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LUNAR C - DIRTBRAIN REVIEW

“Dirtbrain” is the debut album by Bradford rapper Lunar C. Lunar initially made himself known through Don’t Flop, which for a long time was the biggest battle league in this country. Through this he made it clear he is a talented and hilarious lyricist, and even though this was about 6 years ago he hasn’t stopped coming with the best bars in this country whether that’s in his battles or his EPs, this project Dirtbrain goes above and beyond a lot of what we’ve heard from him before.

That’s enough of a Wikipedia page for now. On this album, Lunar goes into other topics than what he usually does. So rather than just talking about weed and what he’s done to your family members, (which is still great because he’s actually clever about it and puts thought into what he writes) he goes into topics such as relationships, like on the track Hindsight, which we already posted about earlier in the week, and about him growing up with some introspective lyrics on the track My Best.

The highlights for me on the album are those two tracks, along with Longway, which is about his rise to success, I really like the beat on this track it feels really fresh and quite different to what Lunar has been on before. Another track I liked was Shabang, which is a complete banger, I wasn’t expecting it and it made me screwface amongst a load of other cringe white dancing but let’s not talk about that.

I definitely would recommend Lunar C to anyone, I think he’s so underrated and one of the best UK hip hop artists currently making music. Not to mention he has the same barber as me so that’s a fun fact I guess. Go listen to Dirtbrain and watch Lunar’s battles they’re a proper laugh.

By Sam Bentley @samjamesbentley

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MAY 2018 PLAYLIST

LISTEN HERE

This months playlist is compiled of all of my recent go to songs with a plethora of different moods, atmospheres and decades.

First we start with the upbeat groovy songs, kicking it all off with Early Eyes’ ‘Take You’, a beach-rock tune accompanied by harsh kicking vocals alongside wavvy guitar riffs and lovely rolling drums.

Then we go into my new favourite recent releases, The Skinner Brothers’ ‘Watchu’, TOUCAN’s ‘We Fell For Miles’ and Short Weekends’ ‘Green Summer’. All of these songs were carefully selected for those upcoming sunny days with Fosters, mates and BBQ’s.

Watchu is a song that heavily seems to be inspired by The Streets with their talking verses and then followed by a Liam Gallagher-esque chorus riddled with odd little noises through the instrumental. This song could very easily become the English summer song of the year.

Then we have ‘We Fell For Miles’ by TOUCAN, a band compiled of singer-songwriter Conor Clancy and Martin Atkinson accompanied by a brass band from all over Ireland. Below is an interview I was lucky enough to have with Conor.

Are there any specific idols that really inspired the specific groovy sound you’re putting out? I think in terms of the songwriting anyway, I took influence from songwriters like Hozier, Ben Howard and Breakbot. That, mixed with a tendency towards  70's and 80's music like The Emotions, KC & The Sunshine Band, Curtis Mayfield, all that sort of brass heavy, feel good stuff is what drove the sound, but I don't think there's any specific idol that really inspired it. What drove you to choose We Fell For Miles to be the first song released for this EP? Well, partly because it's very representative of our sound as a whole. It's got a little spotlight on each part of the band and it all fits together and each element compliments the others. But I also always wanted the the brass hook at the start before the band comes in to be the first thing people ever hear from TOUCAN. Can we expect the same up-beat jazzy sound for the rest of the EP, or are there surprises that shake up the feel a bit?

For the most part yeah! There's a lot more where that came from for sure, but there's one track on the EP that's a little darker, a little slower, but still pretty groovy. 

If you could put your EP into three words, what would they be? Happy go lucky! I’ve never really heard a sound like this come out of Ireland! Were there any local influences? Nope! Not that I can think of anyway. I do really pay careful attention to lyricism, and I think I can attribute that partly to folk songwriting, but the sound of the band is very much influenced by music from outside of Ireland. What drove you to begin this project in the first place? We played a couple of gigs when we were in college, just because it was fun. The songs and the sound were good so we ran with it and now we're here!

And finally, can we expect anything else from you in the future after this EP? (I’m really hoping so!) Definitely. We'll see if we can get picked up by a label once the EP is out, we're hoping to do some big gigs at home and in the UK over the next year or so. And we'll be recording an album in that sort of timeframe too!

‘Green Summer’ is a staple indie-pop song by Short Weekends. Sounding quite different to their earlier songs, this tune is intricate, bouncy and a definite crowd pleaser. I’d 100% recommend it to anyone who likes bands such as Tame Impala and Vega Bay. One thing I always love to credit this band on is how much effort they have all put in to creating each and every song. Also synth, man! Bloody synth.

Then three songs that are great for car trips, but all with a very different feeling. HAIM’s ‘Don’t Save Me’, HONNE’s ‘Someone That Loves You’ and Amy Winehouse’s ‘Hey Little Rich Girl.’

These next two golden oldies will definitely bring out the inner dance-star in you -  Four Top’s ‘Can’t Help Myself’ and Fleetwood Mac’s ‘Everywhere.’

Then my five favourite modern love songs, Cosmo Pyke’s ‘Social Sites’, Frank Ocean’s ‘Ivy’ and Rex Orange County’s ‘Happiness’ - all of which are sure to give you those butterflies that remind you of the bright sun rays in the glistening eyes of your loved one.

Following on from that, we have Jake Bugg’s ‘How Soon The Dawn’ a slow paced song that brings you into a Sunday morning hazy daze, with the sun peeking in through the window, reflecting off the dust in the air. 

Finishing up on the love, we have Big Scary’s ‘The Opposite of Us’, a song that just makes me feel completely in love. The gorgeous instrumental is warm and inviting, allowing for passive listening, but once you REALLY listen, it grabs you. That feeling of being hopeful in life because of those, or someone, you love.

To wrap up the whole playlist, I CANNOT stray away from this ultimate feel good song, Lauryn Hill’s ‘Doo Wop (That Thing)’, a song throwing shade at just how dark both men and women can be, and how you need to look out for yourself.

Listen on SPOTIFY

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A PICTURE OF DORIAN GRAY

The picture of Dorian Gray is an absolute literary classic and considered one of the best English novels of the 19th century. Written by Oscar Wilde, a notoriously controversial writer, playwright and poet who is one of the most interesting characters in literature. The picture of Dorian Gray is set in 19th century England and follows Dorian Gray, a youthful narcissistic member of the English upper class. He seems to be adored by everyone due to his natural beauty and vitality. His close friend Basil Hallward who is a painter, creates a portrait of Dorian. And because of the realisation of his true beauty, he utters a wish which changes his life forever.

That is a basic overview of the plot of this novel, for do not wish to spoil anything for anyone as this book is fantastic.

The characters within this story are compelling, and very well crafted. Each having their own psyche and beliefs. I honestly connected with these characters and their actions almost felt real. The characters have frequent conversations where social issues arise and we see Wilde’s own commentary on the world he lives in, I believe the characters are satirical of his critics. I liked Basil the most as he seemed to be the most loving and truthful character who cared for Dorian not only for his beauty.

At about 260 pages, this novel is rather short. Once you begin reading its very easy to get drawn in and find yourself finishing it in a week or so, just as I did. For people who don’t read often or wish to get into reading, this book is rather accessible while still maintaining Wilde’s flair as a poetic writer. His words are meaningful and allow readers to create their own assumptions about the true meaning of this story. The whole book is interesting, I did not find a chapter that I disliked or found boring. Each chapter reveals something new and interesting, and due to the plot the characters change overtime making the latter half of this novel particularly great.

I hope that I have inspired someone to read this classic, thank you very much for reading

See ya

@alfietaffinder12

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TAYLA’S GO TO PLAYLIST

LISTEN HERE!

APRIL 2018

APRIL 2018 PLAYLIST

Okay this post may seem like a cop out, because it is. I was meant to do a post on one of my favourite books, but I haven't finished re-reading it. So instead, I took to Spotify and made a playlist of some of the songs I can't stop listening to. I’ve tried to include songs that have a similar vibe but don’t all sound the same, enjoy!

I’ve started the playlist off with an old favourite, ‘Baby Driver’ by Simon and Garfunkel. Upbeat guitar and catchy vocals make it seem like the music is bouncing off the walls. The chorus will be stuck in your head for DAYS. It always makes me feel like I’m riding down a dirt road on a summer’s day in a convertible, but that’s just me.

Another favourite from this list is ‘Me and Michael’ by MGMT. This is from their new album Little Dark Age, and is definitely one of my favourites. It's a chilled out electronic TUNE that feels like you're listening to the background music in a dream about a man called Michael. It's a weird one, but the whole album is worth a listen.

Next is Florence and the Machine's cover of ‘Tiny Dancer’. This is a phenomenal cover, and never fails to make me cry (Notably in Greggs when I was showing it to a friend.). It's not a sad song but Florence’s voice is just so powerful, and the gospel choir accompanying her voice really adds to the vibe of the song. I prefer this version to the original.

Skipping ahead, is ‘Commercial For Levi’ by Placebo. This doesn't exactly fit the theme but, this is one of my favourite songs by one of my favourite bands. The delicate guitar and almost lullaby tone contrasts the dark content of drug abuse, and strangely never fails to make me smile. But, I do know Placebo is an acquired taste and Brian Molko’s nasal voice isn't for everyone.

‘Cannonball’ by the Breeders is a song that my mum's friend introduced me to a few years ago, and is a song everyone should hear at least once. It's three and a half minutes of guitars that completely take over the song, leaving Kim Deal’s voice trailing behind it. It's one of those you've just got to listen to.

Next is ‘Prune, You Talk Funny’ by Gus Dapperton. Gus is new on radar that I discovered through Alfo Media on YouTube (You may call him the indie NerdWriter.), and I've never looked back. His unique sound makes you want to get up and dance no matter where you are. He also makes amazing videos to accompany his songs which almost feel like you're watching a short film.

I ended the playlist with ‘Jonny’s Odyssey’ by Mac Demarco, a calm instrumental song that ends with a bye bye from the artist. Perfect way to finish the playlist.

Listen here:

https://open.spotify.com/user/allenkate1/playlist/1VB77tte4TV1vTlLLM8f23?si=SmaLiVDIQsCCNhrGhpa5Qw

TAYLA - @taylanuriallen

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BISHOP NEHRU

Bishop Nehru - Elevators: Act I & II

Bishop Nehru is a New York rapper that is best known for his ties and collaborations with fellow East coast artist MF Doom. I was first made aware of him with the project they did by the name NehruvianDoom, a ten track project in which the two exchanged expertly crafted verses over experimental instrumentals produced by Doom.

After hearing this project a few years back, I chose to find more of Bishop Nehru’s work, which I found to be just as good, a highlight being the track Elder Blossoms, which uses the Metal Fingers beat from arrow roots, which is also produced by Doom, it is perfectly jazzy with great saxophone and piano sections under the smooth delivery of Bishop Nehru.

For this new Nehru project, Elevators: Act I & II, Doom once again produces, this time alongside Canadian DJ and producer Kaytranada, who has worked alongside the likes of Anderson .Paak and Syd. These two team up with their signature styles to create some great beats that couldn’t be heard on your average hip hop album, a personal favourite of mine has to be Rooftops, the beat captures Doom’s signature style perfectly and Nehru comes with some bar heavy verses, using some great word play and similes, not to mention his rhyme scheme as per usual is very nice, it’s clear he possesses a lot of the talent that Doom has when it comes to lyricism, and his flow does sometimes remind me of Doom’s earlier work, which is always a very good thing.

All in all this is a great album and I definitely recommend it to anyone who likes their hip hop with great lyrics, perfect flow and experimental beats. I also recommend Doom to anyone who has yet to listen to him, I personally believe he’s the greatest rapper of all time, and you’ll most likely see me mention him again in my articles, Madvillain is one of the best rap albums of all time. I view Bishop Nehru to be one of the successors to Doom, he clearly has the talent, and I can’t wait to hear what else he has to offer in the near future.

So yeah find Nehru on instagram @bishychulo and listen to Elevators: Act I & II.

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THE VARLETTS

Born in the Midlands and brought to the North, The Varletts have been making their mark in the underground indie music culture since late 2016. Formed of Laurie, Matt and George, the trio have been rocking Nottingham in The Bodega and The Maze and are now waving through West Yorkshire, playing at Oporto and Hyde Park Book Club. So… what do they sound like? Take the best bits of The Cribs, Arctic Monkeys (‘Favourite Worst Nightmare’ era) and sprinkle in a little of Led Zeppelin and you’ve made The Varletts. If you’re looking for a band that interacts with fans as friends, this is the one.

Their first single was City of Sin, a gritty garage rock song - down tempo and moody. This song is gorgeous as Laurie’s vocals aren’t as they are in the rest of the tunes but are still as incredibly versatile as you’ll see through the rest of their songs. The song begins with a deep-rooted bass riff accompanied by crashing drums, highlighting the rest of the song. Sharp, dark, beautiful. Laurie’s song writing is unforgivably wonderful, taking inspirations from literature and experiences alongside pure imagination and we really see that showcased in this song.  The B-Side to this is the ever-loved Accused of Effeminacy, tackling the aforementioned personal experience most boys go through, being accused of being too feminine as if it’s not something to embrace. The inspiration for this song is definitely pulled from The Cribs, a Wakefield based indie rock band that have been known for tackling controversial topics, those close to the hearts of our generation which is something Laurie took and ran with. This is the perfect walking in the sun song - rolling drums, up-beat guitar riffs and backing vocals that you just can not stray away from miming in public and looking like an absolute nutter. The chorus is perfect; a little Cribs, a little Streets. Pure talking over heavy drums and soft guitar riffs - a genuine crowd pleaser. Then came Spiral Staircase, the second debut single. If you like Arctic Monkeys, you’re gonna love this - total ‘This House Is A Circus’ vibe. This single is accompanied by the B-side Mint and Marigold, a song that showcases Laurie’s absolutely unfathomably brilliant songwriting flare, pulling inspiration from an Oscar Wilde novel.

I have seen The Varletts twice, once supporting Atlanta House and once supporting PLAZA, both at Oporto in Leeds and both ABSOLUTELY WAVEY. Laurie doesn’t stray away from conversing with the audience, encouraging everyone to join in and loosen up, a skill that support acts usually lack but this band can be completely credited for it. Watching the bands own intimacy and passion for performance is what really makes a Varletts show.

Overall, The Varletts have incredibly bright things ahead of them and I can’t wait to see where this road takes them.

Give them a follow @TheVarletts on insta!

LEIGH-ANN - @leighannwithers

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MAGIC GANG

Brightonian indie-optimists with a promising future

Within the past couple of years, an indie renaissance has dominated the charts all over Europe - with a level of unrestrained creativity and diversity that provides something for everyone in a way not seen since the early 2000’s. Any of the countless bands you see lining the streets of your local city could find themselves becoming teen-pestered somebodies, adorning NME covers nationwide - and with Soundcloud and social media it’s now much easier to go from zero to hero if you’re a good-looking guitar band. But is the market being flooded with indistinguishable bands, all trying to exploit the same teenage, dungaree-wearing fanbase? Maybe so. Nevertheless, for every 100 bands making the exact same kind of music, there’s a group with a clear future as innovators, producing music that really stands out for its desperately craved distinctiveness. And for me, right now, that band is the Magic Gang. They’ve just come off a short UK tour at the end of March in preparation for their appearance at Live At Leeds this May and another national tour in September.

So what is it that sets the Magic Gang apart from the rest of the UK indie scene? For starters, there’s a welcome variation in composition across all of their released tunes, from the EPs as well as their recent self-titled, and this diversity leaves the impression that the Magic Gang boys’ music libraries aren’t solely brimming with Oasis and the Stone Roses in the way that many other new indie bands are. In fact, taking a look at their shared playlists on Spotify and Apple Music, it’s refreshing to see a smorgasbord of influences - the leather-donning, bad-boy loving Shangri-Las, lovelorn songstresses like Joni Mitchell and Minnie Riperton, and exquisite harmony groups including the Beach Boys and the Isley Brothers. This wealth of musical exemplars has surely given the Magic Gang a lot of help in writing memorable, distinct music rich with bittersweet lyrics, clever harmonies and danceable rhythm, but have they unlocked all the potential they have to be the next Beach Boys and avoid being lost, a few years down the line, in a homogenous swarm of guitar bands? It’s difficult to say. Listening to the musicianship on their album, you can hear a half-Wall of Sound, a warm fuzz that envelops the lyrics in a way that welcomes the listener in. You get a feeling of depth with the production of their music, like Phil Spector’s early work - there’s a contrast between moments of timidity and confident rallying cries like “All I really wanna know is how I got all this way on my own” that shook the floor when I saw the band live at Church Leeds a few weeks ago.  For me, while the Magic Gang definitely reflect their varied influences in a way that gives them an avant-garde, cultivated appeal, I still get a feeling that they feel obliged to conform musically - not to any fat-cat music executives at Warner Bros that took them on back in 2016 when they were the fledgling “ones-to-watch��, but to their peers in the alternative scene. When the music scene they exist in and share fans with is full of guitar-heavy, nonchalant ditties, designed to be screamed by hundreds of sweaty people in a dark backstreet venue and too often lyrically restricted to girls and girls alone, can we blame the Magic Gang for wanting to play it safe, especially when they’re still relatively new to fame and success? I don’t think so. In the way Declan McKenna went from inoffensive teenager to dress-wearing, weatherman-blessing heart-throb, I’m sure that as their fan base and confidence grow, the Magic Gang will produce stronger, lyrically richer material. However, that doesn’t take away from the fact that they’re already a fucking brilliant band.

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TWIN PEAKS

I remember the first time I watched Twin Peaks, it was about two years ago, I soon came to realise that David Lynch and being 14 doesn't mix well, as I abandoned the series and labelled it as 'pretentious crap that doesn't have a proper story line'. Fast forward to February 2018. I managed all 29 episodes of the first two seasons in three weeks. I loved it. The story kicks off with a body washing up on the beach wrapped in plastic, belonging to town sweetheart Laura Palmer, appearing to a first time viewer to be the start of a murder mystery, and a whodunit type of situation. But, as the story progresses, a stranger, more surreal element arises. Alongside solving Laura's murder, there are multiple story lines involving a dead husband, and a dancing dwarf, all tying in somehow to the overall plot line of the show. This is something I couldn't get with the first time I watched, but trust me, persevere with the series. The huge cast is one of my favourite things about Twin Peaks, as it is mainly character driven, from a lady that has a talking log that tells the future, to a police officer that breaks down in tears when faced with any kind of inconvenience, this eclectic mish mash of people make Twin Peaks the classic it is today. David Lynch regular Kyle MacLachlan's Dale Cooper being one of the main reasons I decided to revisit Twin Peaks, and one of the main reasons I stayed. You're lead to believe he's going to be a stereotypical television FBI detective; cold, hard-headed, and intent on solving Laura's murder. But Lynch contradicted this by making Cooper one of the brightest and most lovable characters I've ever seen on screen, replacing the cigarettes usually held by detectives with a 'Damn fine cup of coffee.', and a slice of cherry pie. 

Another notable element to Twin Peaks is the clothing, a topic that even now comes up in conversation or articles. The eclectic style varies from Audrey's 1940s femme fatale aesthetic, to (my personal favourite look) Josie's androgynous style, contrasting the rest of the female characters. I included a moodboard to give a small snippet of styling on the show. To finish, I really love Twin Peaks. It's a must for any David Lynch fan, even if you're just starting with his work, it's nowhere near as strange as many of his other films, such as Eraserhead and Grandmother. It's a classic for a reason, watch it y'all. TAYLA - @taylanuriallen

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SATURATION AND AMEER VANN

Ameer Vann (@ameervann) is one of the rappers from the self proclaimed boyband Brockhampton, who made quite the name for themselves last year with the release of the Saturation Trilogy, 3 LPs that came out within a few months of each other. I do recommend these projects, you can find the group on Instagram under @brckhmptn. One criticism I would point out about these albums would be that they feel fairly repetitive, the albums all have a very similar structure; start with an upbeat aggressive song, and slowly calm throughout the tracklist, until it ends with a calmer, more guitar driven closing track performed by Bearface (@bearfacington) with many Ameer verses about how he sells drugs and about his upbringing as a minority, not that this is a bad thing, I think it just becomes way more noticeable when he has the same flow on every track (as TheNeedleDrop pointed out in his Saturation III review)

The fact we were given three full length albums of this in one year makes us realise the repetition more. Bear in mind most rap artists have about 1-3 years between projects, so we have time to not think about the artist, whereas Brockhampton did not do that, which i do believe to be their intention partially, as one of the definitions of Saturation is: “To a very full extent, especially beyond the point regarded as necessary or desirable” it wasn’t necessary for them to release 3 projects in a year, yet they did and for the most part it was still desirable, but it definitely did highlight a formula for their albums.

Don’t get me wrong though, I very much enjoy Saturation I-III, they are 3 very good projects that showcase the group’s talents and is very subversive for a rap album, and on a more personal note Saturation I was my actual jam for all of summer. But enough on Saturation, I’d like to preface this part of the article by saying I’m well aware this single came out over a year ago now, and I have only just discovered it, sure that might make me a bit of a fake fan or whatever but here we are.

This track is very different to anything on Saturation in my opinion, we see a different side to Ameer, whilst he is still speaking on drugs, it is different to his more aggressive verses on there, we see a more laid back style, with guitar elements and a beat that reminds me of work from Tyler, the Creator’s Flower Boy album, or some of Rex Orange County’s tracks. The song is about Vann’s personal experience with drug use, and his dependency on them, which is also a different topic to what he raps about on Saturation, which is more about his experience selling drugs. We also have a feature from Joba (@jobaisreal), a member of Brockhampton who is known for his more eccentric verses, such as the song on Saturation II, Sweet. In this song he provides some laid back experimental vocals the end of the track when the beat changes to be slightly more upbeat.

Overall this song was very enjoyable to me, and was a nice change of pace to what we usually expect from the group. I definitely recommend the track to anyone that likes Brockhampton or Tyler, the Creator.

SAM - @samjamesbentley

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ONLY REAL

I discovered Only Real’s music a few months ago, listening to ‘Jerk’ constantly on bus journeys. Being the second song on ‘Jerk At The End Of The Line’, we get a great feel on what this album is, some weirdly amazing lo-fi Beach Boys-Rap hybrid… and it’s GREAT. The whimsical guitar melodies alongside the catchy chorus are sure to get your hips and lips moving. Looking for a summer anthem? Add this to your list. The song itself is a ray of sunshine, with a feeling of a cold beer and hazy days. Only Real has no problem incorporating odd but brilliant vocals in his songs, such as the groan-like noises at the end of this song, and many more where that came from throughout the rest of the album.

‘Jerk’ is followed by ‘Yesterdays’, yet another upbeat summer song.

Then we get to the heart of the album, with notable songs such as ‘Break It Off’, ‘Can’t Get Happy’, and ‘Backseat Kissers.’

‘Break It Off’ and ‘Can’t Get Happy’ have the type of meaning that you’d imagine yourself having a quarter-life crisis to, but somehow Niall Galvin’s composition and songwriting manages to take those dark topics, heartbreak and lethargy,  and turn them into funky and beautiful tunes that are GREAT shared with friends, a crate, and a proper good BBQ. Also, we can’t talk about ‘Can’t Get Happy’ and NOT talk about its music video, a constant headshot of Niall accompanied by 90’s-styled cartoons and pests swirling around his head and annoying him, like that feeling we just can’t shake, followed by Niall turning into one of those too-happy cartoons, which in all honestly looks just a bit like the start of a bad trip. You could watch the music video with no audio and know exactly what the feel the sound would give us - bright, colourful and slightly weird.

‘Backseat Kissers’ is a song I WISH I had last summer, a song about not sitting back and letting your life pass you by. Listening to it makes me feel like a rebellious teen in love, and I LOVE it.

Ending the album is ‘When This Begins’, a slightly sadder song about time moving so fast, a realisation many people have at Niall’s ripe age at the time of 21. This melancholic song is a good end of the album, condensing most of the albums themes into one song.

Overall, this album exceeds brilliant. Although I’m late to the party (2015 release), I still think this album needs way more recognition - hybrid genres need way more hype. I credit Niall for his ability to take two different genres and mix them together with a blend of other genre-spices, bake it at 350 degrees and serve 42,000 monthly listeners the most delicious album we’ve ever seen.

LEIGH-ANN - @leighannwithers

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