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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 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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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.


Check out more from Juliette right here.

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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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Audiophiles is a staple that continues to discover, discuss and support Bristol’s latest musicians and releases. After another year of monthly meetings, December will welcome the second annual Christmas party; set to take place over all three floors of The Louisiana (14th).

Four of the city’s finest bands are set to take over the top floor, that’s Seasfire, An Axe, These Colours and Evil Twin. On the ground level, Shanti Celeste and Ivor Wilson will be taking to the decks for DJ sets. There will also be live performances from The Crisis Project and Kayla Painter.

The most intimate of the three stages down in the basement will house Mary Spender, Kitten & Bear and a special guest to be announced on the day. The usual Audiophiles experience will be in place as they’ll be looking back on some key releases of the year. Tickets are available from Bristol Ticket Shop and Rise at a mere £7. Oh and remember, The Louisiana has Red Stripe on draft, party!

More info can be found right here.

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a3789456867_10-1 Our pals over at Counterpoint are doing wonders in exploring the teeming creativity of Bristol at the moment. This December (6th) their sister label Industria will be releasing the first in a series of four-track samplers aiming to unearth hidden and unsigned music in the South-West. The first sampler aptly titled ‘Winter’ is an offering of four starkly different tracks sitting nicely alongside each other. Featured on the disc are Diving Bell, Super Squarecloud, Tidy Street and Beowolf.

Each song introduces an engagingly individual sound, Diving Bell’s contribution ‘Icarus and the Radiator’ muscles up a touch of punk, with riddling basslines and an ever-dark thrashing climax. Super Squarecloud’s ‘Lolly Moon’ is edgy from the off, with splurges of heavy instrumentation clashing with fragile vocals nestled in patches of silence. ‘Mary Jane’ by Tidy Street is a humble fairytale of melancholy with every line doused in emotion. ‘Sirens’ by Beowolf rounds the release off, up starting with the haunting wail of air-raid sirens, then diverging into a brush of medieval tranquility.

The intention of this release is to bring to light promising new music, and with four unique and inspiring tracks, we’re already looking forward to the next one. The physical CD’s come with a Counterpoint assembled zine which includes information on the artists making up the release, but be quick because they’re strictly limited to 100 copies!

Click here to order now!

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Temples Thekla

                                                        Photo – Rhys Buchanan

The final date of Temples UK stint packs Thekla with paisley and leather, the capacity illustrating just how much excitement the band have wavered up this summer.

Ambling on earlier than expected at 8.45, the four illuminated figures linger under fringes and are keen to avoid eye-contact. Casually opening with ‘Sun Structures’, the middle-eastern guitar effect is a dwelling introduction of the Temples we know; rolling drums, drifting vocals, bit of synth etc. Without any haste or urgency it’s a starkly different scene to that of support ‘Telegram’ who filled their set with snatchy punk riffs and distinguishably Welsh vocals. As ‘Prisms’ is announced as the next song there’s an irresistible bellow of excitement, although only a B-side most are familiar due to the scarce amount of recorded material available.

Matching the hollow stares that are occasionally shot by frontman James Bagshaw the crowd gleam back with little movement. Despite the setlist not giving much chance for participation the band are still comfortable to probe us for a response. It’s not long until it comes though, for the teasing synth-line of ‘Ankh’ welcomes a bout of hip flexing. There’s a swift taster of unreleased material by way of ‘Sand Dance’, undoubtedly a track that will secure a place on the eventual debut album. ‘Colours To Life’ and ‘Move With The Season’ follow, furthering an enchanting spectrum of material, sodden with dream paced melodies.

Latest single ‘Keep In The Dark’ works with a real clarity in the live environment, and is also the first to welcome a rowdy air. Although the next words uttered by Bagshaw are enough to spark disbelief, “This one’s our last song, thanks for coming out”, thus bringing the fleeting forty-five minute set to a halt. The only track that could top off such a set was ‘Shelter Song’, which for many was the first taste of the Kettering boys. Murmurs around the room soon follow as an expectant crowd wait for more, in reality it’s easy to be lulled into thinking Temples have heaps of material to dazzle off, playing with such style they look like a conditioned act that have been around for years.

A tantalising glimpse of a band at the forefront of British music, It’s easy to think… if Tame Impala can head up the bigger stages, why not Temples? They’ll have to show us an album first though.

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