New Music // Goat – ‘It’s Time For Fun’



Swedish ‘world music’ band Goat have premiered their new track ‘Time For Fun.’

The track was recorded in New York in the winter months following the release of their second album ‘Commune’ which brought with it a ton of worldwide tour dates and big festival slots. The band felt that New York was a fitting location to record the track as there’s an ESG inspiration behind it as well as a dissonant, ’80s No Wave feel to it. It contains plenty of percussion that gives it a tribal feel which is typical of Goat but there’s also a driving, minimal drum machine beat that gives it a lo-fi sound. This track’s moved away from the huge psychedelic sounds present on their previous two albums and into fresh, new territory for them. It will be interesting to see what the B side, ‘Relax’ brings.

‘It’s Time for Fun’ will be released on the 7th August on Rocket Recordings. Listen to it below:



Catch Goat live at the following festivals:


01 Näsåker/Sweden – Urkult Festival
21 Hasselt/Belguim – Pukkelpop Festival
22 Wales/UK – Green Man Festival
28 – 29 La Tour-de-Peilz/Switzerland – Nox Orae Festival

17 Greece/Athens – Gagarin Festival


Words: Katie Wilkinson 

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Review // Wolf Alice – ‘My Love Is Cool’

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It’s here! We all made it! We all lived to see the day when a Wolf Alice album was dragged into the world; screaming along to the refrain of ‘Fluffy’. Yes, ‘My Love Is Cool’ is here to test the resolve of one of the best live bands to emerge from Britain in decades.

Frontwoman Ellie Rowsell may not come across as indebted to the subtle work of Mazzy Star, but look beyond the similar title of ‘Turn To Dust’ and it’s clear that Wolf Alice want the world to know that they do more than just thrash guitars in basement indie venues. There’s depths here that so far the band have neglected to let the world in to discover. Rejoice in them letting you get your David Attenborough on and lose yourself to the discovery of their deep and dark emotional souls.

‘Bros’ means a lot of things to a lot of people. Live, it’s a coming of age ballad for a generation that grew up knowing more about Twitter than Jamie T. So to have risked the spirit of such an integral track with a glossy studio cut always ran the risk of not paying off. Sadly, it’s not always possible to tame a beast as ferocious as the original ‘Bros’ we all know and love. Opting instead for a vocal that is much too reigned in to carry any impact, and drums that lack the live punch and pizazz of the incredible Joel Amey.

The task of wrestling an astonishingly unapologetic live band like Wolf Alice into studio shape was never going to be an easy task. Thankfully, ‘Bros’ is an unwelcome anomaly and ‘Your Loves Whore’ is as Hole-y as the title might suggest. Hesitant to label tracks as ‘personal favourites’ it’s hard to stick to conviction when you’re stood in at The Park stage of Glastonbury losing yourself alongside two thousand other people all equally lost in the light that this track brings to the world.

It gets harder and harder to not start a solo moshpit in your room when ‘You’re A Germ’ is pumping out of your speakers at full volume. If you listen intently, you can hear the riff of Pulp’s ‘Common People’ making an appearance propelling this to a certified anthem.

Taking nearly a minute to begin brooding through speakers, ‘Silk’ sees Rowsell at her angriest, ready to behead the next person that crosses her. The slight picking of guitar by Joff Oddie marries together with Theo Ellis’ bass, to create a passive aggressive bodyslam of attitude, right into your ear-drums. ‘Freazy’ follows on in similar style, with the exception that it brings together both the Mazzy Star-like opening style and the more Courtney Love tinged sides to this young London band.

‘Giant Peach’ marked the bands shift from purely live band with scattered EP releases, to a fully fledged studio band that even people in suits wanted to get down to. It’s gritty and girly at the same time, highlighting the female form as a powerhouse that is not to be messed with. You try and put Wolf Alice in a cage, and they’re going to rip it to shreds in front of your eyes all the while maintaining a happy glint in their eyes. It’s easy to underestimate a band that has been on the buzz radar for a few years now, but this is not your run of the mill indie band, Wolf Alice are a pack of lions and guess what? They’re real hungry for the blood of naysayers.

There’s ways to stand up, be counted and take no prisoners. You can be a dick about it like the ill-fated and unloved Viva Brother, or you can channel the disenchanted rage of a generation and lift it high into the psyche of the nation – which is what Wolf Alice have grabbed with both hands. My love for Wolf Alice is pretty damn cool.


Words:  Rachael Scarsbrook

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News // Peaches announces new album ‘Rub’


Electro-punk act, Peaches has announced the release of her forthcoming album ‘Rub’, which was recorded in LA with Vice Cooler last year.

The album features cameos from Feist and Kim Gordon, who revealed this on Marc Maron’s podcast earlier this year.

Before the album though, Peaches will release her new book ‘What Else Is In The Teaches Of Peaches’ which is a collection of photos put together with the help of Holgar Talinski which documents her work over the past decade. This work includes album tours, her futuristic rock opera ‘Peaches Christ Superstar’ and collaborations with Le Tigre, R.E.M. and Yoko Ono.

You can listen to Peaches’ new single ‘Light In Places’ below which also features Empress Stah doing some impressive ariel tricks. The track itself has a hook of “I’ve got light in places, you didn’t know it could shine” and also the lyrics “I’ve got so much beauty coming out of my ass.” It’s quite possibly set to be everyone’s favourite feminist dance floor filler of the summer.



Words: Katie Wilkinson 

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Video // Many Things – ‘Burn Together’

many things

London (via Brisbane) based indie pop band, Many Things have released the video for their new single ‘Burn Together.’

The track itself is of a similar uplifting vibe to previous single ‘Holy Fire’ with keys and synths leading Michael Tomlinson’s vocals to a dazzling crescendo. If you’re looking for a strong pop chorus, then you came to the right place.

The video features a trans artist dancing around East London streets in the darkness lip syncing to the track.

Watch the video below:

Words: Katie Wilkinson 

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Review // Fucked Up – ‘Year of the Hare’

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Toronto punk band Fucked Up released their new EP ‘Year Of The Hare’ this week on Matador records.

The EP only consists of two tracks, one of which is the title track and clocks in at 22 minutes long. It’s an experimental live recording featuring everything from acoustic guitar, an out of tune piano and noisy distorted guitar.

The track is weaved together through a series of field recordings, including footsteps which we presume are those of the person walking from the acoustic guitar to the piano. It’s not until nearly seven minutes in that we’re greeted with Damien ‘Pink Eyes’ Abraham’s distinctive punk screams as musically it begins to take a progressive rock fork in its chaotic road.

Things calm down half way through as the pace slows after an aggressive outburst and we hear Isla Craig’s sultry vocals for the first time. Inevitably, this doesn’t last long and we’re laden with more punk rock drama.

The other track ‘California Cold’ is eight minutes long and differs again from everything on the EP’s titled track. It’s an epic psychedelic, woodwind filled trip with a “what the fucked just happened?” factor and a great way to end this bizarre and beautiful EP.

‘Year of The Hare’ is a unique and exciting release from Fucked Up which reminds you of how unoriginal bands can be in the format that they release records. Fucked Up aren’t about releasing radio friendly singles or pleasing the mainstream. They’re about creating an enthralling piece of music that the listener actually has to listen to properly.

Watch the video for ‘Year of the Hare’ below.




Words: Katie Wilkinson

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Review // Alessandro Cortini – ‘La Sveglia’


Nine Inch Nails synth player, Alessandro Cortini has shared a surprisingly ambient track from his forthcoming debut solo album, ‘Risveglio.’

‘La Sveglia’ strays away from anything too sharp or industrial sounding and gently steers the listener down a smooth, drone filled avenue.

The theme of this track is repetition, a topic which according to Cortini is one that he’ll never tire of as it is “bound to leave a mark on the listener.” Sequencers are heavily present and whilst there’s never a real climax, the intensity is within the hypnotic affects of the repetition.

Listen to ‘La Sveglia’ below.



Words: Katie Wilkinson 

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Review // Is Tropical – ‘Say’



“Watch in the dark on full screen for full effect,” comes the orders from the band themselves regarding their new video. Is Tropical released ‘Crawl/On My Way’, the first installment of Black Anything in December 2014, and now the second, ‘Cruise Control/ Say’.

The video may look DIY, and that’s because it is. While they were filming an acoustic session for Rolling Stone, they took advantage of the green screen room and filmed one take with Kirstie in front of the camera.

The video begins with palm trees behind her, which seem a bit out of place as they quickly change to show trippy, kaleidoscopic patterns for the remainder. The psychedelic visuals are accompanied with the lyrics to the song in neon green across the middle of the screen, adding to the home-made feel. ‘Say’ itself “is a story of two hopeless misfits that don’t fit anyone else and don’t want to. It’s a song for the time they fall apart and get lost” and the reasoning behind adding a ‘visual trip’ is “an attempt of hypnotizing the viewer into saying they are also lonely.” Lovely.

Watch the video for ‘Say’ below:



Words: Emily Casey 

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Review // Kagoule – ‘Glue’

kagoule by elmore

Photo by Elmore


Young Nottingham 3 piece Kagoule have built up quite a following for themselves over the past year with support coming from the likes of Tigercub and Theo Verney whom they’ve played with several times.

‘Glue’ has been a live favourite for quite a while now. It’s a track that totally sums up the Kagoule sound: jagged but melodic in terms of vocal melodies yet reasonably heavy throughout. There are rad bass riffs mixed with Dinosaur Jr. inspired guitar lines that create a beautiful bond. The lead vocals come from guitarist Cai Burns on this one, with some lovely harmonies to compliment them courtesy of bassist Lucy Hatter.

The track comes from the band’s debut album Urth which is set for release in August on Earache Records. With Kagoule’s track record of releasing only killer punk rock songs such as ‘Glue’,  I am only filled with confidence that their debut LP is going to be one of the best rock albums of this year.



Words: Katie Wilkinson 

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Review // HEALTH – ‘Stonefist’


About a month ago the LA based electro-punk noise makers released ‘New Coke’, the first track from their forthcoming third album ‘Death Magic.’ It was a a mind blowing, intense and industrial smack in the face.

Their next single ‘Stonefist’ also has all of these qualities yet, differs in the delivery of them. Where, ‘New Coke’ quietens and pauses throughout before delivering yet another sonic punch line, the noise in ‘Stonefist’ is a constant presence. The vocals are far less distorted which gives it more of a pop edge (but only a slight one of course) and there’s even a sort of chorus/vocal hook of “love’s not in our hearts.”

There is still drama as the track twists and turns and we’re greeted with various instrumental break downs but it this track’s a smoother, hypnotic ride than what we’re used to from HEALTH. It is still an absolute blinder of a track though. They’re also renowned for their light / strobe happy, energetic live shows and are touring Death Magic currently which I would completely recommend it!



Words: Katie Wilkinson 

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Review // J Mascis & Kim Gordon – ‘Slow Boy’

kim and j

Sonic Youth’s Kim Gordon and Dinosaur Jr.’s J Mascis have teamed up and created a track called ‘Slow Boy’ for the forthcoming volume of Converse’s CONS EP series.

Inevitably awash with feedback (presumably from Kim Gordon) before launching into a distinctive slacker rock guitar line from J Mascis, this track merges the two slightly different late ’80s / early ’90s guitar sounds to create something extremely interesting and disruptive.

Gordon’s singing enhances the chaos with its original aggressive, snarly tone to match her equally as gnarly distorted guitar as well as there being a real lack of chorus. This lack of chorus is a great thing – if this song had an simple structure, I’d be sorely disappointed. Although this song clocks in at 3 minutes and 14 seconds, it has the impact and intensity of a punk rock song half of its length.



Words: Katie Wilkinson 

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Review // Girlpool – ‘Before The World Was Big’



Throwing blanket assumptions onto bands are always something that can irk and irritate bands and fans alike. But good golly am I about to envelop Girlpool, in an Ikea double duvet sized set of LOVE. This Wichita released debut album ‘Before The World Was Big’ from LA kickabouts Cleo Tucker and Harmony Tividad captures life through a fishbowl camera lense with soft lighting.

The key theme underpinning BTWWB is relativity. The lyrics on opener ‘Ideal World’ befit life in LA just as much as it would here in the somewhat colder city of London. Over an incredibly simple melody, we get an insight into the mind of Girlpool, “I thought I found myself today/no one noticed/things are ok”. Late teenagerdom and early adult are so fraught with daily existential crises and personal discovery that it can be a thoroughly exhausting experience, but when set to music, somehow everything feels like an episode of The OC.

It feels a tad nosy listening to ‘Dear Nora’, as if the collective Girlpool diary has been left out unintentionally. This track would be what you would find, set in page after page of hand-scrawled ink, documenting life as it happens. The redution in tempo echoes the slow ebbing away of self-confidence that comes with young womanhood. Whilst not outrightly preaching a message of self-love, BTWWB is instead a supportive hand for you to hold in moments of self-doubt.

‘Crowded Stranger’ is the jewel in the Girlpool crown, the addition of reverb and an extra guitar give the vocals the platform they need to deliver the OOMPH WHAM BAM moment every cracking album deserves. There are such sublte yet powerful messages embedded and dotted throughout BTWWB and here the gloomy “everybody always makes me feel the same” idea calls in to question the idea we are fed as young women that our knight in shining armour is forever on the horizon. Well I am here to tell you that 1. Screw the knight in shining armour, be your own bae. and 2. That even if you think you’re not doing great, you really are, and me and Girlpool are here as your own personal cheer-squad so don’t text that person back, do take that killer selfie and do wear that outfit if it makes you feel cute and adorable.

Following on from that, we get to the sombre ‘Pretty’ which if it had an alternative title would be called ‘The Perks Of Being Needy’. Affection is great, get it when you crave it. ‘Pretty’ and follow-up ‘Emily’ signal that the record is drawing to a close. Tucker and Tividad harmonise together in a true sisterhood style, their twin spirits lifting one another up and above the grungey Seattle guitars that they weave so well.

The power of Girlpool is such that by the time closer ‘I Like That You Can’ trails away before your eyes, everything feels like it is going to be ok. Speaking about the process behind writing the album, Cleo and Harmony told of how their goal for the record was merely to get people to feel empowered. About what? They don’t mind, as long as you have fun doing it and the consistency of this message across the ten track chronicle is a little soul-saving. Sometimes we all need to be told that it’s all going to be ok. Before The World Was Big is that voice.





Words: Rachael Scarsbrook 

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Interview // Arcadia

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I caught up with Arcadia who in September 2015, will be unleashing their metallic arachnid creation in Bristol for a huge Arcadia party. 


When did your obsession with industrial materials start?
We’ve always been very focused on creative recycling, especially of military equipment which had originally been purposed for a very specific use. A key inspiration was the idea of transforming not only the form and function of the materials we work with, but what they represent. Reshaping military machinery into celebratory structures designed for people to dance around felt like a really important foundation to what we do.


Have you always been into electronic music too? 
Electronic music and dance culture have always been important to us, although when we debuted our very first sculpture for Glastonbury, the music wasn’t a core element yet. Right up until Eat Static came up to us and asked us if they could play, and the next thing we knew, a cable had been dug to a neighbouring sound system and the spark was lit. Music has played a vital role in the immersive experiences we seek to create ever since.


Was your intention always to bring the Arcadia spider to Glastonbury? Were you commissioned to do it? 
Glastonbury’s support has been integral to Arcadia’s development. We originally built our first structure, the Afterburner for Glastonbury in 2008 and from then, with our ideas and their support, we grew from there. The Spider actually began life as an evolution of the Afterburner once we found the Customs and Excise scanning units that would be the ‘legs’ and from then we refined them both into separate sculptures.


Are the recycled materials used supposed to replica the way in which electronic artist recycle and transform music? 
It’s a very interesting echo – but we were far more motivated to try and be conscious as an organisation of just what can be done with what the world discards – especially those objects that we felt had a real symbolic strength by their repurposing. We also love the process in which something that you would never imagine as an eye, an arm or a leg can be made to work perfectly with a bit of lateral thinking – it keeps the creative momentum lively and interesting.


Do you get any say in the artists that get booked for Arcadia? 
We book all artists ourselves – we take immense care and pride in our lineups and how they individually shape the feel of the full Arcadia experience.


Do you find it hard to keep your mouth shut when you know who the ‘secret’ guests are?
Only when people really want to know and keep messaging us – but it’s generally for a behind the scenes reason beyond manufactured hype.


Who’s playing Arcadia this year or are you not allowed to say?
We released our Glastonbury lineup a few days ago – we feel it’s got great diversity, some incredible artists and we’re really looking forward to it – people like Adam Beyer, Spor, Pan-Pot, Maceo Plex, Skream, Booka Shade, DC Breaks, Annie Mac, Groove Armada, Swamp 81, The Bug, Congo Natty.
The Bristol lineup is still in progress and should be out after Glastonbury.


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Tell us more about Arcadiacoming to Bristol. ‘Metamorphosis’ sounds pretty epic!
We’re really proud and very honoured to be performing in our home town and to be a part of Bristol’s year as Green Capital. Bristol has played a seminal role in our development alongside Glastonbury and we’ve had incredible support from across the community and the council.  The event is in Queen Square, a historic Georgian landmark in the centre of town and we’re hoping to make it a celebration both of the city and of ideas around waste, recycling and how they can be powerful sources of celebration and unity as well as conscious thinking. We’re really looking forward to seeing Arcadia come alive within such a new and yet such a familiar context. Metamorphosis is also the name of our new performance show this year.


Do you make anything else apart from giant spiders? 
Oh absolutely, we have everything from 6 wheeled amphibious bugs with wings that open to reveal a fully rigged stage and DJ booth, to the 360 degree Afterburner stage.


What are your plans once Glastonbury / Metamorphosis are over?
We plan to continue doing more overseas shows, evolving what we do and exploring new ideas and new horizons.


Words: Katie Wilkinson 

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