GLASTONBURY EMERGING TALENT COMPETITION

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Let’s cut to the case: of course you want to play at Glastonbury Festival. It’s Glastonbury Festival. You want to play there because you are a human being with eyes, a heart and a brain.

So: enter the Glastonbury Emerging Talent Competition now. Go on. You only have a few days left, so hop to it, sunshine.

Entering it gives you not only the chance to play at Glastonbury, but a big hefty wedge of #cash #money via the PRS for Music Foundation Talent Development prize.

Also, I’m one of the judges, so if you enter a song with a pun in the title and/or a reference to 90s pop-house chart hits, you’re in with a chance.

It’s given a hefty leg-up to some of the best bands about, too: old ANBAD faves Bridie Jackson and the Arbour were hugely deserved winners a couple of years ago.

 

Glastonbury’s Emily Eavis regards the Emerging Talent competition as a hugely important part of Glastonbury’s remit, saying: “The Emerging Talent Competition is always an incredible way for us to find fresh talent from across the musical spectrum.

In fact, eight of the acts that entered in 2014 ended up with slots at Glastonbury 2014. I can’t wait to hear who we discover this year.”

Hey, what more encouragement do you need? Enter here, the deadline is Monday the 26th January!

ERIKA GLÜCK

 

I guess I’ve written endlessly about my listening habits skewing towards music produced in the most basic of fashions.

My drive for Simple Music Done Dirt Cheap™ has accelerated at about the same pace as the general adoption of laptop DAWs as the primary music making resource. There’s just so much going in in music that doesn’t need to be there.

This life-affirming video of A Guy Called Gerald fiddling with analogue boxes in his studio and creating – off-the-cuff, on-the-fly – some huge tunes, cemented my point of view.

Anyway, Erika Glück’s Caress is a seven minute, simple-as-possible workout: all thump, no flimflam. It’s a song to get lost in; a terrific, meditative reminder that simple isn’t scary.

Iggy and Jerry: Outside The Lines, For Real

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The last time I saw Iggy Pop live, he was performing with the reformed Stooges at Glastonbury festival. Halfway through the (great) set, he suddenly implored the crowd to invade the stage and jump up and down with him.

The crowd did exactly as he asked, and the gig continued whilst hundreds of people jumped up and down on stage with Iggy.

Then he asked them to leave the stage. They did not do exactly as he asked, and kept on jumping around.

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In an era of faux-authenticity, watching Iggy’s genuine encouragement of rebellion was refreshing. I guess this is why Sailor Jerry has used Iggy and The Stooges’ classic “TV Eye” to soundtrack their new Outside The Lines film, which celebrates living a life less ordinary — the ethos of Sailor Jerry.

Tattooist Norman ‘Sailor Jerry’ Collins — the man the rum is named after — was also a rebellious, independent spirit, and the new Sailor Jerry video is appropriately stuffed with archive footage of like-minded outsiders. It’s a blur of saturated colours, spinning wheels and a reminder that life is worth living without regrets, all to the raucous noise of “TV Eye”.

Iggy’s also collaborated with Sailor Jerry to create an exclusive range of clothing-’The Flash Collection’.The theme of The Flash Collection by Iggy Pop is probably best exemplified by its denim vest with the words “Death Shall Triumph” in three-inch high lettering emblazoned on the back: over-the-top and to hell with the consequences.

Visit the Sailor Jerry site to watch the Outside The Lines film, and an exclusive video with Iggy Pop himself — or check out their Facebook , Twitter and Instagram for more Iggy Pop/Sailor Jerry shenanigans.

BRUTISH C POWERS

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The temptation to plump for a British Sea Powers headline pun was too hard to resist. I am but a flawed individual, forgive me.

C Powers is also known as CC Powers and is quite possibly releasing stuff under a plethora of pseudonyms for all I know, but in an age of meta-nom-de-plumes, who cares?

Anyway, Shit Remix is, indeed, a remix of Shit by Future, and is so overwhelmingly more fun than the original, there’s no need to listen to it any more, should you have been inclined.

It’s also a reminder of the power of simplicity: this remix doesn’t add or remove much at all: C Powers just sticks in the bits that always needed to be there.

ATTIC SPACE: ATIC ATAC

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Here are the tags that accompany Attic Space‘s music:

ambient chillwave christian drone electronic experimental Millersville

Thought: Maybe Ambient Christian Chillwave is a sub-genre I can fully buy into, for once.

Anyway. Attic Space‘s music is right up my street, as it’s pieced together out of nibbles of this, kibbles of that, and big swathes of the other.


My main attraction to this kind of music is that it’s usually the vision of a solo performer: this doesn’t mean it’s automatically any good, but it does mean that the music is unsullied by outsiders, or surly drummers, or what-have-you.

Spring Tides is, however, very good: Attic Space has assembled a true collage of lo-fi sounds and made a song of quiet, odd beauty.

Most lo-fi anything is tripe; this is good, simply because I get the feeling it’s lo-fi out of necessity, as opposed to some dreary attempt at nostalgist revivalism.

So when the drums sound a bit like a cardboard box being hit by a wooden spoon – it really probably was exactly that, and was done so because there were no actual drums to hand. I like that a lot.

PS: For those of you who didn’t get the Atic Atac reference

KRISTA PAPISTA: THEY DON’T MAKE ‘EM LIKE THEY USED TO

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There’s something about Krista Papista’s rough ‘n’ ready, cut ‘n’ paste, chop ‘n’ change pop that is deeply satisfying, deeply jarring and deeply un-now.

By being all those things, Bad F is also 100% now. And yet it sounds like daring music of the past. Argh.

There’s something in the attitude, the delivery, the lyrics and the snarl that bypasses the tedium of Tumblr-first Image-House™ music and drags her songs straight up to the edge.

It’s so odd to hear something even slightly out of step with the banality of most new ‘edgy’ music, that this song made me sit up in my seat. Good stuff.

I ALMOST KILLED ANBAD, BUT THEN DIDN’T

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You’ve possibly noticed that I don’t blog every day any more. (The smart-arses amongst you will note that I never have done.)

It’s not the end, merely a lobotomy. Here’s why: terelinck.com/why-i-almost-killed-my-music-blog

There will still be new bands on here. Just not as many. But that’s the point :)

Here’s to the next six years of ANBAD!

Abraços, Joe x

ILL

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Well, this is like being punched in the face by brilliantly carefree fury. Smart, fun and more interesting than a million bands with a “∆” in their name.

 

SLEAFORD MODS; I DON’T CARE THAT THEY’RE NOT ‘NEW’ AND THAT I’VE MISSED THE BOAT A BIT: THEY’RE AMAZING

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Sleaford Mods are simply the best band in the UK at the moment, in my extremely humble opinion.

“Big up the riots!”

They’ve been around for a while, and I missed the boat, although I remember hearing one of their songs last year about austerity and loved it, and then somehow forgot about it.

It’s hard for me not to wax lyrical too much about this band. Everything is wonderful: the basic loops of sound, the angry, vicious lupine-howl #issues - but actually, it’s hard to look past the astonishing delivery of frontman Jason Williamson.


 

He’s brilliant. Just watch this video of them gigging on the street outside Rough Trade. He starts by getting into a fight with a weirdo, shouting “Come on then!” as he’s led away, and then doing the most electrifyingly spasmodic performance you could imagine.

Really, when was the last time you saw a band as believable as this?

CALUMMA AMBER; VOWELS AND CONSONANTS

 

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Well, what are your initial reactions to a song titled Lielielielielielielielow?

Mine – which were, “hmm, this is probably going to be either heinous or excellent” – were compounded by the first few, odd, ephemeral bars.

And then it became clear that Calumma Amber‘s song met the latter expectation.

Lielielielielielielielow is the kind of song Kate Bush has been making at home for the last twenty years, but has never dared release. It’s almost all vowels, with no clear lyrical points of reference to cling onto.

Instead, much like David Lynch’s Mulholland Drive, we’re subtly encouraged to look beyond prosaic things like words and notes, and to connect to something much less tangible: feelings, emotions and the base meaning of sound itself.

Whoah. But it’s really brilliant and dashing. Trust me.