End of the Road Festival… I’d half hoped it might be at the foot of the A303, but sadly it’s nearer Wiltshire. That’s about the only disappointment though, and it’s a trivial one.
Meadows in the Mountains, deep in the Bulgarian mountains, is somewhere between a festival and a party.
Modeselektor and collaborator Apparat deliver their brand of good-humoured heavy Berlin techno at a one-off date at The Roundhouse, London.
Lovefoxx and the rest of the Brazilian five piece still have the same sense of fun after four albums as they did way back in 2006 when they released ‘Let’s Make Love And Listen To Death From Above’, and when Death From Above 1979 were actually around.
Tonight Chvrches face the challenge of a room full of hipsters in this brick Shoreditch temple. The rites begin with the kickdrums of ‘Lies‘, foreboding bass tones that recall early Gary Numan.
Foals play a triumphant gig at London’s cavernous Royal Albert Hall touring their highly-acclaimed third album Holy Fire. Pictures originally published in issue 85 of Clash magazine, April 2013
Viv Albertine, former Slit, ex-punkette and film director, now writer caustic, post-marital songs of middle age and confusion.
FIDLAR are recent cousins in a family of West Coast hardcore bands but are more like angrily riffing Beach Boys than their anti-government, nihilistic musical forefathers – a slice of the former’s surf-bum devil-may-care-while-it’s-sunny attitude dunked into the power-pop-punk of their nearer Californian contemporaries Green Day and Blink 182.
Prog is back, armed with better synthesisers, more effects, and the most mental drummers on Earth. Gallops, Portasound and The Physics House Band tear the roof off The Lexington.
Moulettes bring the dark crypt-like confines of the Roundhouse Hub to life with darkly comic tales of love, sex and death – like all good folk music.
I ran out of memory cards in the end and just danced to Fimber’s rhythms. We got him back for an encore and he said “Give yourself a big hand, I’ve never had an encore in 20 years”.
Stripped back to guitar and voice, it wasn’t at all like Stereolab, but Laetitia Sadier’s French accented, lush singing voice, wry humour and strident political lyrics are still as they ever were.