26 June 2012

Yucky Slime

Most people won't like this. It's not the best way to start a blog post, but it's true. There's lo-fi, there's noisy, and then there's Yucky Slime bringing it to a whole new level. For those that can handle the fidelity (these demos were recorded in a shed...) and the feedback and the shouting, though, there's lots to love about the London band. For instance: it's fun, it's urgent, it's exciting, it's energetic, it doesn't really give a shit, it'll make you want to jump up and down and spin round round round, and - much like Jay Reatard or Wavves - below the noise you'll find some ace hooks and melodies. Plus, I can rarely resist a sing-along "wooh-ooh-ooh-ooh" (see: 'Battlegasm').

Again, most people won't like this. But then, most music is shite and this isn't, so who cares?

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20 June 2012


Undoubtedly the best perk of writing about music is that bands send you their songs. What makes it even better is when something you have low expectations for turns out to be ace. "A 'noise pop punk' duo from Serbia? Okay..." I thought. But it turns out that VVhile are almost as good at selling themselves short (some might call it being modest) as they are making music.

Their songs are noisy, punchy, catchy, scruffy, in-your-face, care-free and, most importantly, fucking excellent. It reminds me of first album Japandroids and it makes me want to punch the air. Listen to songs below and download a free four-track EP from bandcamp. And someone, please bring them over to the UK for some shows.

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19 June 2012

Yola Fatoush - Celine

Starting out as what could be the intro to an M.I.A. song, London two-piece Yola Fatoush's 'Celine' turns into something far more dreamy and ethereal as it progresses - blending experimental electronic beats with delicate vocal layers to interesting and strangely trance-inducing effect. It's taken from a 7" due for release through Parlour Records on June 25. Here's hoping the other three tracks to feature on the EP are just as good.

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18 June 2012

King of Cats

"The eccentric creativity of Daniel Johnston with the voice of a dying cat" is how I recently described the sound of King of Cats for a gig listing (although the second part of that description was duly edited out) and, for a rushed one-liner, I think it gives a pretty decent idea of what to expect from Oxford/Brghton-based 19-year-old Max Levy. With a guitar in hand and his unique and oddly effective voice, Max crafts interesting and intelligent - if slightly weird - songs that feel honest and born out of a need to just make music.

And his SoundCloud page is certainly testament to both his urge to write and write and write and his, let's call it, 'unusual' nature - with over 30 tracks penned and uploaded in the last 12 months, with titles ranging from 'Zombie in a well nailed coffin' to 'I stink of human feces'. The most recent of his numerous recordings are set to be released through new DIY label Reeks Of Effort (a label collective run by members of Joanna Gruesome, Playlounge, YRRS, and more) and I'm absolutely in love with them. Seldom does a man and his guitar sound so interesting and compelling - really good songs with vocals that I really enjoy. Listen for yourself with an open mind below, or stream the whole thing on Reeks of Effort's bandcamp.

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5 June 2012


Judging a band by one song alone is a bit of a risky business. Granted, judging them on two recordings isn't much better, but hearing that second song does give you a better feel as to how they sound, as well as easing any fears of a lack of consistency.

I first heard London's Entertainment when they sent me 'You're Still In Me' a month ago to the day. Apparently only a demo, it's that same kind of distorted, fuzzy pop we've been hearing (and, indeed, I've been blogging) a lot of in the past few years and - for a band who barely seemed old enough to have even decided upon a name - it was certainly a strong introduction with a really nice chorus.

And last night came 'Shine' - more of the same in terms of the noisy, 90s-ish, guitar-led sound but already a step up in quality, it's a really assured sound for a band so young. And I'm always a sucker for the "oohs". Hear both tracks for yourself below.

Edit: fixed SoundCloud embeds.

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