Electric Picnic 2015

I thought I wasn’t going to get to a festival this year – though my trip to the MHM conference in Helsinki back in June more than made up for that – but a few weeks ago a friend rang me up with an offer of a volunteering job at Electric Picnic. How could I refuse? The job involved picking up cans and convincing festivalgoers to do the same – an idea most of them were surprisingly open to, given the reputation of festivals and Ireland’s generally poor record on recycling.

My main impression of Electric Picnic is that there is so much to do there; as well as a huge array of music – there are a dozen or so stages listed on their website, and that list doesn’t include some of the smaller venues! – there is a great selection of food, arts, fairground rides, and diverse other attractions.


What with getting ready to return to my teaching jobs and trying to sort out my office, I arrived at Electric Picnic with only the vaguest notion of who was performing. I knew Blur and Florence + the Machine were two of the headliners, and that was about all. I had really no idea what to expect from the weekend’s lineup. After getting set up for the job and collecting the necessary gear, the very first song I heard at the festival was Fetty Wap’s Trap Queen, played from a giant novelty radio. I took that as a good omen for the rest of the weekend.

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Lorde: Master of Reinvention

Lorde, whose song Royals last night won Best Rock Video at MTV’s Video Music Awards, must surely be the modern-day David Bowie. No other contemporary artist has reinvented themselves so completely. Look at these photos, one from her victory for Finland at the 2006 Eurovision Song Contest, the other from a concert in 2013.


It hardly even looks like the same person!

As well as this stunning visual turnaround, the change in Lordi’s music is remarkable. Who could believe that the woman behind Royals also wrote Bite It Like a Bulldog?

Well done Lorde, and I can’t wait to see how you reinvent yourself next!

Gig Review: They Might Be Giants and Wonder Villains, November 20th, Manchester Academy 2

My first ever trip to Manchester was disappointingly brief; ideally I would have liked to have stayed a bit longer and seen more of the city (and maybe have done it 25 years ago).

Academy 2 was a lot further down Oxford St. than Google Maps seemed to suggest, so as I was cautiously finding my away along, hoping I wasn’t lost, I was dismayed to see a huge queue stretching up the street and down the side of the museum. Seeing as I still had to collect my tickets from the box office, I was not looking forward to waiting for ages in the cold – luckily it turned out to be for a Panic! at the Disco gig down the road, as a casual inspection of the assorted fringes, dye jobs, and painfully scene outfits should have told me.

I got into the venue in the Students’ Union building with plenty of time to spare, happy with my musical decisions in life, and waited for the gig to begin.

Opening act Wonder Villains are a charming quartet from Belfast. Their style is firmly rooted in mid-late 00’s pop-rock; try to imagine if Lovefoxxx from CSS was Northern Irish and fronted the Wombats. It could be said they’re a little dated but I can’t hold it against them. You don’t hear this kind of music so much these days, and they do it with enough skill and flair to carry it off. They’re also taking a few cues from wider influences – traces of The Cure or Britpop can be heard. The songwriting is solid; there are a few weak moments because of the clichés of the genre and an occassional dodgy lyric, but otherwise it’s very well crafted pop, and the band are tight enough to handle sudden section changes and abrupt endings. The two voices contrast particularly well – the raw, raucous quality of the frontwoman’s vocals works well against the keyboardist’s purer tone. A band worth keeping an eye on.

Main acts They Might Be Giants did not disappoint. Their peculiar mix of experimental art-rock, children’s music, and often surrealist lyrics drew a diverse crowd; beardy nerds and families with kids were mingled with the regular music fan crowd, reflecting the band’s eclectic output.

As a long time fan, I could not have been happier with the set. They found a good balance between the classic material the audience want to hear and newer songs. I was pleased enough with the song choices that I only noticed the absence of Particle Man and Statue Got Me High when another fan pointed it out afterwards. The older material was sometimes presented in fresh formats; several songs used different arrangements from their recorded versions, New York City segued directly into Ana Ng, and in a particularly notable example, Istanbul (Not Constantinople) descended into a bizarrely theatrical sung argument between the two Johns.

Flansburgh led the crowd interaction, which was always entertaining and in keeping with their eccentric personas. The high point was the division of the audience into two halves – the “apes” chanting “APES APES APES!” whenever the two Johns played, and the “people” chanting (no prizes) “PEOPLE! PEOPLE! PEOPLE!” as Danny Weinkauf, Dan Miller and Marty Beller, who have formed the remaining members of TMBG for the last several years, played. (Luckily us people won.)

Towards the end of the show, the two Johns took a short break and were replaced by two puppets – The Avatars of They – for some music and crowd banter. Returning for the encore, They Might Be Giants finished with The Mesopotamians, which left the crowd a little cold for a final song. Luckily they gave into the audience’s demands for a second encore, and ended (for real this time) on Dr. Worm. You couldn’t ask for a better closer.

John Flansburgh announced that their gig in Berlin (tomorrow night, at time of writing) would be their last of 2013, and they wouldn’t be touring next year, so I can’t close with my usual recommendation “Go see this band!” However, if a band as creative as this are taking a whole year off from live shows then I can only assume that they have some new album or another, more esoteric, project in the works. I look forward to whatever it is!

That segment with the puppets makes me wonder if I could convince them to do a joint TMBG/Avatars and Devin Townsend/Ziltoid tour though…

That’s my idea and you’re not allowed steal it.

Festival Report – Brutal Assault, 7-10 August, Jaromeř, Czech Republic,

Okay guys, this is going to be a long one. It’s mostly going to be a list of bands I saw at Brutal Assault last week, brief reviews of their sets, and assorted observations about the festival and the Czech Republic. If you’re not fully sure what grindcore is or how it’s different to death metal, you may want to skip this one.

Or better yet, keep reading! Every day is a school day!

If you want to skip ahead to the bits where I say nice things, the highlights for me were: Carcass, Dying Fetus, Gojira, Ihsahn, In Flames, and Meshuggah; and standout new discoveries were Alcest, Dr. Living Dead, Leprous, and War from a Harlot’s Mouth. Continue reading

My Taste in Terrible Music #7: Attila [Special Double Feature]

I’ve encountered a lot of terrible music in my two-and-a-bit decades of life, and some of the more artful and interesting among these trainwrecks I am chronicling in this series of blog posts.

Today, however, I am lucky to present for my dear readers what may be a unique event in the history of Terrible Music; two terrible acts, both alike in dignity, that share the same name!


The first Attila is an Atlanta, Georgia based hardcore band. Currently signed to Artery Recordings, they are a perfect summation of what’s wrong with hardcore. Check out the lyric video for their song Nasty Mouth (fair warning, this is pretty bad hardcore, it’s extremely crass, and more than a little misogynistic):

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Gig Review: Devin Townsend Project and For the Imperium, May 4th, The Academy

Proving that their country can master any music that involves heavy guitars, Finnish post-hardcore act For The Imperium opened the Academy last night. It was a thrillingly energetic performance, complete with climbing the stage, mounting the barrier, and great crowd interaction by the guitarist; the actual singer doesn’t seem to speak much English, despite singing in the language.

It’s a band like this that show why the label post-hardcore applies to bands as different in sound as At the Drive-In and Bring Me The Horizon (If you don’t know these bands, start knowing At the Drive-In, but BMTH can probably be safely ignored). For The Imperium combine the riffs and clean vocal passages of the metalcore end of the spectrum with the spontaneity and rhythmic energy of At the Drive-In, and impressive guitar and bass work of their own. They’re definitely worth keeping an eye on.

The main act, the Devin Townsend Project, took to the stage after a lengthy video introduction – his signature Ziltoid TV (a collection of comically bizarre videos, curated by Ziltoid the Omniscient himself) entertain the crowd during the band’s soundcheck.

When it comes to the band’s set, I have to make a small confession: I love Devin Townsend, having seen him twice before and enjoyed the hell out of his show both times, but I never remember to invest the time in his albums. This means that when I do see him, I don’t know the songs – but it doesn’t matter.

Devin Townsend is the most charming front man in metal. Every aspect of the show seems to be carefully planned – from keeping the audience entertained (and preparing them for Devin’s highly silly sense of humour) with the pre-show Ziltoid TV segment, to the videos playing in sync with the band – everything combines to present a well-polished, extremely entertaining stage show. The sound quality wasn’t quite up to his usual (exceptionally high) standards at the beginning of the show, but that got resolved within a few songs.

His stage banter shows how well he knows his audience – asking “Does anyone smell NERD in here!?”, and his general charming self-deprecating humour. He also knows how to send up the music itself – two segments where he lampoons Meshuggah and Between the Buried and Me (complete with puppet videos, of course) were not only hilarious, but the BTBAM skit managed to sound exactly like the band in question.

As for the music itself – I just find something so feelgood about Devin Townsend’s music. The songs are so full of positive emotion and affirming feelings, without ever compromising on heaviness. Every song strikes a good balance between being heavy, interesting and catchy – I don’t know of anyone else who can write such commercially appealing music that is so musically interesting.

Laugh, love, live, learn!

Music Television – Thoughts on the State of Metal

A weekend spent at home recently gave me the opportunity to watch a lot of music television, and me being that kind of guy that I am, naturally took the opportunity to catch up on what the young folk are listening to in rock and metal nowadays. There are a couple of channels catering to this audience, but my package doesn’t have access to Kerrang! (probably a blessing) or MTV Rocks (definitely a blessing), so the only dedicated channel left is Scuzz, which in my experience averages a 50% success rate in avoiding utter drivel. However, for the dedicated fans, the channel Propeller (Sky 189) plays music shows in the evening, after a long day of teleshopping and talk shows. Tuune is general chart music, followed later in the evening by Rock Tuune, and then late at night comes Metal Tuune. Anyway, onto the content:

First of all; okay, things actually aren’t that bad! Continue reading