“Fuck off, I don’t want to get worms!”
Tonight was always going to be about Reel Big Fish though and with this gig being one small part of their massive 20th Anniversary World Tour, it’s pretty much a given that what will ensue will be rather spectacular. That is, if they can get the microphones to work. With the gig already delayed by a tense 10 minutes, the lights finally dim and no time is wasted as ‘Sell Out’ strikes up, sending a surge of skankers into bouncing their way closer to the front.
Apparently, if Swedish songstress, prolific hipster go-to girl and all-round drama queen Lykke Li “ever got as big as Madonna”, she “would want to run away and die”. As charming as this news is, her message, loud and clear, is that the Top 40 simply isn’t for her. She doesn’t need chart figures or sales numbers, especially not when she is producing material on the level of quality of sophomore effort Wounded Rhymes.
Pancakes: great with sugar, excellent with jam, and supreme with golden syrup. But this year why not try something different, or simply use up extras, by making savoury pancakes.
As expected, The Warehouse Project returns this Easter, dragging us in our droves to get up to all kinds of mischief until the very early hours of the morning. Headliners include the French techno DJ Laurent Garnier, Steve Angello of the Swedish House Mafia, dubstep producer Skream, as well as further regulars to the Manchester scene Andy C and Shy FX.
Lucy Hall “What we may be witnessing is not just the end of the cold war, or the passing of a particular period of post-war history, but the end of history as such: that is, the endpoint of mankind’s ideological evolution and the universalisation of Western liberal democracy as the final form of human government.” […]
“The Students’ Union elections may represent a hypothetical bridge between personal belief and national participation, it is student responsibility to cross that gulf and embrace union politics”
Martin Scott The recent guidelines proposed by the Health Secretary undoubtedly mark a major shake up of the function and future of the National Health Service. On the surface, the plans seem rather democratic. Foundation Trusts are the embodiment of the Government’s commitment to devolution and decentralisation in the public services, and are at the […]
James Blake’s self titled debut album is under scrutiny this time around as Sophie Donovan and Phoebe Hurst
As the show started, and timid guitars gathered together to create a melancholic atmosphere, a fellow spectator echoed my thoughts and turned to ask: “Is this Wolf People?” Yet undeniably, it was. This minimal, almost shy entrance was immediately juxtaposed by the introduction of the anthemic ‘Silbury Sands’ and a raw, guitar-based aggression was installed. At times I found myself returning to the heavy rock heaven of the early ‘70s and, dare I say it, a slight tinge of Led Zeppelin was evident in certain moments, as towering guitar riffs and booming bass lines resonated throughout the jam-packed Deaf Institute.
After 2008’s insanely popular In Ghost Colours, Cut Copy were always going to struggle to follow up with an album that packed the same punch and ability to fill the dance floor. The Australian quartet’s third instalment provides us with a more serene landscape in which, whilst still maintaining the summertime bounce and sunshine appeal of old, also offers a more experimental insight into the path the band may now take. After due consideration, this path appears one I do not want to hear much more from.
The Vaccines have been tipped to be one of the biggest bands this year – even featuring in the BBC’s Sound of 2011 – yet it has been hard not to be sceptical of their success due to the contacts they apparently have at their disposal. The vocalist Justin Young used to be flatmates with Marcus Mumford and the guitarist, Freddie Cowan, is the younger brother of Tom from the Horrors, which could suggest that they have the potential to be another over-hyped pop outfit. However, What Did You Expect From the Vaccines? suggests that they also have the talent to compliment their address book.
The second of four Easter weekend nights at the Warehouse Project sees the return of a series of bug names.
Skream is back after an appearance with Magnetic Man in October and with huge new releases under his belt including the recent collaboration with Example, ‘Shot Yourself In The Foot Again’, and his remix of Cassius’ ‘I Love You So’, be sure to expect a memorable set of chart-toppers, dubstep favourites and everything you need to party to.
Joe Sandler Clarke As of 26th February 2011, thousands of people were outside the State Capitol in Wisconsin fighting to prevent Republican Governor Scott Walker taking away the collective bargaining rights of trade unions in that state. Despite Walker’s claims that the apparent assault on trade union rights has been made necessary by Wisconsin’s sizeable […]
Joe Sandler Clarke Today in America, approximately 50.7 million people cannot afford health insurance. Further, an estimated 10 per cent of the population are unemployed; there are 5 applicants for every job going in the country; the percentage of Americans in poverty has been climbing gradually to 20 per cent for more than a year, […]
Tom Hoctor An early action of the coalition government was to commission a report into the merits of health and safety legislation. This was much trumpeted by the media, and was seen as a victory for the papers that had campaigned tirelessly for common sense against the incursions of the nanny state telling people how […]
The Creole Choir of Cuba’s invocatory, cultural whirlwind of a performance at the RNCM left me both astounded and invigorated; grateful that at least in other parts of the world there are musicians who stick to their roots rather than becoming over-produced and losing that raw ‘spirit’ of music. The Creole Choir is not simply a group formed to showcase the outstanding natural talent of their individual voices, they fervently fight to depict the plight of their ancestors who were bought from Africa and forced to work in slave conditions in the sugar and coffee plantations of Cuba.