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<title>RockFeedback</title>
<description>All the latest news from RockFeedback</description>
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<link>http://www.rockfeedback.com/</link>

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<title>Steve Abel - Rockfeedback Session [Video]</title>
<pubDate>Fri, 12 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[A global coming together of notable proportions here, we were delighted to recently welcome Swiss-based New Zealander Steve Abel to London for a special Rockfeedback &ldquo;in-session&rdquo; performance at our Lexington home. Famed for his quiet, yet intense, un-contrived and beautiful song-writing (alongside his equally notable environmental activism) this piece sees a wonderfully intimate performance of three songs solo, including a chat with Steve about the nature of his life and music.]]></description>
<link>http://www.rockfeedback.com/tv/direct/channels/297400/824637/</link>
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<title>Two Door Cinema Club - Rockfeedback Session [Video]</title>
<pubDate>Wed, 10 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[Hotly tipped indie darlings Two Door Cinema Club have been loosely compared to the gargantuam likes of Death Cab for Cutie and Broken Social Scene, but have also picked meticulously at the best bits of British music - the disco-punk of Bloc Party's Silent Alarm, the agit-rhythms of Talking Heads and the melodies of 80's pop bands like Spandau Ballet...Despite this melting pot of influences, the band are still one of the most distinctive and original bands pummelling at the doors of the charts right now. We met the fellows for a very personal, cosy little session in lieu of their debut album being released through Kitsune records and published through our sister label, Transgressive records.]]></description>
<link>http://www.rockfeedback.com/tv/direct/channels/297400/816795/</link>
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<title>The Antlers – O2 Academy, Oxford – 4/3/10 [Review]</title>
<pubDate>Tue, 09 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[The Antlers are from Brooklyn, and they&rsquo;re unapologetically serious. They walk against currents, wading through muddy fads and over-sentimental ambience. And it was this disdainful attitude to mediocrity that was what all of us were waiting to hear, considering the universally thumbs-up reviews their Hospice LP has gained of late. We were all ready for something resembling a grand funeral, a show themed on isolation, despair, tension, anger and unwinding coiling. But their supposedly preferred topics of death, solitude and illness must have a totally different meaning to Peter Silberman and his band.
The Antlers played and played. And when I mean played, I mean they stretched and stretched intros and they stretched and stretched ends and they stretched and stretched my patience and usually generous attention span. It all became a sombre and solemn requiem of elongated, infinite hum, with an ever present and pressing hopelessness. There were no explosions, no build-ups, no stumbles, only plateaus, which would start when the bass drum would kick in or when the first guitar string was played at the 00&rsquo;00&rdquo; mark.
It was like having the universe downsized, laid out on the stage, and having it display its steady, silent, morbid expansion&hellip; but without the stars, the beauty, the many marvels of creation. It was like applying dirty white, then light cream, then light yellow to a blank canvas and never get anywhere in the process nor in the end.
They were however on the brink of something &ndash; a little more playing around with space and time in the Antlers equation could have opened up something monumental. Something of black hole proportions. But I wouldn&rsquo;t want to see how very, very dark that could be.]]></description>
<link>http://www.rockfeedback.com/review/4544/the-antlers-o2-academy-oxford-4310/</link>
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<title>Pontiak &amp; White Hills – Engine Rooms, Brighton – 6/3/10 [Review]</title>
<pubDate>Tue, 09 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[For some bands, the whole punk thing never happened. There are those that continue in the vein of Vicious, Strummer et al, trying to raise anger amongst and audience, to provoke them into action. Then you get groups like Pontiak and White Hills, for whom rock stopped with Hawkwind, or, at a push, Motorhead. They make a noise so far out of fashion (White Hills take to the stage in black leather catsuits with faces painted gold) that it&rsquo;s pretty much come full circle.

Sure, there are people in the audience (and support band) with waist-length dreadlocks (this is Brighton after all), but this loud, well, metal, has become fashionable once more. And if you&rsquo;re only going to catch two strung-out acts who seek bliss through riffage this year, this double header of a tour is the one to catch. Pontiak perhaps offer the thinking man more; three bearded brothers whose recent Sea Voids album is a must for those craving stop-start artrock dynamics applied to &lsquo;classic&rsquo; hard rock. &lsquo;Suzerain&rsquo; cements this, hands sliding up the fretboards to nothing, before syncopated drums rescue the song over and over again. There are only about ten effects pedals onstage tonight, and apparently this is &lsquo;pared down&rsquo;.

White Hills take a more sledgehammer approach to both their style and sound. The aforementioned catsuit is worn by bassist Ego Sensation (seriously), who plays one of those clear bass guitars popular in the 1970s. Frontman Dave W has the golden face, and you suspect he has worn a cape at some point &ndash; if not numerous points &ndash; in his life. The music, much like say, Acid Mother&rsquo;s Temple, wears you down, circling around basslines or drum patterns until it has drilled into your skull, with subtle chord changes the only respite. We get tracks from 2009&rsquo;s Dead and Heads On Fire tonight, as well as a smattering from their eponymous newbie, and if you were asking what the difference was, I&rsquo;d be hard pushed to discern.
But it works, and these are (both) bands hell bent on doing what they want. There&rsquo;s no styling, no regard for what&rsquo;s &lsquo;on trend&rsquo;, and no compromise. Pontiak and White Hills need applauding for that. Whoever booked them a tour together is a genius.]]></description>
<link>http://www.rockfeedback.com/review/4545/pontiak-white-hills-engine-rooms-brighton-6310/</link>
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<title>The xx – Komedia, Brighton – 1/3/5 [Review]</title>
<pubDate>Tue, 09 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[It&rsquo;s been a tough period for The xx. Not only did founder member Baria Qureshi leave late last year citing exhaustion as the reason, but Romy Madley-Croft&rsquo;s father died last month, with this Brighton date the first return to the stage since her loss. Add to this the fact the band are touring the hell out of their August debut (have you seen how long the dates run for?), and you could forgive them a failure tonight.
Certainly the first few numbers take a bit of easing in. &lsquo;Crystalised&rsquo;, so dependent on the bursts of rhythm from Jamie Smith&rsquo;s drum machines, misses the beat on one or two occasions, literally and stylistically. But he is, remember, doing Qureshi&rsquo;s work as well as his own now, and succeeds 99% of the time. Playing as a trio gives The xx a symmetry and succinctness to an already near-faultless artistic aesthetic that&rsquo;s irresistible. When a stunning lightshow arcs above them like the bottom half of the familiar &lsquo;X&rsquo; insignia for the downer than downtempo &lsquo;Fantasy&rsquo;, or when Oliver Sim murmurs in his just woken up, latently sexual purr on &lsquo;Heart Skipped A Beat&rsquo;, you file these moments to memory as classics. Smith moves from the electronic kit to the real thing for a cover of Kyla&rsquo;s &lsquo;Do You Mind&rsquo;, which is rousing to say the least, and even the ever-present &lsquo;Teardrops&rsquo; seems invigorated.
&ldquo;We need to work on our stage banter&rdquo;, notes Sim about ten tracks into the set &ndash; the first comment he makes all night. Perhaps they are nervous, perhaps it&rsquo;s a conscious decision, but as with so much of The xx&rsquo;s music, the beauty &ndash; of which there is plenty and which none dissipates live &ndash; comes from the unsaid, the implied, and the wordlessly understood. You sort of ache to hear what they&rsquo;ll do next.



//]]></description>
<link>http://www.rockfeedback.com/review/4546/the-xx-komedia-brighton-135/</link>
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<title>Home Taping Is Killing Music #5 [Feature]</title>
<pubDate>Mon, 08 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[Hello all. As we cautiously edge out of the interminable winter we've been enduring, we'd all like to be looking forward to the coming months of (one would hope) sun and fun. However, this week's 'Home Taping ...' looks back as well as forward, with three of the five tracks coming from bands who each released stellar debut records back in 2008. So, without further ado, let us proceed.
Lawrence Arabia - Apple Pie Bed
The email that I got alongside this track contained a note from my editor saying "in the office we do a terrible singalong version of this song". On the first listen, you can see why even the grinches at Rockfeedback* would be moved to song by 'Apple Pie Bed'. Rollicking along with lilting guitar and metronome-sharp drums, the Lawrence of the band name beguiles you with dreamy melodies and dreamier harmonies - the killer chorus runs "oh apple pie bed/apple pie when my body's made of lead". Simple, but beautiful, 'Apple Pie Bed' is an early summer jam that gets by on both charm and talent. Lawrence is over on British soil from New Zealand at the moment, touring with full band, and it's strongly suggested you check him out - it could be, somewhere down the line, an "I saw him when he was just starting out" situation. [DOWNLOAD HERE]
*love you really guys!


Foals - Spanish Sahara (Mount Kimbie Remix)
Foals are back! Hooray! Alas, I don't think I'm allowed to wax lyrical about the original of 'Spanish Sahara'for reasons beyond my understanding (our sister label Transgressive releases Foals, basically. Ed.), but I think talking about the remix is just about acceptable. Mount Kimbie are a production duo from Peckham, with their woozy ambient soundscapes winning over many a fan including big-league DJs Rob Booth and Scuba. Here they take the already pretty chilled out 'Spanish Sahara' and chill it out even further. Crushes of brooding sound flit in from time to time, attmpting to disturb the soothing melancholy of the track, but Yannis' bruised vocals cannot be touched, as they are sitting on a bed of gently throbbing bass and synths. It's a rarity thata remix manages to both shorten a track and make it more subdued, but the intelligence and thought put into this by Mount Kimbie mean they trim any fat off of the Foals originalto create something lean, effortless and beautiful.  [DOWNLOAD HERE]



Late of the Pier - Best in the Class
This may be an unpopular or risible view in some circles, but I hold - andwill continue to stick by -the view that Late of the Pier's debut record Fantasy Black Channel is one of the finest LPs released since the turn of the century. That album somehow managed to balance the best of pop music with the best of the electronic avant-garde -unfathomable song-structures assimilated themselves with blissy harmonies, while out of a mass of jagged noise would emerge the most colossal of hooks. Morequietly ushering themselves into 2010, LotP snuk out double a-side &lsquo;Best in the Class/Blueberry&rsquo; earlier this month. 'Best in the Class' welcomes you with some friendly arpeggios and chirpy melodic bleeping, before settling into the kind of groove that made the first album so easy to love. A more conventional (although that's very relative) track than what they've come up with before, Sam Dust admits to us in the niggling chorusthat "we've been planning this too long". Nothing wrong with that, the meticulous craft of each track is what makes the group such a winner every time. But don't worry, we get the usual LotP deluge ofdelusions - there's that quiet bit that lulls you before a massive breakdown, the old granny in the video (srsly check out the video, it's amazing), a load of shouting and some girls. I don't mean to be trite, but this band seem to only deal in superlatives- once moreLotP haveproved themselves best in the class. [DOWNLOAD HERE]

Janelle Monae - Tightrope ft. Big Boi
Big Boi makes his third appearance on Home Taping here, albeit on someone else's track. 'Tightrope' immediately grabs you with a jive beat before hurtling into Janelle's verse. There are many limitations to essentially making a James Brown track forty odd years too late, but Monae somehow manages to make it sound very fresh and very, very good. With perfect diction and crystal-clear pitch she urges the subject of her affections to "get on the tightrope", the phrase punctuated by some swinging brass and a very nifty little key change. "This ain't no acrobatics/you either fall off or you lead" she sings, positively dripping with sass. Of course, then Big Boi comes in and blows the thing wide open - the shaping of his phrasing is as ever immaculate, with the same going for his timing, and his distinctly 21st century demeanour and lines like "we'll get back up like the Dow Jones" assist in bringing a song that could have become slightly stuck in pastiche bang up to date. Though she might need to start bringing a few of her own tricks to the table in the future, for the time being Monae succeeds in creating something both deft and danceable that should turn more than a few heads. [DOWNLOAD HERE]


Born Ruffians - Sole Brother
Born Ruffians have always come across musically as a cheeky younger brother. First record Red, Yellow and Blue overflowed with charm, wit and exuberance, the yelps and squawks of the three band members brought to mind an innocent playfulness and quest for enjoyment that meant you couldn't help but smile and dance. From the beginning of 'Sole Brother' (this Born Ruffian, it sadly seems, is an only child) those familiar with the band will instantly recognise Luke LaLonde's river-like guitar runs and Mitch Derosier's highly melodic bass, whilst new fans will be instantly converted by the track's comforting aura. This, however, is welded with an element of yearning  that wasn't apparent on R, Y and B - "get your act together please" urges LaLonde on more than one occasion, whilst the background cries are pinned back to the almost pained wails of "sole brother!" on the chorus. As is the norm with Born Ruffians, the track reaches a whooping conclusion of ragged chords and interlocking vocals, though a stately rhythm section prevents things getting out of hand. The new album Say It comes out on June 1st, and on this showing it'll be you as well as the group who will have something to say. [DOWNLOAD HERE]


As a bonus this week, we'll also have an old dog that's been taught new tricks (sort of ...). A fine unknown internet fellow has come up with a smashing mash-up of De La Soul's 1996 single 'Itzsoweezee' with Radiohead's Hail to the Thief elegy 'I Will'. Not the likeliest of blogosphere partners to be sure, but it works to superb effect, with both artists sounding as fresh as if they'd just come out of adolescence as opposed to into middle age. Listen here.]]></description>
<link>http://www.rockfeedback.com/feature/1360/home-taping-is-killing-music-5/</link>
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<title>What the hell is going on? #29: Sessions Week [Feature]</title>
<pubDate>Mon, 08 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[Hey mate.

The Rockfeedback Sessions are maybe my favourite part of this job. In them, we invite some favourite bands of ours to join us in The Lexington, the venue beneath our London office, and play us songs from their forthcoming records &ndash; simply lit, with a Lynchian backdrop of red drapes and performed on the floor rather than on a stage, they always make for both visually and aurally stunning pieces. We&rsquo;ve had the likes of Mumford and Sons, J. Tillman and Emmy The Great grace us with their presence for this unique little series so far, with more to follow from folk such as No Age, Laura Gibson and Alessi&rsquo;s Ark (ever eclectic, us). This week sees the first week we&rsquo;ll dedicate entirely to such sessions on Rockfeedback TV, starting today with Los Campesinos! talking us through tracks from their third LP Romance Is Boring. On Wednesday, a similar task befalls Northern Irish indie pop quartet Two Door Cinema Club who use their Rockfeedback session to showcase songs from their Tourist History debut, before we unearth a real gem on Friday with a session from Steve Abel, a spellbinding singer songwriter from New Zealand.
So, that&rsquo;s a pretty busy few days for Rockfeedback TV. Not to be outdone, Rockfeedback Live is keeping itself pretty occupied too, running not one but two gigs, in the space of two days, that&rsquo;ll knock the socks off&rsquo;a even a person who was very determined to keep hold of their socks. The first happens on Wednesday the 10th of March, and sees returning one time Club Rockfeedback healiners The Soft Pack ably supported by Swanton Bombs and Speak and the Spells on a tiny boat (The Tamesis Dock) on the Thames in London town. A few &ndash; and I mean a few &ndash; tickets remain here. A mere 24 hours later, we&rsquo;re back at the Lexington in Angel for the second gig, one we&rsquo;re co-promoting with our friends at the Green Man festival, brining Cate Le Bon, Lawrence Arabia and Marques Toliver your way for one of the finest three act bills we&rsquo;ve ever put together. All three will be recording one of the exclusive, aforementioned Rockfeedback Sessions for us earlier in the day also.
We must mention how everyone at Rockfeedback was saddened to hear of the death of Mark Linkous over the weekend, the mastermind behind Sparklehorse having taken his own life on Saturday. On record, Mark always came across as a man with the weight of the world on his shoulders, and it&rsquo;s tragic to think that weight eventually just got too much for him to bear. Our thoughts are with his family, friends and fans. Rest in peace, Mr. Linkous.

Tom.x]]></description>
<link>http://www.rockfeedback.com/feature/1361/what-the-hell-is-going-on-29-sessions-week/</link>
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<title>Lady Gaga – The Fame Monster [Review]</title>
<pubDate>Mon, 08 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[It&rsquo;s not that new, it might not be particularly &lsquo;Rockfeedback&rsquo;, and Lord knows the girl doesn&rsquo;t need the extra publicity, but I felt I had to write something about The Fame Monster. I really need to do something to help pass the time until I can YouTube Lady Gaga ft. Beyonce&rsquo;s forthcoming &lsquo;Telephone&rsquo; video &ndash; photos have been leaked, and ohmygosh you guys Gaga&rsquo;s hair is a phone. The song itself is glorious, and although both divas will have their work cut out topping Beyonce&rsquo;s marvellous breast-juggling performance in the Gaga-featuring &lsquo;Videophone&rsquo; video, Gaga&rsquo;s hair. Is. A. Phone.
You see, perhaps that&rsquo;s the slight problem I have with Gaga. The first time I heard &lsquo;Roses&rsquo; from her one-time would-be tour-mate Kanye West&rsquo;s 2005 Late Registration album, I was so strongly affected by it that I burst into tears, whereas now his public persona has overshadowed his music to the extent that I can&rsquo;t remember the last time I saw, heard or thought of his name without the words &lsquo;shut up&rsquo; prefixed in front of it. After an increasingly delightful set of public appearances on UK television, perhaps Gaga won&rsquo;t end up pulling a stunt so obnoxious that the President of the United States will be caught on tape calling her a &lsquo;jackass&rsquo;, unlike a certain someone. But her image &ndash; the clothes, the hair, the videos &ndash; threatens to eclipse her music. Sometimes I worry that the songs I love so much right now will one day be lost under a mountain of multi-coloured My Little Pony hair, drowning in a bath big enough to fit thirty people.
She&rsquo;s a confusing one, that Gaga. There&rsquo;s something quite wonderful about someone so musically well-trained with such highbrow and eclectic influences choosing to slum it in the world of mainstream pop, in a Heston Blumenthal Takes On Little Chef kinda way: pumping her tunes full of radio-friendly hooks and singing about disco sticks and bluffin&rsquo; with her muffin. (While I&rsquo;m riffing with my muffin, Lady Gaga Saves Little Chef #showschannel4shouldmake? Can you imagine?) She has a tattoo on her arm of a quote by the 19th century Austrian poet Rainer Maria Rilke which translates as 'In the deepest hour of the night, confess to yourself that you would die if you were forbidden to write. And look deep into your heart where it spreads its roots, the answer, and ask yourself, must I write?' This, adorned on the arm of the 21st century performance artist who wrote the words &lsquo;let&rsquo;s have some fun this beat is sick/I wanna take a ride on your disco stick&rsquo;.
As sick as those beats were, it wasn&rsquo;t until 2009&rsquo;s &lsquo;Bad Romance&rsquo; that I truly, madly fell for Gaga. Gaga&rsquo;s 2008 debut The Fame, featuring many of the songs she tearfully told the Brits viewers had been years in the making, had the misfortune of being released in the year that the Western world started finding all that Beautiful, Dirty, Rich stuff rather tiresome and two-thousand-and-late. (Sample lyric from &lsquo;Money Honey&rsquo;: &ldquo;damn I love the Jag, the jet and the mansion, oh yeah/and I enjoy the gifts and trips to the islands, oh yeah/It&rsquo;s good to live expensive, you know it&rdquo;. No we don&rsquo;t know it Gaga darling, we&rsquo;re broke, care to explain it to us?)
But &lsquo;Bad Romance&rsquo; was something else entirely. One of my favourite things about this song is that its video was recently featured on ITN as an example of the hypersexualised media which is forcing young girls to grow up too soon. I just adore the implication that ten year old girls are that influenced by Lady Gaga &ndash; perhaps gluing pearls to their faces and wearing six-foot high lace pompadour wigs. Perhaps even greater than that image is the song itself, an 80s synth power ballad interwoven with 90s furious, pounding beats, its every strand of sound laced together as tight and taut as Gaga&rsquo;s diamond-spangled arse. Produced by RedOne, Bad Romance is controlled chaos at its delirious best. If you can marvel at skill involved in that, you can even learn to love the &lsquo;rah-rah-ah-ah-ah/Roma-ro-ma-ma&rsquo; bit in the intro, I promise. The lyrics are influenced by the films of Alfred Hitchcock: &ldquo;I want your psycho, your vertigo schtick/Want you in my rear window/Baby it&rsquo;s sick&rdquo;. If Bad Romance were a Hitchcock film, it would be Vertigo: fairly disturbing, intoxicatingly beautiful.
Another stomping dancefloor ballad is the stunning &lsquo;Dance in the Dark&rsquo;, which formed (along with &lsquo;Telephone&rsquo;) part of the Alexander McQueen tribute which baffled Geri Halliwell and Courtney Love at the Brits and made the rest of us wish we had a keyboard with a built-in &lsquo;BITCH!&rsquo; button. Here an overachieving Gaga perfects the icy, gothic electronic pop sound that Britney has been dabbling in on &lsquo;Blackout&rsquo; and &lsquo;Circus&rsquo;. Dance in the Dark climaxes with our heroine lamenting the passing of a number of tragic icons (Princess Diana and JonBen&eacute;t Ramsey among them) in a &lsquo;Vogue&rsquo;-esque chant.
And then there&rsquo;s &lsquo;Alejandro&rsquo;, which sounds like Ace of Base. Gaga knows it sounds like Ace of Base. She wanted it to sound like Ace of Base. Lady Gaga is a critically acclaimed, Rilke-quoting, Tisch School of the Arts-educated performance artist who made a song that is meant to sound like one by Ace of Base. Hmmm. This song leaves me confused, emotionally orbiting the seventh circle of irony wearing a cloak made out of Muppet heads, listening to it on repeat over and over again because the bridge is just so damn good.
But the track from The Fame Monster currently giving my iPod the hardest pounding is &lsquo;Telephone&rsquo;. To return once again to the subject of Gaga and Beyonce&rsquo;s forthcoming music video, I believe YouTube commenter sambabyx3 put it best when he/she said &lsquo;I thought it was gonna&#65279; come out today. F*** this lol.&rsquo; sambabyx3, I feel your pain. But the song is great too: a dizzying tornado of grinding beats with a killer chorus, Gaga at her most RnB and Beyonce at her Sasha fiercest. A special mention goes to Monster. Less idiosyncratically Gaga but with her trademark belting chorus, Monsterrr-uh-rrr-uh-rrr-uh-rrr stands a good chance at being this year&rsquo;s Puh-puh-puh-pokerface, and perhaps even this year&rsquo;s Umber-ella-ella-ella-eh-eh-eh.
Gaga saves the full force of her talents, lyrically and vocally, for &lsquo;Speechless&rsquo;, where she belts, roars and all but screams on a powerful rock ballad inspired by her father&rsquo;s battle with heart disease (&ldquo;Could we fix you if you broke?/And is your punch line just a joke?... I can&rsquo;t believe how you slurred at me with your half wired broken jaw/You popped my heart seams, on my bubble dreams, bubble dreams.&rdquo;) I much prefer this song how she performs it live with just a piano (most memorably with Elton John at the 2010 Grammys), but either way it serves as the album&rsquo;s best argument against Gaga&rsquo;s own claim that she makes soulless pop music. Just imagining Lady Gaga as an actual human being with actual human parents who she cares about so deeply casts a fresh light on the rest of album: imagining the heart beating behind the ice cool exterior, not just the educated mind and the impressive set of lungs. I mean, Gaga wasn&rsquo;t actually created in an evil genius pop scientist&rsquo;s lab, formed by mixing the DNA of Andy Warhol, Debbie Harry and Grace Jones with some magic dust swept up from the remnants at Studio 54. I don&rsquo;t think so, anyway.]]></description>
<link>http://www.rockfeedback.com/review/4541/lady-gaga-the-fame-monster/</link>
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<title>First Aid Kit – The Jericho, Oxford – 3/3/10 [Review]</title>
<pubDate>Mon, 08 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[First Aid Kit - the two Swedish nu-folk sisters, the two angelical emerging artists, the two none-more-suave troubadours - are here to cool our anger, heal our pain and soothe our bedtime fears. With their excellent new album The Big Black &amp; The Blue in tow, they march onstage swiftly accompanied by an additional member, a drummer. Expectations are high - yet what we are awarded is a combination of irritating unpreparedness and a perhaps understandable lack of maturity.
It doesn&rsquo;t help to know that the PA at this venue is not the hippest, but taking 5 to 10 minutes to fix broken strings, not once but twice, at the beginning of the set, because &ldquo;this has never happened before!&rdquo; and because daddy decided to put the guitar away rather than have it ready &ldquo;just in case&rdquo;, seemed to show a bit of a lack of effort towards the evening&rsquo;s show.
Their voices are usually beautiful, but tonight they come and go in trembles of oddity and self-doubt while the drummer does his job without breaking a sweat. First track off the album &lsquo;In The Morning&rsquo; passes ghostly, drums providing a backing numb beat, which they could easily have done without. It doesn&rsquo;t get any better once things are all warmed up, and even when offering a cover of a Fleet Foxes song we&rsquo;re applauding the originality of the Seattle&rsquo;s band&rsquo;s piece, rather than the girls&rsquo; mastery.
The light at the end of this narrowing tunnel was the moment they decided to ditch microphones and pickups and sing au naturel, leaning closer to the front row and going back to their minimalist approach to last year&rsquo;s summer festivals. The folks respond with utter silence, all eyes locked onto the stage, all ears pointing upwards. It is a moment of glory, a spark, a vision of what First Aid Kit may become in a near future.]]></description>
<link>http://www.rockfeedback.com/review/4543/first-aid-kit-the-jericho-oxford-3310/</link>
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<title>Los Campesinos! - Rockfeedback Session [Video]</title>
<pubDate>Mon, 08 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[Adored by music-critic-behemoth Pitchfork and with an ever-growing, dangerously passionate fanbase, Los Campesions! have been bubbling like a slowly heated kettle for some years now, but with the release of their second (brilliantly titled) second album 'Romance Is Boring', they are about to poetically drop-kick their way into the big time. We packed the seven noisy chaps/chapesses into our offices to film what turned out to be a mind-bendingly gorgeous session.]]></description>
<link>http://www.rockfeedback.com/tv/direct/channels/297400/817382/</link>
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<title>Festival in Focus: Secret Garden Party [Feature]</title>
<pubDate>Fri, 05 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[Taking place in late July in the sort of East Anglia countryside that would make Keats and Shelley pen a Tolstoy-an brood of odes, Secret Garden Party has come a commendably long way since its conception in 2004. Back then, 1,000 charmed revellers got to experience the single handbuilt stage being manned by a technician who stayed naked for the full three days of the festival, and were invited to take a dawn dip in the site's lake with the organisers.

Now it's back for the seventh year, accommodating 7,000 people and having played host in the interim to acts ranging from Jarvis Cocker, Super Furry Animals and Lily Allen to things like 'The Suicide Olympics' (consisting of people jumping into 6 ft high pianos) and 'Radio Q103' - a night of madness that came about when a group of revellers converted a derelict teepee they found on site into a fully working dance tent.
Certainly the festival encourages as much participation from punters as they're willing to give, and then some. Away from the main stage there are art tents, parades, theatre workshops and performances, swimming, treasure hunts and many more things that sound like far too much fun. There are also three smaller stages - 'Where the Wild Things Are', 'The Living Room', and 'Small World' - in an area dubbed 'The Forest', as well as the intensely amazing sounding 'Bands in Trees' which one thinks should be pretty self-explanatory. If you need to take a break from all this cool stuff, there are massage parlours, cocktail lounges and ale tents, and a "Bellboy-served boutique camp ground". Oh, and did I mention that you have the option of travelling around the site ON A MOTHERF**KING TRAIN?

The first wave of bands have been announced, and it is looking very, very tasty to say the least. The first headliner has been revealed as the Gorillaz Sound System, an audio-visual extravaganza featuring the group's Murdoc Niccols presiding over live visuals and percussion while he mans the decks for a megamix of the band's back catalogue. This alone would be enough to bring your good author through sleet and snow to the festival, and that's even before one considers that the bill also boasts Mercury Rev, Marina and the Diamonds, The Whip and The Skatalites, with many more to be added over the coming months.

In addition to all this, every Secret Garden Party has a theme. This year, it is 'Fact and Fiction'. In the words of the organisers;
"In 2010 the Secret Garden Party will be prizing open the chinks in man&rsquo;s most carefully constructed edifice; Reality. The Garden will be exploring the theories, fantasies, mysteries, legends, visions and illusions that have created a rich world betweenFact and Fiction.
For artists they take inspiration from Heath Robinson, Escher and Dali; from authors and poets they look to H G Wells, Lewis Carroll and Coleridge; for inventors and scientists, figures such Da Vinci, the Wright Brothers and pioneering astrophysicists. 
From the past, the focus will be on the beliefs, which now seem like pure fiction, but in their day were &lsquo;proven fact&rsquo; &hellip; the edge of a flat world and the riches of alchemy. For impossibilities of our own world the festival will be exploring urban legends, magic and illusion, geographical twilight zones, conspiracies and mysteries; areas of our culture which defy explanation.

The Secret Garden Party has always been a place where fantastical happenings take place. Join us this summer as we venture beyond the boundaries of reality more than ever."
It is right that the festival has required a reputation for being one of the most welcoming, enjoyable and eye-opening around. For one weekend in East Anglia, 7,000 forward-thinking and innovative people can shed the trappings of modern life, re-define their existence and experience an infinitely enjoyable parallel way of living, at once paying gracious homage to a peaceful past and stepping boldly forward. Bring your dancing shoes as well as your Pimms, this is going to be one hell of a Garden Party.

Key Details:
Dates: July 22nd-25th 2010
Price: standard adult ticket = &pound;142; campervan ticket = &pound;187; 13-17 year old ticket = &pound;115; under 13s get in free, but will still require a ticket - available to purchase from www.secretgardenparty.com
Acts: (more to be confirmed) Gorillaz Sound System; Mercury Rev; Marina and the Diamonds; The Skatalites; The Jessie Road Trip; The Whip; Kate Walsh; David Rodigan; Crystal Fighters; Example Soundsystem with DJ Wire; Bellaruche; Golden Filter; Apples; Kid Bombardos; Charli XCX; Freestylers Soundsystem + Tenor Fly and MC Sirreal; Death Metal Disco; Jakwob; Doorly; Pearl and the Puppets; The Crookes; Panda Su
Location: Secret! Obviously!
Website: www.secretgardenparty.com]]></description>
<link>http://www.rockfeedback.com/feature/1358/festival-in-focus-secret-garden-party/</link>
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<title>Girls – Morning Light (True Panther) [Review]</title>
<pubDate>Fri, 05 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[One of 2009&rsquo;s most highly acclaimed new bands, Girls have barely strayed far from the buzz of music blogs and hype-mongers since &lsquo;Hellhole Ratrace&rsquo; first emerged in the summer of last year. Compared &ndash; not incorrectly &ndash; to the Beach Boys for their sunshine sensation, the Californians take the best of surf-rock and mix it with wholly un-obnoxious shoegaze to soul warming effect.
Taken from their much-lauded debut album, Album (how kooky), Girls&rsquo; first single of 2010 comes in the form of &lsquo;Morning Light&rsquo;. Christopher Owens&rsquo; droning vocals feel almost as though they shouldn&rsquo;t work sat atop the brawny guitars, but the combination is simultaneously melancholy and strikingly uplifting. The album is frequently cited as the result of much narcotic-absorption, but far more interesting is the fact that Owens&rsquo; music shows his progression away from his post-cult anger - yes, post-cult &ndash; questions about which will probably get very boring, very quickly, for the frontman.
But however miserably horrifying Owen&rsquo;s upbringing may have been, his determination to focus on the positive things in life emanates from &lsquo;Morning Light&rsquo;; intensely emotive, the pop-y haze deserves to be soaked up under glorious sunshine, preferably anywhere that isn&rsquo;t the miserable UK, please.]]></description>
<link>http://www.rockfeedback.com/review/4539/girls-morning-light-true-panther/</link>
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<title>Quasi – American Gong (Domino) [Review]</title>
<pubDate>Fri, 05 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[American Gong, the eight studio album from the indie supergroup Quasi, is a refreshing return to their hazy punk roots, following their 2003 diversion into political rock with the mixed bag Hot Sh*t, and the disappointing experimental jazz style of When The Going Gets Tough in 2006.
American Gong sparkles with the kind of urgency and passion you might expect from a group made up of indie darlings Janet Weiss (Sleater-Kinney, The Jicks) and Sam Coomes (Built to Spill). Throw in the incredible talent of bass player Joanna Bolme (Elliot Smith, The Jicks), and together they have come up with at first glance appears a straight up guitar layered rock album. But it soon becomes apparent that American Gong is one of the best records of their career, with the mind expanding 'Bye Bye Blackbird' as the highlight, a ferocious assault of the senses, containing the lush harmony &ldquo;bye bye blackbird flying to the sun, your money is all spent and your time is done....&rdquo; followed by crazy swirling guitars and Coomes mumbling something about LSD and DMT at the end.
What really sets this above a straight up punk rock album is the lyrical magic of Coomes, who has evolved over the years into a sort of punk rock Robert Lowell (celebrated American poet of the 1950's, author of Life Studies), expressing the pure simplicity of emotions with a whiskey soaked voice over howling guitars and a wonky piano. Here's a sample lyric from 'Black Dogs and Bubbles': &ldquo;Always fall in love with what makes you sad, chase the moon across the night across the stars wake up in the morning tired and cold, don't you know that she is already yours to love...but not to have and hold&rdquo; - cue noise drenching guitars, that already makes me ache to see this band live.
American Gong is a record with heavy influences particularly in art, music, and of course the highs and lows of love (let's not forget Weiss and Coomes are divorced, and Bolme last year married Gary Jarman from The Cribs). American Gong is an American rock album, that feels like a final throw of the dice after a hundred disappointments and fucked up relationships. It's got hints of Dinosaur Jr., a little bit of grunge DIY attitude, and a touch of Lee Randalo-esque vocal delivery. But most of it's a dynamic punk rock album, that bursts your soul with happiness. Coomes begs &ldquo;don't let them get you down, you've get to get control of your own sweet soul&rdquo; on 'Everything and Nothing at All', and this eternal optimism in a world of disappointment and dysfunctional love is what, ultimately, makes American Gong so rewarding and enjoyable.]]></description>
<link>http://www.rockfeedback.com/review/4540/quasi-american-gong-domino/</link>
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<title>Rockfeedback Presents - Underage 2009 [Video]</title>
<pubDate>Fri, 05 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[Rockfeedback returns to the Underage Festival for the third year running, witnessing the likes of the Mystery Jets, Ladyhawke, the Horrors, Tinchy Stryder, Hadouken!, Good Shoes, The Whip, Rolo Tomassi, JME, Patrick Wolf and The Champman Family as they stir a bunch of tirelessly enthusiastic fourteen to eighteen year olds in to a veritable frenzy. Interviews, live sets, circle pits &ndash; we&rsquo;ve got the lot.]]></description>
<link>http://www.rockfeedback.com/tv/direct/channels/297400/817084/</link>
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<title>Eugene and the Lizards - Bugjuice / I Want Some Action (Domino) [Review]</title>
<pubDate>Thu, 04 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[Taken from their 10&rdquo; and download only EP Glue, the latest offering from the renowned London based eccentric Eugene McGuiness and his latest band is a rather catchy affair, mixing elements of surf pop with a classic garage rock style, sewn together with the kind of poppy melodies that used to get the readers of Smash Hits magazine twirling around their bedroom. 
&lsquo;Bugjuice&rsquo;, also the name of a 90's Disney reality show about bored kids in summer camp, has some mismatched lyrics about cemeteries, cappuccinos, morning markets, and dandelions that gently swirl through your head. I doubt there can be much else you need in a song, but just in case, the flip side &lsquo;I Want Action&rsquo; is pretty impressive too, offering a more classic sound, with a simple guitar hook and a storming tale of confused love.
Eugene and the Lizards are a band full of ideas and energy. On the basis of this offering, Eugene McGuiness, if he wants one, is on track for a long, and fascinating career.]]></description>
<link>http://www.rockfeedback.com/review/4536/eugene-and-the-lizards-bugjuice-i-want-some-action-domino/</link>
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<title>Owl City – Ocean Eyes (Island) [Review]</title>
<pubDate>Thu, 04 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[Ocean Eyes has seemingly come from nowhere, and is so eager to please you want to push it away after the first song before it slobbers on your trousers. If it were in school, it would be facing constant detention for disrupting the class and having no attention span. In fact most people with attention spans are going to be irritated by this album in places, if not throughout.
This is actually the third album from the elegantly titled Owl City, who are effectively the lone American Adam Young. With his recent UK number 1 single, &lsquo;Fireflies&rsquo;, a song that has a better version trying to break the surface, he has become suddenly as ubiquitous as the iPhone. However, unlike the phones, his use of technology is less even, less well applied. It&rsquo;s not to say he is not talented, if anything there are too many ideas. Like a group brainstorm on Red Bull&trade;, it is all too busy, and would benefit from some space.
When it does slow down, such as on the gentle &lsquo;Saltwater Room&rsquo;, and in the curling electronics of opener &lsquo;Cave In&rsquo;, there&rsquo;s great promise. However, a tendency for cheap, toy-town rave stabs, such as on the exhausting &lsquo;Umbrella Beach&rsquo;, slings the album back to 1997, and not in a good way.
It is a shame, as there are great moments in even the weakest songs - - which beneath the glistening production have more than meets the eyes -- but are too frequently simply searching for a tune amidst the hooks.
Perhaps the problem is the lack of roots: it&rsquo;s hard to see where he&rsquo;s coming from, other than Minnesota. It is clearly influenced by the generic 80s pop single and 90s euro-pop, by those one hit wonders no one ever admitted to buying; it is certainly not the same 80s that fuels the soon-to-be massive Hurts. Songs such as &lsquo;Bird and the Worm&rsquo; begin with one intention, only to end with another, like a guest in fancy dress forgetting who they are. The oldest criticism of electronic music is that it has no heart, and unfortunately, for the first time in a while, it is valid here.]]></description>
<link>http://www.rockfeedback.com/review/4537/owl-city-ocean-eyes-island/</link>
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<title>Lightspeed Champion – Life Is Sweet! Nice To Meet You (Domino) [Review]</title>
<pubDate>Thu, 04 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[Half a decade afterleading theaberrant experimentation of fleetingly feted East Londoners Test Icicles, Dev "Lightspeed Champion" Hynes is back with a second solo LP.
Coming from a man whooncemaderiotous, confrontationalthrash-rock his stock-in-trade, the baroque indie of Life Is Sweet! Nice To Meet You can often feel almost disconcertingly earnest, despiteHynes' voice beingpitched in a bizarre middle ground somewhere between the puny nasal whine of David Tattersall, frontman of none-more-indie bed-sit languishers The Wave Pictures, and Croydon soul man David McAlmont.
There'sa campy showtune edgeto much of the material here, and Hynes can sometimes overdo things, such aswhen he's playingthe jilted lover desperate for reconciliation on the overblown 'Dead Head Blues'.But the aggrieved Beirut-style waltz 'There's Nothing Underwater' succeeds through its lack of guile and'The Big Guns of Highsmith', witha larky call-and-response chorus ('hurts to be the one who's always feeling sad/OH JUST STOP COMPLAINING!') shows he hasn't completely abandoned his old band's wry sensibilities.]]></description>
<link>http://www.rockfeedback.com/review/4538/lightspeed-champion-life-is-sweet-nice-to-meet-you-domino/</link>
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<title>Hadouken! - On Stage @ Underage 2009 [Video]</title>
<pubDate>Thu, 04 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[Originally from Leeds and now living it up in London, this dance-punk, new wave 5 piece band mix big, dark beats, drum&rsquo;n&rsquo;bass synths and ripped speaker guitars delivered faster and harder than a FedEx order of paving slabs. A perfect musical backdrop for Victoria Park&rsquo;s 2009 Underage festival.]]></description>
<link>http://www.rockfeedback.com/tv/direct/channels/297400/818834/</link>
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<title>Sade – Soldier of Love (Sony) [Review]</title>
<pubDate>Wed, 03 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[Before I rush into my review of Sade&rsquo;s Soldier of Love, there are two things the reader should probably be aware of: 1. Sade is a band, not just a beautiful Nigerian-born, Clacton-on-Sea-raised soul singer. I learnt this from Wikipedia. 2. I, and certainly just about every other child born in Britain in the mid-80s, was allegedly conceived to Sade&rsquo;s 1984 debut album Diamond Life, in particular the songs &lsquo;Smooth Operator&rsquo; and &lsquo;Your Love Is King&rsquo;. I learnt this from my mother, and one day my therapist or fellow rehab patients shall learn this from me.
I am telling you this now, because it is important that you understand - when I say this album is good, I really mean it. It&rsquo;s as good as an album has to be to distance itself from all the horrible mum-and-dad-sex connotations that force their way kicking and screaming into my mind whenever I hear Sade Adu&rsquo;s voice.
That unmistakeable voice has grown grittier and rougher since 2000&rsquo;s Lovers Rock, and here the startling contrast between Adu&rsquo;s rawer tone and the frequently polished, string-lead instrumentals serves to enhance stunning lyrics, ranging from the desperate, frenzied &ldquo;If you set me free, I will run&rdquo; on &lsquo;Morning Bird&rsquo;, to the more passive and desolate. In the haunting ballad &lsquo;Bring Me Home&rsquo;, when Adu sings &ldquo;My tears flow like a child&rsquo;s in need of love/I&rsquo;ve cried the tears/So let the tide take me, I won&rsquo;t fight&rdquo; while encircled by a crowd of swirling, menacing guitars, you can&rsquo;t help but believe her.
The sublime &lsquo;In Another Time&rsquo; is another high point, a bluesy lullaby whose soothing violins serve as a perfect counterpoint to the album&rsquo;s more fervent moments. The same cannot be said, sadly, for the languid, largely forgettable title track, which cannot be saved by its rousing drum beat, or the dull, plodding &lsquo;Babyfather&rsquo;.
Adu&rsquo;s voice is at its rawest on the album&rsquo;s most powerful song, &lsquo;Morning Bird&rsquo;, soaring above as a mournful, listless piano battles with frantic, pleading violins before slowly fading away. Sade Adu sings &ldquo;How could you?/You are the Morning Bird/that sang me into life&rdquo;.
Having become acquainted, and indeed rather fond, of this latest album by the, ahem, Morning Bird who, erm, sang me into life, I am finding myself increasingly eager to explore Sade&rsquo;s earlier efforts. Lovers Rock, mostly. Not Diamond Life. That shit&rsquo;s just traumatic.]]></description>
<link>http://www.rockfeedback.com/review/4533/sade-soldier-of-love-sony/</link>
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<title>Nebula – Camden Underworld, London – 12/2/10 [Review]</title>
<pubDate>Wed, 03 Mar 2010 12:00:00 GMT</pubDate>
<description><![CDATA[Nebula are a stoner rock band rolling in from the Palm Desert Scene of west-coast USA. Made up from fragments of crazy fuzzy stoner-punks Fu Manchu, this lot have been stalwarts on the stoner scene for many a year. Fronted by the brilliantly named Eddie Glass, we once again welcome this power-trio back to sweaty rock hub the Camden Underworld on a bitingly cold February night. There has been some jiggling around of the elements that make up said trio, the current line-up now features bass-plucker Tom Davies and Jimmy Sweet (seriously, who comes up with these names??) on drums.
The audience, who are hogging the &lsquo;late twenties to late thirties&rsquo; age bracket define perfectly the type of music consumer who want the cool, edgy appearance of rock music-fan whilst still having the ability to hold a solid job and a girlfriend. As Nebula creep onstage almost unnoticed and jump straight into their first song, the audience meander over out of curiosity and from that point on are held in Nebula&rsquo;s sticky web of fat riffs blended in an overdrive sauce, drizzled over a jazzy-but-tight set of rhythmic spare ribs.
The beauty of stoner rock is that essentially it is just a loosely regimented jam session, and one of Nebula&rsquo;s most endearing (and enduring) features, is that no matter who is in the band at any given time, the chemistry and understanding between all three members is both electric and mesmeric. Glass, sporting a dashing pencil moustache and a groovy purple waistcoat, seems lost in his own cosmic haze during songs. Audience interaction is minimal and efficient, but you get the sense that these guys are actually just happy to share the music they so obviously enjoy playing together with a room of like-minded people (who are similarly enthused just to be standing/swaying in front of the music-makers).


Nebula have a surprisingly impressive back-catalogue to choose from, and they woo the audience with a selection of older and newer material including their &lsquo;hit&rsquo; &lsquo;Giant&rsquo; which appeared on a Tony Hawks game back when Playstations were cool, and a recent re-working of &lsquo;Sonic Titan&rsquo; which is lapped up by the excited throng at the front of the stage.
Naturally, fans of the genre will also be familiar with other Palm Desert scenesters, the most prominent of which are Kyuss. And inevitably, comparisons will be made between the two. And fortunately for them, Kyuss are, for the time being at least, buried under 6 feet of sand dunes. While the core theory behind both bands are the same &mdash; playing bluesy, unaffected overdriven rock music on dusty old equipment to anyone who cares to listen &mdash; Nebula come across sounding more like a bastard child of Nirvana and Orange Goblin who&rsquo;s been doped with Ritalin. Which in no way is a bad thing!
No doubt, Nebula will continue to record, tour and jam with a laissez-faire attitude to it all, just content to be given the platform to rock out in public. No, they won't be playing Wembley Arena anytime soon, or anytime in the future. They know that, and so do their fans. And neither party gives a toss.And thatis their unique charm, one that shines with integrity and credibility, and brings the music scene a big fat, fuzzy injection of passion.]]></description>
<link>http://www.rockfeedback.com/review/4534/nebula-camden-underworld-london-12210/</link>
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