Spark* Friday 28 September 2012
music.spark@reading.ac.uk
MUSIC 17
music
LIVE
Spark* takes itself to Richfield Avenue for our city’s essential festival giddiness-induced dancing/moshing/impromptu hand movements. Highlights tend to come from the debut Treats album, with set closer A/B Machines nigh on sending the retiring crowd into a chant of “Got my A machines on the table / Got my B machines in the drawer”, all while the Marshall amps are finally switched from on to off, with technical hitches an incomprehensible thing of the past.
NIKI AND THE DOVE Reading Festival Jamie Milton
No right-minded Reading University student can pass on the opportunity to take a 20 minute hike from the central station down to muddy Richfield Avenue, where hundreds of the world’s biggest bands unite for one alcohol-infused cause. Even £4.30 pints weren’t enough to put us off. Not even a fan with the word ‘KASABIAN’ tattooed across his forehead – seriously, this person exists - prevented us from having a good time. Below is a select pick of the best things Spark* saw at Reading 2012.
SLEIGH BELLS No matter how many Marshall amps you place on top of each other, you’re not going to discount the odd technical hitch. In fact, like the noise, chances of slip-ups are bound to be amplified, and so it’s not without surprise to have Sleigh Bells hampered slightly by dodgy sound from time to time,
and it’s a feeling of unparalleled ear-breaking pleasure when they do pull it off. A flock of bouncers gracing the front of the stage seem unnecessary when the group’s set begins. But by the end, each of the dozen is occupied with one crowd-surfer after the next, as those keeping on their toes get sucked into the fury and the intensity of such a magnificent wall of vicious, sexy noise. Alexis Krauss reacts to a blown speaker by telling the crowd “we want this to be the fucking best for you!” but when one side of sound suddenly flicks out in a splitsecond, barely anyone in the front gives a damn. By now they’re all too caught up in the frenzy that two guitarists - band member Derek E. Miller and tourmate Jason Boyer - provide with hints of a smile on their faces. Infinity Guitars shows Sleigh Bells at their face-slapping best, with Krauss’ backlit silhouette circling the stage, guiding the crowd into their own acts of
FEATURE
Following a vicious outpouring of mid-teens post Alt-J, triangle signs surrender and only a handful stick around for what could easily reckon as a potential Reading highlight. Malin Dahlström and Gustaf Karlöf regardless appear grateful of those that see sense in witnessing their sparkling Nordic pop, particularly as a handful becomes a steady flow of curious onlookers. The crowd is split between those that sing back every single word - not boastfully, more hushed and modest in appreciation - lost in the gooey glistening goodness of DJ, Ease My Mind and others who stand at more of a distance and take it all in. Niki & The Dove are a real sore thumb in this year’s line-up; not one single act comes close to providing such a magnificent feast of pop. The band’s set flows majestically, with the collision of Magnus Böqvist and Karlöf’s percussion a highlight. If you solely compare the set to the Alt-J en masse love-in that preceded, attention can wane. But it’s enjoyed best with eyes closed and the mind drifting in with the truly unique magic on display.
AZEALIA BANKS
It’s hard to tell whether Azealia Banks is treating this just like any other performance, or if she’s on the brink of losing it. She definitely doesn’t seem phased when greeted with a Dance tent full to the brim of a crowd of all ages; from ravers with whistles purchased from Magaluf, to the average punter with a pint in their hand, who for better or worse can’t help but get glued into what turns into a chorus of jumping idiots. Wonderful idiots. 212 quite naturally closes. The now-famed Lazy Jay sample gives way to the loudest scream of the festival encountered so far, with every hopeless attempt to rap along to every single word only adding to the fun. It seems those attending know their way around an expletive, and rarely will you hear the ‘C word’ screamed with such volume and gusto. Banks shrugs it off, pacing the stage with only the backdrop of her head-bopping DJ providing any distraction. As she swings from Van Vogue to Liquorice with nonchalance and ease, you almost deem her a little spoiled. This is the kind of reception every kid dreams of receiving. But then again, she’s merely acting as an assured entertainer. For all we know she could have exited the stage in floods of tears before calling her family back home. You wouldn’t blame her. The sheer scope of her fame was never more plain to see than in this cosy, sweaty Dance tent. It’s now just a case of waiting for this sought after debut album to cement her place in stardom.
GRIMES
The first time I heard Grimes call her music “future-pop”, I thought a little less of her. It all seemed pretentious, a little try-hard. But here you can see she’s speaking complete sense. Preceding act The Japanese Popstars provide the kind of performance any Dance tent crowd will be more than accustomed to. And by the time it concludes, only a few glowstick and facepaintaddled revellers head for the exit. Whether they’re ready for the transition from party music to future party music, is hard to say. This isn’t dance music, nor is opener Symphonia IX (my wait is u) anything to get people on their feet. This is more something to admire from a distance or stare at in awe, which a lot of Claire Boucher fanboys/girls seem to be doing throughout the entire set. But with the help of a topless male dancer and some free tshirts, the atmosphere is turned on its head. The strange purring figure (and really, it does look like he’s purring and pretending to be a wild animal, with his hand gestures) acts as a vanguard of strange interpretative dance. Once Oblivion enters its opening, distinguished notes, the atmosphere is suddenly soaked in a party atmosphere. There’s no coming back from it, and by the time Genesis and Phone Sex make an appearance, future pop has made its mark.
Siobhan Maguire has a close look at this year’s Mercury Prize contenders
Siobhan Maguire
The Barclaycard Mercury Music awards are an annual celebration of current musical talent around in the UK. Be it new artists, those who have been around for a while or simply epic live performances and gigs, the awards centre on commending the various mediums of British music. After months of speculation, the anticipated releases of the nominees for the 2012 awards were revealed on September 12. Twelve artists are up for the gong and for many the choices seem less eclectic than previous years. Among those nominated, there are some
surprises, most notably in the form of Plan B and his third album, Ill Manors. The record is a change in direction as a nomination, veering away from the standard ‘indie’ type choices. Plan B has been hugely congratulated on the record which seems to be so relevant in today’s society, delving into prevalent social taboos. Other celebrated nominees include female soloists, Jessie Ware (pictured, left) and Lianne Le Havas. Jessie shot to fame with her debut album, Devotion. She has well and truly earned her position in the industry with an identifiable sound and memorable songs. Lianne, much like Jessie is also more
than deserving of her nomination. A more up and coming artist, she has made her mark, being widely played and heard across the country. There is also an evident ‘folky’ vibe to the 2012 contenders for the Mercury Prize. Artists like Ben Howard, Sam Lee and Michael Kiwanuka have all come to the forefront to win the award and a pattern has evidentially emerged in their sound. Such a genre of music has proved majorly popular within the country over the past year and this is obviously reflected in this year’s awards. However, the nominations do not rid the more indie vibe entirely this year, infact they are caus-
ing a lot of anticipation. Bands including The Maccabees and their album, Given to the Wild, Django Django, with their eponymous debut release and Alt-J with An Awesome Wave are all up for the gong and rightly so. The indie staple sound evidently remains a force to be reckoned with. There has been some surprise at the exclusion of major artists like Florence and The Machine, however it is easy to see that each and every one of the nominees has been chosen for a reason. Infact the music world is dangled in suspense ahead of the ceremony, which will undoubtedly shock and excite as it does so year after year.