Outside This Picture

I love this man, was an exceptional gig and got some great shots. Johnny Marr live review for The Linc. 

For a band that mean so much to me, my feature about Crystal Castles: it's over for now. 

Interview and Live Review

Eagulls @ Southampton's Lennons. Live Review and Interview, 15th October

2014
BY OSCAR NICHOLAS

"We don't really have influences, we try not to get influenced by anything. We want the music to be our own.” This is what George Mitchell of Eagulls told me in the basement of Southampton’s Lennon’s whilst eating cut up carrots. 

I arrived at the venue in the pouring rain, as the band were doing sound checks. George had a plastic bag on his head and they played Tough Luck with the supporting act Bad Breeding watching.

Southampton was the seventh date of Eagulls’ first headline tour. “We like to think of ourselves as a live band” explained George, “we’ll be playing a new song tonight, it’s untitled. We like to play a track live before we name it.” 

Before the show George and Eagulls’ drummer Henry Ruddler duck taped two milk crates to a wooden stool along with a projector and DVD player. During the show this lit up the stage with black and white images of soldiers marching.

They have a raw feel to them which is emphasised by their make shift lighting system. “We don't use a set list”, George mentioned in a discussion about their performances. Henery interputed the discussion “I am the set list”. They have simple methods to create their chaotic sound and performances. For example mid show guitarist Mark Goldsworthy used a hand held fan to tremolo his strings. 

The set was a hectic. There were no barriers and if there were they said they would tare them down. They started with Nerve Endings, from their debut, self-titled album. The stage was small and the mixture of Eagulls’ punk style and abstract lighting created juxtaposition between how they presented themselves and the brutal sound. George’s vocals howled, cracked and blended with the reverbed fuzz of guitars. 

The band were on top form. George was bent over with his elbow in the air and mic to mouth as he sung. They continued and played tracks from their debut LP such as Hollow Visions, Opaque and Amber Veins. In the punk style the set was reassembly short. They played for just over an hour finishing with Possessed. The song was elongated and shouts of “I’m, possessed” resonated through the venue. When their set was over they just walked off stage into the crowd.

“Guitar music is always going to be there, people always go back to it how can it be dead?” 

“Guitar music is always going to be there, people always go back to it. How can it be dead?” - George Mitchell

Review 11

THOM YORKE - TOMORROW'S MODERN BOXES

2014

BY OSCAR NICHOLAS

Thom Yorke's new album and added IQ test have released a storm in the past weeks. Tomorrow's Modern Boxes is without doubt one of the biggest releases of 2014. The status that is Thom Yorke and his alternative systems for releasing music mean that everyone now knows about the album as it spreads across social media and blog posts (such as this one).

This is Yorke's first solo album since The Eraser in 2006 and first material of any form since Atoms For Peace released Amok in early 2013. Besides all the commotion behind the record it is an interesting addition to the Radiohead frontman's armoury.

In a letter written by Thom Yorke and producer Nigel Godrich, they explain "As an experiment we are using a new version of BitTorrent to distribute a new Thom Yorke record." BitTorrent bypasses the hosting costs, or "'cloud' malarky", as they put it. Weather this adds or subtracts from the album is an argument in its own right. 

As a record in itself Yorke has created something based highly on samples and synthesisers. Tomorrow's Modern Boxes appears to be just as much an experiment musically as it is through distribution. Guitars are out the window completely and electronic alternatives are embraced. Glitchy textures and ambient noises merge with Yorke's vocals to create an album that sounds like a futuristic Radiohead without all the participants, it has charm to it at points.

Tomorrow's Modern Boxes is certainly not something to throw on casually, a level of dedication is needed. Opening track A Brain In A Bottle is a key example of Yorke's use of progressing sound. Almost in a indie house style, if such a thing exists. The song comes with a music video that consists of Yorke in a white room moving about, edited in the style of a scratched DVD. So that's a bonus.

The album has a contrast to The Eraser, which had much more melody and less abstraction to it. Guess Again is the closest Tomorrow's Modern Boxes gets to a Radiohead track of any sort. Although is not easily recognisable on first listen, the track uses a piano loop from Radiohead's Pyramid Song as a foundation. 

Mid LP Yorke gives a six minute long track The Mother Load .The song is created from a selection of vocal and instrumental samples. It sounds clean and well produced, it peaks through the digression of samples and Yorke's vocals merging into a reverbed mist.

Of course it wouldn't be a Thom Yorke record without some sort of statement in there. There's No Ice (For My Drink) is supposedly a message on environmental issues, yet all I get from it is ambient sounds and obscure vocals. It is a interesting listen and Yorke create a transition of layers beautifully at points but it certainly doesn't make me want to donate to Greenepeace. The rest of the album literally blurs together, with a repetition of sounds transgressing behind the final three tracks. Nose Grows Some is the last song on the album, its a slow tempo piece with soft vocals and organ like synthesisers. 

Tomorrow's Modern Boxes is Yorke's most electronic record to date. The album however viewed is a record that has created attention. It may not be the revolution is music distribution Thom Yorke was hoping for but it's certainly getting people excited for Radiohead's next move. 

This article was also available on The Linc

Rating: 6

Exceptional Single: 2

EYEDRESS - WHEN I'M GONE FEAT. GEoRGIA

XL Recordings 2014
BY OSCAR NICHOLAS

Sometimes I go through phases, get out of the loop a bit and feel like there is noting good coming out of anywhere. I just lose touch and feel uninspired. Then something might just pop up. One song motivates you. Creates an experience. It's needed, a positive, meaningful piece of music.

Eyedress, a personal favourite of mine in the current swing of things has just released a collaboration with London based artist GEoRGIA. The track is called When I'm Gone and is the first single from Eyedress' forthcoming debut LP Astral Traveling Man. It follows very closely to the amazing Hearing Colors mixtape released earlier this year.

It's a glossy pop track with a dark tone. Reverbed vocals blend perfectly with bass and drum loops. The sinister voice of GEoRGIA starts the track with 'you're heart, you're heart' over a simple drum beat and transcends into that future rave sound thats iconic of the Filipino producer. The song is a clear evolution of Eyedress' work. His new album is set for release in spring of next year and if this track is anything to judge by it could be huge. 



Rating: 9

Review 10

SHUNKAN - HONEY, MILK AND BLOOD

ART IS HARD RECORDS 2014
BY OSCAR NICHOLAS

Shoegaze, that rough, hazy guitar sound that blends with vocal cries fuelled by an array of effect pedals. Originally coined from bands in the eighties such as My Bloody Valentine and The Jesus & Mary Chain. Motionless live performances that involved looking at their feet and pedals led to the term shoegaze, for apparent reasons.


20 year old, New Zealand based artist, Marina Sakimoto, AKA Shunkan has just released her debut EP Honey, Milk And Blood. In the spirit of shoegaze it is loaded with guitar strums running through what sounds like endless reverb. 

The opening track on the EP, Dust In Your Eyes, was initially released as a single and was Shunkan's first step onto the scene. It's a beautiful song, built from simple guitar layers under Marina's young, distorted voice. She carries the song with vocal cries and lyrics like 'feeling things just ain't fair'. Heavier drums and guitar riffs run through the chorus and emphasise the torturous love story the song appears to be based on.

Honey, Milk And Blood has a charm to it. The sound and style of the tracks might not be everyones taste but the dirty guitars mixed with passionate vocals and what can assumed to be a cello create a juxtaposition that holds its own. Tracks It's Not Your Fault and Hail progress the EP with distorted, dreamy rhythms in a beautiful contradiction of layers.

Over is the cleanest track on Honey, Milk And Blood and works as a palate cleanser. 'Couldn't you wait until I was over' is sung over a simplistic guitar and bass. However the distortion pedal is stomped back on for the final track Wash You Away. Finishing the EP in a almost simplistic Arcade Fire style. Wash You Away ends with a step back from all the haze and finishes the record with a clean guitar and vocal repetition. 

Shunkan is translated as 'in the moment' in Japanese, something all artists want to be. Honey, Milk And Blood sounds present, lo-fi music currently is holding its own revival and if Shunkan can make shoegaze in the moment again then I guess she is ahead of us all.



Rating: 8

Review 9

PROTOMARTYR - UNDER COLOR OF OFFICIAL RIGHT

HARDLY ART 2014

BY OSCAR NICHOLAS

In this revival, there will be kings and there will be peasants, Protomartyr will be among the rulers. Their latest album Under Colour Of Official Right is the indie guitar punk sound our time is craving. Lo-Fi is once again becoming high time music, much like Eagulls, Together Pangea and Skaters there is a booming appreciation for DIY. Protomartyr sound like they are making music how they want and making it passionately. The Detroit band have substance and real meaning without wasting any time.

Opening track Maidenhead starts the LP of casually, effortlessly gorgeous. Solid drums and twanged guitar layer simplistically until heavier strums crack and a glimpse of power shines through. The track sounds classy even if 'Shit Goes Up, Shit Goes Down'  is sung repetitively. 

Protomartyr's post-punk style is a crafted art, they have genuine presence and nothing sounds forced. Their latest LP is a clear progression from their debut album No Passion All Technique, it is cleaner and more mature, yet with all the same passion just implemented differently. Under Color Of Official Right has a back and forth flow that creates tension and emotion beautifully as their tracks peak.

Joe Casey’s deep and distinct vocals bellow through the LP with a post-punk and a almost Iggy feel. Under Color Of Official Right’s third track Want Remover demonstrates the bands catchy, no bullshit sound with infectious chorus transitions. Guitars and drums build and build until all is full flow and Casey howls ‘and I'm free free free from the dark’…… The tracks only downfall is that it is cut too short and your left thirsty.

The LP moves on with head nodders like Trust Me Billy and Pagans until Tarpeian Rock shows the sociological, conceptual side to the band with a Sonic Youth style spoken word lyrical foreground. Protomartyr, like many other lo-fi acts, seem to take inspiration from their environment and contempt for many of its inhabitants. ‘Greedy Bastards, rank amateur professionals, emotional cripples, gluten fascist’ start the list spoken over a simple beat and panned, distorted vocal samples. Not really the radio friendly fortune making track.

The majority of tracks on the record don't reach above two or three minutes. However the albums golden gem Come And See runs just under the four minute mark. By far one of the best records of the year so far, it has that hair raising passion reinforced by the bands heavy hitting sound that makes the repeat button addictive. 

Protomartyrs future is sure to hold more than just the miserable city inspired post-punk, yet for now it sounds fucking good. 

Rating: 8

Music To The Ears: 1

WEST COAST HOT SHOT LIST

BY OSCAR NICHOLAS

The West Coast of America, undeniably one of the greatest places in the world for surfing, hazy days, reverbed guitar and whining vocals. The style of music is a formula that I have loved for the last few years of my life and transcended my obsession with music one step further. West Coast is a genre in its own right, it can merge punk, pop, rock and even psychedelia. It doesn't even have to be from California, it just has to not give a frick and be timelessly fresh. I thought it only right to express why it is the west coast is so freaking awesome, dude (maybe I don't suit that though). Here's The Music Picture's top five West Coast acts. 

For all the artists featured and more check out this link for The Music Pictures West Coast Playlist.

TY SEGALL

1.   Top of the list has to be without a doubt, the unsung hero of the West Coast, Ty Segall (pronounced Tai, just in case you were wondering). Segall has featured in a plethora of orange county, underground bands, he has had huge influence on the scene and been solo since 2008. 

Hard hitting riffs and power house beats under his unique Californian growl make his music exceptional. A rock n'roll, surf, punk attitude sound. What pushes Segall above is the sheer amount of music he has produced. Since 2008 he has created five studio albums and one joint album with White Fence all of exceptional quality. He calls his music garage rock, but epitomises the West Coast.

FIDLAR

2. Drugs, screams, alcohol, guitars and drugs make up Fidlar. West Coast stoner punks who have song names such as Cheap Beer, Cocain, Shrooms, Crackhead Ted and The Punks Are Finally Taking Acid, they create wild shows and energetic records. The Los Angeles band formed in 2009 and have some of the best band illustration around.

Fidlar stands for a saying the band heard from local skater kids: 'F**k It Dog Life's A Risk'. Made up of 4 guys they released their debut, self titled album last January. They are now hot slots at British festivals and are currently touring with Chicago rockers The Orwells.

I was lucky enough to see them in 2012 at Reading Festival and to rub singer/guitarist Zac Carper's head in a mosh pit. I was also lucky enough to see them at The Garage, in London in Febuary 2013 and once again rub Carper's sweaty hair (favourite anecdote).

BEST COAST

3. A softer side of the West Coast brings you Best Coast. Fronted my the iconically cool Bethany Cosentino. They have reached huge success with their lo-fi style, chilled reverbed guitar and catchy vocals. Their breakthrough record, Crazy For You, lead the band to be a key contender on the festival circuit and connected them with childhood idols such as Green Day, No Doubt and Iggy Pop who they've performed and recorded with. 

Their energetic live shows and fast passed rhythms make them a perfect West Coast band. The duo formed in 2009 from Los Angeles.

WAVVES

4.Happy go luck post-punk, surf rockers Wavves formed in 2008 from sunny San Diego. Stoners with fast paced strumming and the West Coast attitude. They are refreshing to listen to, with a sound that combines indie vocals with mass amounts of reverb and awesome lyrics. 

Friends with other West Coast acts like Fidlar and No Age they have wild joint shows creating huge buzz for the West Coast scene. 

Breakthrough record King Of The Beach pushed Wavves to success in 2010 and their latest album Afraid Of Heights even landed them on Grand Theft Auto V. 

BLEEDING KNEES CLUB

5.As the only non natives in the list, from the Australian Gold Coast, Bleeding Knees Club hold as much of the West Coast sound as any other act. They are so lo-fi they could have easily been recorded 30 years before they were even born. Made up of duo Alex Wall and Jordan Malane, they both share the microphone.

They recorded their debut album Nothing To Do in 2012 in New York, produced by Dev Hynes, aka Blood Orange. 





To steam all the West Coast artists featured on this list and more check out The Music Picture's West Coast Playlist.