M+A Win Glastonbury Emerging Talent Final

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London and Italian duo M+A won themselves a mainstage slot at Glastonbury Festival last weekend (5th) along with a £5000 prize from PRS Music.

The night saw many impressive acts take to the stage, with stand out names including The Black Tambourines, Hero Fisher and Izzy Bizu, but the ruthless nature and unconventional voice modulation of the winners helped bowl over both the crowd and judging panel.

Check out a video of the winners doing their thing here:

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GLASTONBURY EMERGING TALENT LONGLIST REVEALED

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Glastonbury Festival have announced a longlist of 120 unsigned acts who could get the chance to take a mainstage slot at this years event.

The list chosen by forty of the top UK’s bloggers will now be whittled down to a final eight, who will then be invited to play the live final at Pilton Working Men’s Club next month.

Furthermore as a judge we’re delighted to announce our three selections, Hero Fisher, Bloom and Hurdles.

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ONES TO WATCH: 2014

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A brand new year, and everybody’s wondering which bands are going to be the Tom Odell, the Chvrches or the Sam Bailey of 2014. Only joking, I’m sure nobody cares who wins X-Factor these days; I even had to do a google search for the purposes of that opening line. Anyway, digression over, here’s the acts we believe will have a great 2014 (without the aid of a grotesque talent show).

Findlay

Findlay is a stripped back, hard hitting, rock and roll extravaganza from Manchester, we should all check out this young lady in the coming year. Despite possessing a vocal style reminiscent of Karen O, I dare say that Findlay’s style is more visceral than even the Yeah Yeah Yeah’s raucous first album.

With an E.P, ‘Greasy Love’, out last year and a stonking Reading Festival performance behind her, we suspect Findlay could be coming to a sweaty gig near you.

Standout song – Your Sister (warning explicit!)


PAPA

PAPA hail from that most plastic of all the American cities, Los Angeles. So where does this very British sound come from? Maybe this has something to do with drummer/vocalist, Darren Weiss’ fascination with the Clash, in particular their positive relationship with American culture. I guess these guys are like the opposite of the Clash then.

Confession time, we have cheated a little bit. PAPA released their first album, ‘Tender Madness’, last year. So even though they’re a bit of a 2013 band but we think there’s still more to come from the lads this year. Their sound is subtlety anthemic and perhaps we could see them illuminating the unsettling darkness of the UK charts in the next 12 months?

Standout song – I Am the Lion King


Catfish and the Bottlemen

Without question the busiest band on our list. During the last 12 months Catfish and the Bottlemen have been touring their brand of explosive and honest indie rock all over Europe. And making a name for themselves the good old-fashioned way, by spending outrageous periods of time living in their van playing to anybody who will listen anywhere.

It’s paying off and their van/house will be rolling into Bristol in late February for a gig at the Louisiana and we predict they could be moving into a more spacious van/house very soon.

Standout song – Pacifier


Well there it is. These are the three bands we’ve somehow chosen from the plethora of talent that are sure to have a great 2014. Even if these guys don’t have such a great year, they’re still sure to sell more records than Sam Bailey next Christmas.

Words: Chris Bilko - http://www.bristolbeatsclub.com

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GLASTONBURY LAUNCHES ETC COMPETITION

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Once again Glastonbury Festival are offering new and unsigned artists from across the UK and Ireland a chance to play a mainstage slot at Worthy Farm this Summer.

The entry window will be open for a week only, from January 20th until the 27th and applicants will be able to enter through the official Festival website here. With previous winners including Stornoway, The Golden Silvers and The Subways, the saying ‘once in a lifetime opportunity’ has never sounded more apt.

We can further announce that Charming Man will be helping sift through the initial entries alongside 40 of the UK’s top music writers. This will form a longlist of 120 acts, from which Michael and Emily Eavis will face the difficult task of making a shortlist of eight, who will be invited to a live final at Pilton in April.

Check out a video from 2013′s winners Bridie Jackson & The Arbour here…

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CRUSHED BEAKS UNVEIL NEW SONG

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Crushed Beaks have dropped a live version of new song ‘History’, along with the news that the duo will be heading out to Rome to record their album next month. The track doesn’t derail from the nasally sound heard on last years EP Tropes, but it is certainly enough to keep us biding our time in wait for that album.

Get listening here..

 

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LIVE: WHITE DENIM

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Words: Juliette Motamed

Swirling, mesmerizing jams, psychedelic bluesy riffs, a bassist with fingers faster than a flash of lightning, who else could it be but White Denim? Fresh off the back of album release number six – the jazzy “Corsicana Lemonade” – I stood waiting in a sold out crowd at the Fleece to see this hypnotic band in action. Before the support act had even begun, a duo next to me began a heated discussion, both of them enthusiastically affirming that White Denim as a band have one of the tightest instrumentals they had ever experienced live. I privately raised an eyebrow and decided to judge their brash claims after I had seen the band play.

The support were a band called “Syd Arthur” playing a short, technically complex set, laced at intervals with an electric ukulele solo. Although obviously skilled musicians, there was something slightly too twee about the band, and so I was left (slightly impatiently) waiting for White Denim to make their appearance. And appear they did. White Denim opened their set with a swagger and a bang, starting off with the summery, upbeat rhythms of “Anvil Everything” a perfect choice, immediately putting a hazy smile on the faces of the majority of the crowd. This was immediately chased by the building, funky tempo of “I Start To Run”, which was then followed by the heavier riffs of “Corsicana.” White Denim’s set was characteristic of their musical style, with experimental jams in almost every song, which although made for a fantastic musical texture, was perhaps slightly too dense at some points, leading me to become slightly distracted. My attention was however, recaptured with the more brawny tracks such as “Shake shake shake” and crowd pleaser “Pretty Green”.


The skill with which they handled their impressive back catalogue of six albums, made for a confident set, and brought me back to the insistent conversation of the duo I mentioned earlier. The tightness of the band as a musical unit really was striking, with almost every single song being delivered with the precise blow of music exactness that left me stunned. As a live band, White Denim really do go for the jugular. It goes without saying that White Denim are skilled performers, but there was something that left me wanting more after the gig, almost as though the excessive jamming in the middle of each song alienated the audience and prevented any kind of musical closure. Regardless, White Denim’s technical brilliance means that despite these drawbacks they are forgiven. It truly was a gig as captivating as their music.

7.5/10

Check out more from Juliette right here.

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INTRODUCING: JINGO


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Article by Scott Hammond-

Though based in London, progressive pop 4 piece Jingo are very much a band whose inception lay within the bright lights of The Big Apple. Born out of two friends’ intrepid decision to embark upon a spontaneous Summer of music in New York City, a subsequent falling in love and the galvanisation of a community of like-minded souls, the quartet has experienced an eventful seven months since officially forming in February 2013. With five singles already released, a debut gig as support for Blur’s Graham Coxon and a feature on the band soon to be appearing in FHM, it is definitely an exciting time to be in a band by the name of Jingo.

The story begins when Jack Buckett (Guitar/Vocals) first met Joseph Reeves (Drums) at the time just when the former was entertaining romantic notions of going on an adventure and playing music in New York: “Joe was just out of a job, looking for a new band and loved New York so it was a no brainer,” Jack tells me. “We went out and just had the most wonderful summer in Brooklyn meeting new artists on a daily basis, artists better than we’d ever seen, and with an attitude towards community and making music that we had never really experienced before.”

Originally playing as a duo under the name of Third Cortez, it was during this period that destiny brought forth a transatlantic affair of the heart and Jack met and fell in love with American girl Katie Ng. Inspiring him “beyond measure,” Jack and Katie spent the next year travelling back and forth between the UK and New York before getting married and settling in London. Jack and Joe’s two man project was then dismantled but with Mrs Buckett now on board and armed with considerable vocal and keyboard talents, the path to what was to become Jingo clearly lay ahead: “After Jack and I got married and the disbanding of Third Cortez, it was almost a natural progression to form this band,” says Katie. “We know each other so well musically and otherwise.”

Inspired by the sense of community and proclivity to unearth local talent gems during Katie’s time running an open mic night in a warehouse in Bushwick, Brooklyn, Mr and Mrs Buckett decided to run a sister open mic session called Cable Street Electric in Limestone, London. It’s during one of these Monday night sessions that songwriter Sahil Batra walked through the door and subsequently impressed with his musical abilities. Recruiting him as the 4th member of the band, Batra became the final piece in the Jingo Jigsaw although Katie offers the concession that “Sahil is a singer/songwriter and pianist who we sort of forced to pick up the bass when he joined.”

The full formation of the band now in place, things then started moving at breakneck speed. For a London group just starting out, a debut gig appearing on the same bill as Graham Coxon is certainly not something that could be described as orthodox. So how does one achieve the coup of appearing alongside the Britpop guitar legend for a very first public performance? “Every once in a while, as well as the open mic night, we do charity gigs at another space,” Jack explains. “The first one we did was at Mother London advertising agency in Shoreditch. To cut a long story short they loved the night and subsequently asked Katie, myself and a few other awesome acts from our night to come back for their next charity night whereby it would be just us guys and Graham Coxon. Timing was on our side; we told them we had a new band and asked if we could play as Jingo.”

Certainly an unconventionally illustrious start for a new band, Jingo’s decision to launch their career together with two debut singles is similarly atypical; “As Katie previously mentioned, it was a very natural process putting this band together and as a result songs started flowing very quickly,” Jack informs me. “It quickly became very important that we were able to introduce ourselves to everybody in more than just a live format so I taught myself how to engineer, mix and produce and we got the first three ‘complete’ tracks down right away. I guess I feel that too few young bands put enough focus on how they sound within the comfort of people’s homes as well as how they do on stage.”

With the duel release of “1Q84″ along with “Same Without You”, one is presented with early evidence of the eclecticism of their songs. The muted guitar chops of the former track’s bridge herald in an energetic and mischievous power pop chorus while the gentle piano intro and brooding, heartbroken lyrics of the latter provides a clearly disparate sound. This diversity is never more transparent though when listening to later release “The Matador”. Beginning with a heavily latin/flamenco flavoured guitar intro and instrumental breaks throughout, it also contains rushes of fuzzy Jack White-esque electric guitar at the choruses. The music is almost innovative in its variety.

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