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Physical Format-20190313

  • Published in Columns
We've reached September 2017 in this retroactive exercise of reviewing the Flying Vinyl singles I've had gathering dust. So far four out of ten have been either listed for sale on Discogs or failed to sell for 50p at a flea market & thence gone up on display in my kitchen window. What fate awaits the next five?
 
Alvvays get a fetching transparent orange for their disc of 'In Undertow' and 'Dreams Tonite'. The A side must be one of the more memorable releases in the Flying Vinyl canon, getting a fair bit of airplay on 6 Music three years after they caught people's attention with 'Archie, Marry Me'. Enough for me to recognise it all these months later anyway & it's certainly not unpleasant to hear it again. 'Dreams Tonite' is a slower, dreamier song than 'In Undertow' & so fine as a B side. A nice pairing on the whole. I thought they'd shot their bolt with 'Archie' but they've probably a few years left in them although their website shows no activity since last summer. 
 
Transparent pink is the order of the day for London trio Calva Louise. 'I'm Gonna Do Well' races along nicely in a surf-pop vein - good riffage, quirky synth parts and some top notch screaming. So enjoyable in fact that I'm going to turn up the volume and play it again. B side 'Getting Closer' begins in more ponderous fashion but the guitar thrashes early on hold promise & sure enough we get some epic screaming not that long intp the song. This is probably my favourite disc of the three months I've so far written up. Their Facebook shows them to be on tour in the UK at the moment, in support of LP Rhinoceros.
 
Francobollo hail from Sweden. 'Future Lover' sounds like Pavement at their heaviest, which is no bad thing. As it progresses though Weezer at their roughest come to mind and after that point they've lost me. Being very quiet, like Elmer Fudd, just so you can then be VERY LOUD is pretty dull on the whole. I can't imagine this coming over at all well live. B side 'Finally' is acoustic, something I fail to see the point of when the tune was obviously written to be played electrically. Discogs reckons I could possibly get £8.70 for it so listed it is. From a look elsewhere online it seems the band have been quiet since summer 2017.
 
Geowulf get no points for their name. Boy/girl duos are ten-a-penny & this pair sound no different from the likes of Joy Zipper (who I'd forgotten about until going through 7"s to donate the other day. Hung on to theirs for now though) etc. 'Saltwater' is decent enough pop, particularly the instrumental break midway through, whilst B side 'Drink Too Much' is also equally pleasant in recounting how Star Kendrick is apparently a bit of a handful when she has a skinful. It may not of course be autobiographical. Hedging my bets here as I'm keeping it but also listing it, seeing as double figures are a possibility and it has a decent sales history. The pair are active this week at the SXSW love-in so clearly still a viable outfit.
 
Last up this time around, appropriately you could say, comes Turtle. Typically for Flying Vinyl, at least at this point in its history, the tracks on here ('Calculate' and 'Blood Type') are listed in the opposite order on the sleeve but then described as A & B respectively in the box's accompanying booklet. Whichever is which both are good slices of electronic music at the darker (but still tuneful) end of the spectrum. After finishing this piece I'll be seeking out the Turtle album, Human. 2017 also seems to be the last time that Turtle produced anything.
 
 
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Festival Coverage: End Of The Road 2015

  • Published in Live

In celebrating its 10th birthday, End Of The Road remains a unique and brilliant fixture of the UK festival calendar. Housed in the exquisite settings of one-time Victorian Pleasure Gardens, EOTR has grown in recent years, but refuses to part with any of its charm. There’s a relaxed and welcoming atmosphere, but they are deadly serious about their packed and diverse line up, which showcases huge names and those in the making.

Among the free-roaming peacocks, the festival is also packed with comedy, fantastic art installations, a Forest Disco and perfect little touches. (How does a surprise performance from Laura Marling on a tiny, hidden Piano stage sound?)

In an increasingly busy festival calendar, End Of The Road stands out from the crowd, and you can see it in the enjoyment of the performers. You’ll see many of them wandering around the site before and after their sets, and there’s no wondering why.

On Friday afternoon there were captivating sets from the Race Horses’ Meilyr Jones; moody Canadian outfit Ought; the fantastically raw Torres; upbeat art-pop act Django Django and the wacky King Khan & BBQ Show (complete with gold cape and black leather pants).

But Friday belonged to Tame Impala, who headlined The Woods stage with a commanding and mesmerising set. They flowed through earlier, guitar-led material and the more disco-focused Currents. Opening track ‘Let It Happen’ pinned their colours to the mast for a dazzlingly trippy set, and when the stomping favourite ‘Elephant’ started, the festival really felt underway.

The night was capped off by East India Youth, who performed a spellbinding electro-pop set in the Big Top Tent.

Saturday began with the colourful Human Pyramids, who performed a wonderful, orchestral show. With a stage literally full of musicians, it was the perfect wake up call, complete with uplifting string arrangements, clever melodies and startling drums.

Following this came The Duke Spirit, Slow Club, whose impact was lost slightly on a larger stage, distinctive LA two-piece Girlpool and the abrasively rocky Ex Hex. All this preceded the explosive Fat White Family, who tore the Big Top Tent apart.

As the highlight of the entire weekend, special praise must be reserved for Sufjan Stevens. Making his first UK festival appearance, Stevens played one of the most astounding sets you are ever likely to witness at a festival, during which you could hear a pin drop.

To stun a festival crowd into silence on a Saturday night is no mean feat, but in brisk September conditions the real chill comes from the wonderfully bleak compositions of Carrie And Lowell. ‘The Fourth Of July’s’ refrain “We’re all gonna die” is one you would expect to be a bit too drab for this crowd, but it’s absolutely spectacular. After sharing a hand-written letter he had received from the organisers some 8 years earlier, requesting he played, it was more special for the wait. Then when things got a little too solemn, Stevens would react appropriately, playing feel-good tunes like ‘Chicago’ and ‘Come On! Feel the Illinoise!’ complete with a brass backing band.

Following Saturday’s chill, Sunday was gloriously warm. We are welcomed by indie darlings Hinds, who had clearly brought some Spanish sun. In turn, the inhabitants of the Big Top tent groove to the tunes of Ultimate Painting and Happyness, who bring a dreamy slice of '90s-inspired rock. Later Alvvays brought their sugary indie pop to the sun soaked main stage.

Mac DeMarco offers a 10th birthday cake for the festival, alongside a slick set on the Garden Stage. “I’m going to cuddle up to a peacock and ruffle a few feathers, if you know what I’m saying”, a spaced-out DeMarco announces, in his best bloke-in-a-porno impression. Towards the end of his set, Mac leaps into the crowd, but “straight to the ground as always.” Meanwhile his band-mates, who have personalities and talent as immense as his, chuck their guitars to and fro, amidst impressive solos.

The grandiose sound of The War On Drugs, driven by Dylan and Springsteen’s influences, is chosen to call an end to the festival. Like so many others they show a genuine pleasure to be playing, saying the only other time they’d been asked, they simply couldn’t afford the flights. Now as a major player, they’ve found their place and give an impressive show, showcasing 2014’s astounding Lost In The Dream, for the festival’s final hurrah.

End Of The Road’s 10th birthday celebration was, as expected, a huge success. The intimate but expansive gathering is a family-friendly treat and a musical highlight of the year. The sound on each stage is incredible, and most importantly unlike other festivals, the 4 stages are close enough that you’re only ever be a few minutes’ walk between each (via a bar with short queues), meaning you can really focus on enjoying some great music, in an idyllic setting. Here’s to another 10 years.

 

 

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