Can Bon Iver live up to expectation with his self-titled follow-up to the celebrated For Emma, Forever Ago?
Having to write a live review on the fly, almost two weeks after it happened, from notes hastily scribbled, while packing to go to a festival will show us this is not the way to be. There's no time to go into great detail, to labour the point, to draw comparisons between George Lewis Jr's physical appearance (a little bit Prince, a little bit Morrissey), or the sound (a little bit Prince, a little bit Morrissey, albeit on a synth-sprung landscape). Twin Shadow, at least from this writer's perspective, has adequately filled the gap that LCD Soundsystem left by their absence, in making music that moves and is moving, that is confident without being arrogant, and is just too perfect for words.
With each successive show played in London growing in size from venue to venue, it’s a clear indication of the steady rise of this beloved Atlanta four-piece, and with Shepherd’s Bush Empire being sold out, it's their largest capacity UK headline show to date. For the ardent, precious fan, Deerhunter aren't your band anymore. The era of slipping into town for a small club tour is over, but from the staid, somewhat bemused crowd, Deerhunter's roaming psychedelic-shoegaze and mutant folk-pop are still an acquired taste, one that’s seemingly unlikely to assail the upper reaches of the charts like label-mates, The National.
The stakes are high on Deerhunter's 4th album. Can they beat Webcuts album of the year 2008, their own magnificent Microcastle?
A few nights before this Pixies warm up concert for Splendour in the Grass, I had a vivid dream. In it I was the tour manager or press officer for the band and they were being put up in a luxury hotel with a huge swimming pool which they were swanning around in and (in)famously not getting along and refusing to do the show. It ended with me giving them a “look all the great rock’n’roll bands are dysfunctional, but when you’re on stage for that hour and a half you come together, that's when you work, that's when you function!” speech. And then I drove them to the Zoo in a black hummer.
An hour in the company of The Big Pink is a sensory distorting experiment, and one that also questions your sexuality. It’s not a glam/gay thing, but there is a certain amount of homoeroticism about The Big Pink. The obvious sexual nature of the band name notwithstanding, and their record sleeves are all chicks and tits, but I think that’s to throw off the thinly veiled man-love shared between guitarist/vocalist Robbie Furze and bassist Milo Cordell.
Sounding more like a theme park ride than a band, Ariel Pink pulls off both with a little 70's funk and 80's new wave self-exploration.
20th Anniversary? Seriously? You're twisting my melon, man! Wait, wrong band...
With their fourth album My Maudlin Career Glasgow's Camera Obscura shifted further away from their indie pop origins to create their own take on Bacharachian orchestral pop and '60s soul contrasted against sparse country melancholy. Keyboardist and backing vocalist Carey Lander talks about joining the band, meeting Lloyd Cole, the orchestral and country elements in their sound and how they came to cover the Boss.
Riding high on the charts, The National have found a resounding voice where "High Violet’s loneliest, weightiest moments feel like shared sorrow."
One of the top records of the year that you never want to hear again? Merrill Garbus is Tune-yards and experimental lo-fi folk is the order of the day.
Having released one of Webcuts favourite albums of 2010, The Big Pink begin the new decade with another single, this time a reworking of album track "Velvet", set for a full commercial release on February 15th.
Well versed in the Bible John Darnielle's Mountain Goats new album doesn't actually require a religious bone in your body to enjoy.
Recently setting the stereo at Webcuts HQ on fire with their debut release A Brief History of Love, we speak to Robbie Furze of The Big Pink as he explains the power of love and offers us a brief history of this incredible electronic/shoegaze duo.
Deerhunter's willowy singer-guitarist and stand-up comic in the making Bradford Cox entered the 2Ser studios to trade words with Static's Chris Berkley about all things in the Deerhunter-verse.
Hot on the heels of Microcastle comes this warmly welcomed five track EP from Webcuts' band de jour.
To hell with good intentions - Future of the Left's second album blows everything else out of the water.
If the news makes you sad, don't watch it rather listen to Broken Records' dazzling debut.
Having caught them a few weeks earlier in London, it was like witnessing an entirely different band in the throes of conquering new territory and playing to new audiences.
I'd be surprised if the majority in attendance were familiar at all with Atlas Sound, but the crammed in masses of which Webcuts was one of the last to make the cut, were calling out requests that even Cox felt too obscure and unplayable.
Webcuts delivers the verdict on Deerhunter's recent Australian assault with reviews of Brisbane, Sydney and also the secret Atlas Sound Sydney show. Let the hunting begin.
The honeymoon of Marry Me is over for Annie Clark, aka St. Vincent, as she sets her gaze on the big stage in Actor.
Four albums in, Camera Obscura assess their career, wisely trading 'brilliant' for 'maudlin' and coming up somewhere inbetween.
How does Anni Rossi rock? Does she rock well? Well, no, not so much actually.
After the enticing invitation given on her 2007 debut album Marry Me, St. Vincent (née Annie Clark) had all possible suitors rushing out in a panic to be the first to buy a copy and profess their affections. As both real beauty and extraordinary talent seems on the wane these days, Marry Me was as
As Conor Oberst once proclaimed, "M. Ward for President". As far-fetched as it sounds, Oberst may have a point.
North America's finest show their charitable side with this awe-inspiring collection. Just call it "No Alternative Part 2".
Having just released one of the stand-out (and Webcuts approved) albums of 2008 with the awe-inspiring brilliance of Dear Science, Static's Chris Berkley spoke to Jaleel Bunton, drummer of Brooklyn's roof-raising TV On The Radio as the band embark on their American tour. Webcuts was on hand recently to see TV On The Radio debut their
4AD, 2008[rating:10/10] It's refreshing to listen to a band riding on a wave of no hype. No Myspace campaigns, no sycophantic hipsters attempting to crystal ball the next Vampire Weekend. Bradford Cox could probably walk into a bar anywhere and not get a second glance, and even then only for his rakish frame and elongated
4AD, 2008[rating:9/10] Brooklyn art/beat innovators TV on the Radio return with their third album, a soulful slice of inspiration and invention, moving away from the doom and desperation of 2006's Return to Cookie Mountain to give us their own potent and poignant sign o' the times. TV on the Radio's chief technician David Sitek once
For a long time The Breeders seemed to go the way of the Pixies. As both Deal sisters battled their demons, Kim with liquor and Kelley with drugs, attempts at reviving their careers in the late '90s proved disappointing. Returning with Mountain Battles, their second album since their comeback in 2002, The Breeders bounced back
4AD, 2008[rating:7/10] Stereolab were an essential part of the 90s and a flipside to the wave of angst-ridden guitar bands that characterised that decade. Influenced by obscure experimental and pop bands, Stereolab set about creating a post-rock avant-garde sound that would hold them in high regard with critics and music fans alike. Returning with their
We talk with Tindersticks keyboardist and founding member David Boutler about version 2.0 of The Tindersticks, the stunning new album The Hungry Saw, the re-issue of their back catalogue, Songs for the Young at Heart and more. It's been half a decade since the last Tindersticks album, Waiting for the Moon, a fine record and