Fuck 2016. You took Princess Leia, you took our faith in democracy and you took my guts away. Last year, I ranted about the crap music I hated in 2015 but things are different now. I look back over the past 12 months and, in between the hospital flashbacks and crushing pessimism for the future of humanity, there’s a handful of albums that I thought were brilliant. Here’s my Top 3. Continue reading
Digbeth’s Boxxed venue was adorned with the finest psychedelic, Triassic and yuletide decorations for another Sensataria event on Saturday. A diverse crowd combined people reliving past glories of the psychedelic age and a younger demographic trading on borrowed nostalgia.
At the nexus where Sabbath, Stooges and King Crimson meet exists II, the second album from aptly named Fuzz and one of the most exciting records to be released since their eponymous debut. Continue reading
Like all good progressive bands, Metric have a hugely broad range of sounds to draw on from their discography. None of their albums sounds quite like the one before it, and their live show is an odyssey through the different shades on their sonic palette. Continue reading
Last summer, I entered a writing competition to win a job reviewing gigs.
I didn’t win, and the review is available to view here, but I felt it wouldn’t be inappropriate to reprint it here for the sake of Root Fifth Blogtave‘s content quota.
If you’ve followed my social media channels over the past 12 months, you may have seen this already. Well, see it again! Continue reading
I’m more used to seeing Doyle Bramhall II in the role of Clapton’s right-hand man, carrying the bulk of Slowhand’s solo work and bringing his unique tone and feel to Clapton’s sets. This time, Bramhall himself is taking charge and sharing guitar duties with Rich Robinson of the recently disbanded Black Crowes. The contrast between Bramhall’s fuzzy, sixties-inspired tones and Robinson’s distinctly southern rock feel evoke sounds reminiscent of Clapton in the 1970s with Duane Allman, particularly thanks to the mixture of southern rock, Texas blues and gospel that recur throughout Bramhall’s original songs. Continue reading