good repertoire of catchy songs and an incredibly young audience (I was one of the oldest there – obviously long past it)  in thrall, simultaneously bouncing and singing along. Highlights were the breezy and beautiful ‘California Daze’, the funkiness of ‘Wraith’ and the joyous pop of ‘Toxic’. However, the band’s charisma didn’t quite come across on stage and their performance felt a little flat. But – as they told me – Peace have already recorded four new songs at Sarm Studios in London and 2014 should see another piece of Peace. I wish them well for the New Year.

Ciaran Willis 

Interview: Scroobious Pip

Josh Gray, Music Editor, chats to the poet /spoken word artist / rapper / director /radio DJ /one half of hip-hop duo Dan Le Sac vs Scroobius Pip.

“I KNOW it sounds weird” roars Scroobius Pip, “I do want you to look back on this and smile but I kinda want that smile to be through tears”. This isn’t how he starts our interview, in case you were worried: it’s the lone vocal that kickstarts Repent, Replenish, Repeat, the latest collaboration album between the well-bearded Essex rapper and producer/laptop musician Dan Le Sac. The two have been working together since the release of their debut album Angles in 2008, merging Pips’s unique style of spoken word poetry with Dan’s trigger-happy electronic hooks. The last few years have seen them working on their solo careers, with Scroobius Pip

Image Credit: clippings.me

releasing his heavier Distraction Pieces and Dan Le Sac his more experimental Space Between The Words, but now they’re back together and ready to take over the UK underground scene once more.

“The point of doing solo records is that they would be so different,” explains Pip, “I needed to do Pieces ‘cause I had all these punk and metal influences, and Dan equally had all these different areas he wanted to explore that we don’t cover in our stuff together”. When asked if there was any sense of rivalry, he laughs: “There wasn’t any competition. I mean, I’m a Dan Le Sac fan”.

He speaks with a rhythmic stutter, giving the impression that he could break out into a well-paced verse at any moment: “I’m lucky to get this constant variation of going from touring with Dan for ages to then touring with a band. The last huge runs of tours and shows I did were all spoken word, so I get to experience all those styles and areas, so I can’t complain at all”.

The spoken word scene is where Scroobius Pip started out, performing without backing music to bring audiences a pure performance of his poetry. But in no way is he tied down to any one artform: “I do what I do,” he explains, “I usually go with spoken word artist ‘cause it’s so literal, I literally speak words. Ten years ago it was pretentious to say you don’t need labels, but now you clearly don’t. I mean if you want to know what Scroobius Pip sounds like then you can take your phone out and find out in under a minute. You don’t need to say ‘it’s poetry, it’s spoken word, it’s electronic and hip and this and that’. It’s like ‘it’s this, come listen!’”

Pip has also taken on directing duties for the pair’s videos and presents his own hip-hop radio show The Beatdown on XFM: “I have people who listen regularly and say ‘I’m not into hip-hop, but I like the stuff you play.’ Well that means you’re into hip hop! You’re just not into certain types of hip hop. I mean there’s a lot that’s crap and a lot that’s absolutely amazing, it’s about finding the right bits”.

Much of Repent, Replenish, Repeat’s content was inspired by loss and heartbreak: “I draw from true experiences; (lead single) ‘Stunner’ was about five or six different exes and probably one or two people I’d just fancied in films. As for ‘You Will See Me’, it’s largely about a guy who cheated on a friend of mine and then there’s elements I’ll take from my own break ups”.

Pip’s couplets slot in perfectly around Dan Le Sac’s glitchy soundbeds, demonstrating the synchronicity that has built up between them. “The process will normally start with Dan sending over tonnes and tonnes of beats and I’ll pick a few that I’m feeling” Pip tells me; “It’s all felt like a very natural process. We started out as solo artists, then did a couple of albums together, then both fancied doing solo records again. But the plan was always to then do our third record”.

The pair of them are known for performing electric shows before mingling with their fans: “I like that personal touch. It annoys me that there now exists such a thing as meet and greet tickets for gigs, when you can pay extra to meet the band. They f*cking paid to get in! They’re wearing your t-shirt and singing the words to your songs back to you, they shouldn’t have to pay to then meet you. In general, from doors ‘til stage time I’ll be on the merch booth, and after the gig I’ll be on the merch booth til the end to chat and hang out. It’s weird that people see that as a special thing. It’s what we should be doing”. So look out after the DLS vs SP show this week; you might just get a chance to meet the man of the mighty beard.

Speaking of which, I did manage to ask how he keeps his mane in such good shape: “Good beard oil is the way to go”, he sagely responds, “It’s such a fine line, I wouldn’t do anything more than that, because the point of having a beard is that you’re not having to ponce about and shave and be all caring of yourself. But get out the shower, put a bit of beard oil on and you’re sorted”.

Dan Le Sac vs Scroobius Pip are playing The Lemon Grove on Tuesday 28th January

Josh Gray, Music Editor

Album Review: Transgender Dysphoria Blues by Against Me

Liam Garrett reviews the latest album by Against Me

Transgender Dysphoria Blues is the first release from Florida punk stalwarts Against Me since singer Tom Gabel began to live as Laura Jane Grace. The frontwoman has received huge support from fans following her decision to come out as transgender in 2012, and it seems to have given her songwriting a new inspiration. “You want them to notice” proclaims Grace on the shuffling title track, sounding in excellent voice. Lyrically the album deals honestly and openly with themes of alienation and identity issues. Musically it’s aggressive and triumphant, and only rarely does it sound angry.

photocredit:rock977.ca

The band are revitalized following their last album White Crosses, which was overproduced and restrained in places.  Highlight tracks such as True Trans Soul Rebel and Unconditional Love embrace pop sensibilities but are still raw enough to recall their punk roots. In particular Drinking With The Jocks is a violent rocker driven by heavy guitar riffs and a pounding rhythm section. The same can be said of lead single FuckMyLife666, but the song arguably sounded more powerful as an acoustic piece as debuted last year. The only moment of rest comes with Two Coffins. The slow and haunting song segues perfectly into Paralytic States and Black Me Out, which perfectly mix the melodic with the aggressive for a heartfelt climax. The album feels more forgettable in the middle, but its short tracks leave little time to feel disappointed.

Clocking at less than 30 minutes, and with little experimentation evident, it’s admittedly hard to believe that Transgender Dysophoria Blues has been nearly three years in the making. But it’s strength lies in the fact that it’s punchy, forthright and catchy. It is also brutally honest and the band sounds tight and powerful. A return to form and the beginning of an exciting new stage for Against Me.

Liam Garrett

 

Album Review: High Hopes by Bruce Springsteen

Exeposé Music’s first album review of 2014, starting the new year with something rather old. Chris Davies investigates Bruce Springsteen’s latest offering. 

Legendary American singer-songwriter Bruce Springsteen returns with his 18^th studio album, High Hopes, a solid if slightly fragmented work. Formed from re-recordings of older songs, unfinished works from previous recording sessions dating back to 2002’s The Rising and three covers of other artists’ work, the album is full of individually brilliant tracks, but combined they lack the thematic unity of Wrecking Ball or some of Springsteen’s earlier releases.

However, at sixty-four Springsteen is yet to fall into conventionality, experimenting with a range of sounds and effects throughout the twelve track album. Added to his ever-expanding E Street Band – which includes violin, backing singers and a horn section – is guest-guitarist Tom Morello, famed for his work with Rage Against the Machine. Morello’s guitar also featured on two tracks on 2012’s Wrecking Ball and he filled-in for Steve Van Zandt during the Australian leg of the subsequent tour. Springsteen speaks highly of his newfound ‘muse’, referring to him as an additional ‘architect’ in refining these songs and constructing the album. Morello’s guitar playing screams and soars through High Hopes, lending a contemporary, aggressive feeling that echoes Springsteen’s lyrics, while the pair also trade vocals in the new studio-cut of their blistering 2008 live arrangement of ‘The Ghost of Tom Joad’.

photocredit:blog.ketchum.com

Lyrically the album is a mixed bag. ‘Down in the Hole’ and ‘American Skin (41 Shots) continue Springsteen’s critique of American existence, while catchy rockers like ‘Frankie Fell in Love’ are fun if lacking in lyrical complexity. ‘Hunter of Invisible Game’ is a clear stand-out, though; a superb ballad of wasteland depression featuring such dejected lines such as “Strength is vanity and time is illusion/I feel you breathin’, the rest is confusion”.

High Hopes also features three covers of other artists’ work – including the title track, which Springsteen previously released on a 1990s EP but has here been re-recorded with an improved arrangement. While Springsteen has performed these tracks multiple times live, releasing studio recordings of each is an unusual move, especially considering the wealth of original material that remains in his vaults. Nonetheless, using the breadth of the E-Street line-up and Morello’s guitars Springsteen makes them his own.

Fun, musically exciting and undeniably rocking, High Hopes is a lesser sequel to Wrecking Ball but remains a worthy effort from The Boss.

Chris Davies

Review: A1 Bassline @ Cellar Door

Exeposé Music went Quayside to check out A1 Bassline perform at the Cellar Door. Kiah Shabka explains how it got pretty dark down in the basement…

Image Credit: Facebook.com/A1Bassline

Armed with the promise of ‘fresh, darker techno.’ we donned the obligatory denim shorts/crop top combo and made our way down to the Quay to see the Thick as Thieves residents and headliner A1 Bassline. Making up half of the newly-formed Laszlo Dancehall and having just launched his own label, Sourceunknwn, we were expecting big things. As usual, The Thieves did not disappoint. Once residents Aerial and Vandeleur had warmed the crowd up with ambient blend of house and techno, Brighton-based A1 made a fashionably late appearance, delivering a set that proved he was worth the wait.

As we made our way through the eager masses to get a sought-after space by the decks, the urge to join with the contagious, trance-like swaying so unique to Cellar Door became unbearable. A1’s infectious bass proved impervious to claims by some that ‘no one likes House music.’ On the contrary, hi-hat melodies complimented epileptic snares to form unique minimal sounds that proved popular with TaT freshers and veterans alike. The ‘fresh, darker techno’ we were promised was more than delivered and A1 provided us with a magnetism that pulled the crowd towards the decks faster than rugby lads to the TP burger van.

It’s safe to say that the Thieves have started Term Two on top form, and with the announcement of their new festival this summer, Hijacked, they have a big year ahead of them.

Track of the Day

Eton Messy Hits Exeter

photocredit:http://www.kmag.co.uk/editorial/features/eton-messy-interview.html

This Saturday sees Eton Messy play Exeter Phoenix in a night that is sure to kick off term 2 with a bang, the Bristol based DJ collective are aiming to spread musical joy and fervor as the bloggers bring tunes from favourites like Applebottom, Aaron Lipsett, Polkadot, Maribou State and Bondax to Devon. Check out their latest in the awesome series of Messy Mixes here:  Messy Mix #11 or alternatively their Youtube channel. Eton Messy Youtube

Callum Burroughs, Online Music Editor

Track of the Day

Callum Burroughs, Online Music Editor

Thick as Thieves announce Hijacked Festival 2014

A new year, a new unprecedented announcement from Exeter’s pioneering dance collective Thick as Thieves. It seems as if the bass-mad gang are on a mission to take over Exeter and transform it into a bass-mad city. And later this year the collective are – literally – commandeering the streets.

In May this year Exeter’s Thieves, in association with their partners in grime, Our House and Beats & Bass Society, will slink out from the doldrums of Cellar Door and take over Exeter with Hijacked Festival – a day dedicated to dance music hedonism.

Hijacked Festival 2014
Image Credit: Thick as Thieves

2,000 people will cram in an open-air venue comprised of three stages set to showcase the crème de la crème of electronic dance music. The Thieves, Our House and Beats & Bass are responsible for bringing some of the biggest and best names in dance music to the South West over the past two years – think Duke Dumont, Shadowchild and Kry Wolf – and the summer event is an exciting next step for Exeter’s burgeoning dance music scene.

Hijacked promises to be one of the most eagerly anticipated events of the calendar year as The Thieves & friends look to bring music mayhem to the masses on an industrial scale.

The line up for the all-day party is set to be announced on Tuesday 11^th February when early bids can flock the their computers to eat up the cheapest batch of tickets.

Stay tuned and follow all the developments with Exeposé Music and Thick as Thieves.

Ben Clarke, Online Music Editor