fleetwood mac

Swim Against the Tide: An Interview with The Japanese House

Among the collection of highly anticipated albums to be released this spring includes the debut record from The Japanese House, the solo project of London-based Amber Bain. The dream-pop and electronica signature of The Japanese House is one of the blossoming sounds on dynamic indie label Dirty Hit Records, and Bain took some time to chat to Exeposé about her upcoming release Good at Falling, her European tour and the sounds which inspired hers.

Exeposé: I first became aware of your music when I saw your open for The 1975 on their UK tour in December 2016, how have things changed for you since then, musically or otherwise?

Amber Bain: I guess since then I’ve done a lot more touring, finished an album and released another EP. It’s just grown really, with new material and the fan base.

E: How have you found working with Dirty Hit and their roster?

AB: I love it! I’ve been with Dirty Hit since I left school, so I’ve spent my entire adult life working with them and they’re the best people to work with. I find it really hard to even comprehend being on a label that doesn’t give you freedom, because I just don’t see the point of not being able to do exactly what you want to do. If you don’t have the freedom to express exactly what you want to express, I don’t see how that’s rewarding for anyone.

E: Thinking about your style, it encompasses electronica and dream-pop and seems to have a really contemporary feel to it, and brings to light the likes of MUNA and Shura – who would you say has influenced you, musically?

AB: I’m actually wearing a MUNA top right now, they’re my good friends! I’m not consciously influenced by anyone because I don’t have the thought of ‘I want to sound like THAT’, as I think what I want to sound like is completely different to everyone else, which I think is what most people strive for. Of course, everything I’ve listened to and loved has become a part of me and how I view music, or become part of my metre in the way I judge music as being good or bad. My favourite artists are probably Fleetwood Mac, Kate Bush, Bon Iver, Talking Heads – I’m also really influenced by my friends and music that I’m around. When you care about someone, and they make something, and you love that, that obviously affects you deeply, so MUNA are probably one of my favourite bands, as well as The 1975. Being around people who are special in that way is inspiring.

MUNA are probably one of my favourite bands as well as The 1975

E: I found the story behind your stage name really interesting (the moniker stems from a childhood trip to Devon where Bain posed as a boy for a week and drew the attraction of a local girl, who was later heartbroken to learn of Bain’s identity), particularly the androgyny aspect – what was it about that that was particularly appealing to you?

AB: I don’t think The Japanese House was free of gender. I had to think of a name, and I didn’t want my own name because I don’t think it’s very cool – or maybe I just don’t think my name is very cool! Or I think it’s cooler to have a name – I tried to think of things that had happened to me that had a story behind them, and searching endlessly because it’s a pretty daunting task. In the story, there’s a part of the story where I’m dressed as a boy and the girl in love with me is really upset because I’m a girl, but that doesn’t necessarily mean that The Japanese House is an androgynous project, I identify as female and I get it quite a lot, people assume that I’m transgender or androgynous, and I find it hard to define androgyny. Am I androgynous because I wear jeans? Sometimes I find it very hard to see why people think I’m androgynous and what androgyny is – maybe it’s because I can have a low voice if I want to, and didn’t have a photo at the time and people assumed that because I wasn’t flaunting my femininity in everyone’s face that I wasn’t female, and I think that’s interesting! But The Japanese House is just music – that doesn’t mean I’m genderless; all music is genderless in a way.

all music is genderless in a way

E: Speaking about your album title then, Good at Falling, what was it that inspired that name?

AB: It was a video game I was playing, called Thomas Was Alone, and it’s a pretty depressing video game about a square having an existential crisis and he goes through the game and each level and questions why he’s doing it and his reality whilst he’s going through it. I found that really interesting. There’s a narrator who says at one point, “Thomas was extremely good at falling”, and I just found that line really heart-breaking. It’s literal in the game, this little square is going through these levels and it’s almost like a joke because he doesn’t need to do anything to fall because he’s good at it. Then I started thinking about that and how actually quite sad that is, the oxymoron of being good at falling. I started thinking that to repeatedly fall and be good at it, you have to have kept on getting on. Falling can also mean some many things – falling in love, falling out of love, metaphorically on your face, literally on your face, failure, loss of yourself and loss of control, and to master the art of fucking up basically, and having a lack of control. It’s what I strive in order to learn how to deal with things. I was in a time in my life where everything had fallen and I didn’t know where I was. It’s a sad but optimistic title I guess, and it encapsulates a lot of the feeling of the album.

Falling can also mean some many things: falling in love, falling out of love, metaphorically on your face, literally on your face,

E: How have you found the process of making an album rather than an EP?

AB: It’s longer! It’s been great, I’ve loved making this album. I think it’s been more immersive, it’s a bigger thing to create so it requires more thought. I was away for longer, and had a lot of time to think about what I was doing and be completely immersed in it. With four songs, you can kind of get away with running around London and going to the studio here and there, but with this one I was in the middle of Wisconsin for six weeks, then in Brussels for three weeks, then Oxford for two weeks. So it was intense, but fun.

E: How are you feeling about the album’s release? Is there a track in particular that you’re excited for people to hear, or are you excited for the whole project to be released?

AB: The whole project I think, I can’t pin it down to just one song! Also because two songs have already been released, which is the most daunting part, the first couple of songs. I just can’t wait for it to all be heard, I change my mind about my favourite song on the album all the time. I listened to it for the first time in a couple of months a week ago on a plane, and I’m just really proud of it. I think it’s really good!

E: I really like both tracks so far and the video for ‘Lilo’, which is quite powerful.

AB: Thank you, it was a moving video to shoot really.

E: I bet – so preparations are ongoing for your European tour which kicks off next week – do you find there’s a different response to your music in the rest of Europe?

AB: Yeah, it’s a smaller response. It’s harder to break Europe, in a way, but the fans I do have there are very loyal and lovely. But in comparison to America, it’s not as quick – that’s good. It’s good to have a humbling thing where you do a tour and worry if anyone’s actually going to come!

E: That’s good! I see the pre-sale for your UK tour began this morning, so an exciting few months ahead!

AB: Yeah, there’s lots of touring this year, which good, I used to hate touring!

Good at Falling is out on March 1^st, on Dirty Hit Records.

Live Review: Darwin Deez @ Thekla Bristol + Interview w/ Darwin Merwan Smith

On Wednesday 3^rd of October, Darwin Deez took the stage at Bristol’s Thekla to perform their new album that came out late August entitled 10 Songs That Happened When You Left Me With My Stupid Heart. This being their fourth album it was interesting to see the journey they had made from their first album. Darwin later admitted to me, after asking him about this journey, that there was no progress since the first album, only change. This “change” is evident in Darwin’s increasing use of a synthesizer and the fact that he has cut off all of his infamous curly hair…

In terms of the live performance, I don’t think I’ve ever been to a gig where the artist sounds exactly the same as they do recorded. From the opening song, The City, to his last, The World’s Best Kisser, and then a double encore (calm down Darwin!), the vocals were impeccable and the energy from the band was contagious. I very much enjoyed the random dances that the band would suddenly whip out in between songs, which, in fact, seemed not very well rehearsed and appeared to come out of nowhere. In terms of the audience, the turnout was pretty big and fans closest to the stage were singing along to all of the lyrics. In particular, Darwin called out to a young girl who was singing along with her eyes closed and said to her “I’ve been trying to make eye contact with you for this entire song – are you an introvert?” I think it’s nice how he interacted with his fans, and especially with Thekla being such an intimate venue it made it easier for him to do this.

I loved existentialism though, Nietzsche. Every 18-year-old boy loves Nietzsche.

I was very lucky in being able to interview the rather eccentric Darwin in the upstairs bar in Thekla, and in between him taking swigs of my own gin and tonic, he answered my following questions…

How are you finding the UK?

It’s not cold. I thought it was funny when I saw a solar panel off of the motorway. I mean a solar panel in the UK? Not really. Because it’s a bit cloudy isn’t it?

How is the tour going? What other venues have you performed at?

Tour is going good but Caitlyn isn’t going to do the US part. The shows have been good though. Brighton last night – really good but low ceilings though – I banged my head a few times. I’m pretty tall. I don’t know how tall I am in your language. Actually, I’m 6”3. Is this an interrogation?

So, the first song I heard of yours was ‘Constellations’ which I believe was around four years ago. I was wondering what your progress has been since then?

There’s no such thing as progress. Change but progress, no. Progress is a story about change. All there is is change.

So, what’s changed?

Everything and nothing. Things changed. I’ve started using more synthesizers. I’ve wrote some songs on the keyboard. Tim wasn’t the drummer when we first started. That changed. (At this point Darwin starts flirting) That’s a nice ring. But your whole outfit is jammin’. You’re just at the top of your game fashion-wise. For me personally, I’m not on the top of my game. I’ve done this stuff before and I’ve gotten better results.

So, when were you ever at the top of your game?

First Record.

Do you write all of your own songs and where do you get the inspiration from?

Yes, I steal from other songs. Millionaire by Kaliz, ideas about syncopation from Deerhoof, chords from Regina Spektor. Steal, steal, steal, steal. Although cover your tracks, no one will know (until they read this article, Darwin).

Who would you compare yourself to as a band?

The Strokes. But not as huge or as consistently good.

I’ve heard you being compared to Fleetwood Mac – what do you have to say about that?

I mean there’s not two of me and I’m not in a love/hate relationship with myself. Only love. It’s the way we are all are. Hate is an illusion. Only love is real. Everything is love. Hate is love.

Who is one person alive or dead you’d like to have tea with?

Hendrix. Oh, what a good hang that would be if he wasn’t too stoned. It would be amazing to have his attention because he’s an introvert. Introverts are the most attentive to others. Did you see him on the Dick Cavett show? He was so quiet, on stage he’s so loud visually and audibly but then you sit him down and he’s a quiet potato. (Starts sing “a potato flew around my room” to the tune of ‘Thinkin Bout You’ by Frank Ocean).

Are you going to release another album in the future?

Yeah, I think so. Life is so long. Most definitely. Could be wrong though.

What’s your favourite song out of all the ones you’ve released?

‘You’ (laughter). ‘Chelsea’s Hotel’ that’s a good one. I like ‘Flirting’ (more laughter). ‘Constellations’ I love, I ripped that one off of Coldplay’s song ‘Clocks’ – the same chords, the first two. From the new album? I think ‘Getaway’ or ‘The World’s Best Kisser’ – I love her – she really is the best kisser. The shittiest kisser I ever kissed was probably the person before her and the person after her too.

What did you mean in ‘The World’s Best Kisser’ when you said you wanted to change a girl into a leaf?

I was thinking about her. She taught me how to love someone. She said, “don’t try to change me”. We all try to change our partner. Can I just change 3% of you and then I’ll be happy? Then she was like no, don’t change me at all.

Did you go to university?

Two years, philosophy but then dropped out. I didn’t want to become a professor. I started to become practically minded. I loved existentialism though, Nietzsche. Every 18-year-old boy loves Nietzsche.

When you’re not doing gigs what do you like to do?

I walk. That’s what I learnt from Nietzsche, never trust a thought that comes to you while you’re sitting down. He wrote all of his books while walking apparently. When I walk I can think through my thoughts and my head feels clearer. Lots of people in America go to the gym or do yoga. I find that exercising the mind is better.

What advice would you give to an aspiring artist?

Go open mic night every week for a year. That’s what I did. And now I’m here.

Thank you very much, Darwin.

Thank you.

Overall, Darwin was definitely a pleasure to watch live and I’m glad I got to meet such an unusual and eccentric artist. Judging by the usual gap between each album it might be a while until we get to hear his next one, but I’m excited to see his further progress – sorry I mean change. Anyway, after sitting down whilst writing this review, and in regard to both Darwin and Nietzsche, I think it’s time for a walk.

Music is magical, but what about the album artwork?

Sometimes an album cover can be its defining feature, especially if the music delivers on a grand scale. The artwork can be what makes an album truly epic and instantly recognisable. Many of the best selling and most acclaimed albums can be easily defined by their artwork, whether it is just a portrait or picture of the artist or band or a painting of something seemingly random.

Can we imagine Abbey Road or Sgt Pepper without their era defining cover art?

The first of two unique Andy Warhol album covers in the late 60s- early 70s, is the Velvet Underground’s debut album ‘The Velvet Underground and Nico’. Warhol was a close friend of Underground’s guitarist and singer Lou Reed and the banana logo of this album is instantly recognisable by Warhol’s brand of pop art. It immediately makes the album an intriguing listen, which would revolutionise the sound of the late 60s and early 70s.

‘What’s the Story Morning Glory’ by Oasis, captured a moment in time and was arguably at the epicentre of the Britpop movement that captured many people’s attention in the mid- late 1990s. The cover features two men walking down Berwick street in Soho, a street famous for its independent record shops. It is an eerie picture, featuring a bustling street almost deserted aside from the 2 figures in shot. For me, it captures something of the moment in time it is from and is almost as iconic as some of the tracks on the album including “Wonderwall” and “Don’t look back in Anger”.

artwork can be what makes an album truly epic and instantly recognisable

‘Let it Bleed’ by the Rolling stones, features another iconic piece of album artwork, featuring a uniquely bizarre cake part tyre, part canister part pizza, topped with icing. In front of the cake is a record; the cake itself was made by legendary TV chef and author Delia Smith. The album cover is instantly intriguing, being much less straightforward than the Stones previous covers and hinting at a change in sound, as it is quite a dark record and one of their most famous from the 60s. The Stones have often had iconic artwork with Andy Warhol. The jeans cover of their album, ‘Sticky Fingers’ is also an instantly recognisable cover as well as the silver painting that fronts Tattoo you.

Pink Floyd’s era transcending masterpiece, ‘Dark Side of The Moon’, which would revolutionise the sound of Progressive Rock, is one of the most recognisable album covers in pop-music history, with heavy emphasis on a pryzm of light. It reflects, I feel the nature of their work and fits with the tone of the album as a whole and its otherworldly feel.

Another album from the same era, which has a recognisable piece of cover art, is Elton John’s seminal album ‘Goodbye Yellow brick Road’. The cover presents an image of John in a jumpsuit and heels, about to enter the yellow brick road from the Wizard of Oz. It is a colourful and striking cover that mirrors the glam and rock n roll feeling generated by the songs on the album, which contains classics such as ‘Bennie and the Jets’, the title track and ‘Saturday nights alright for fighting’.

‘The Joshua Tree’ by U2 has come to be their defining album by many, with a heavy focus on America and influences from a plethora of genres including Blues, country, folk and rock. The cover features the four band members, at the iconic Joshua tree location, in the U.S landscape, which for me evokes the epic feel of the album and its range of influences.

Record Store Day 2018

11 Years of Record Store Day is happening on Saturday, April 21^st. Cue your 5am alarms, get your coffee ready to go, so you can head out the door bleary eyed to try and beat the rush to get your hands on a limited release from your favourite artist. This scene of events will most likely be my own morning before I make the journey to my local record store at home to stand in the cold. A little shout out to Relevent Records, who opened their doors at 5am for the early birds, including myself, for coffee and food supplies (I really did need coffee in an IV at this point to quote Loralie Gilmore). With this cheerful image in mind, we can actually get a little excited about some of its releases before we delve into some of the problems of corporatisation that RSD brings about. After launching in 2007, Record Store Day’s cultural impact has been on an upward trajectory, with across the nation avid music fans pausing their usual Saturday schedules in place of vinyl frenzy. This year, over 240 shops are participating across the country, marking the highest ever. What can you expect this year from the release? Well, the full list is up on the official website which I recommend anyone checks out, as not everyone’s tastes are going to match what I passionately write about for the next a hundred words or so. With 500 releases on offer, RSD have curated a mix of the weird and wonderful.

First up, David Bowie, David Bowie. Released for the first time on a heavyweight red and blue coloured vinyl this 2LP features both the mono version of the album and the iconic stereo version. This is guaranteed to be snatched up pretty fast, so queuing at 5am may be a recommendation from myself. From Bowie we move to Duran Duran. RSD is offering us their self-titled album, never before released on vinyl, on a stunning 12″ black record. Iconic names fill this RSD release, with Suede’s self-titled album celebrating its 25^th anniversary in a silver vinyl edition. David Sylvian is also on the cards, with a first-time vinyl release of Dead Bees on a Cake on white vinyl, offering fans four non-album tracks to indulge in. Reeling through a few names, there is Bob Dylan & The Grateful Dead’s Dylan & The Dead, Mogwai’s Ten Rapid (Collected Recordings 1996-1997), Public Service Broadcasting’s People Will Always Need Coal , Car Seat Headrest’s Twin Fantasy (Mirror To Mirror), Sufjan Stevens’s Mystery Of Love EP and Courtney Barnett’s City Looks Pretty/Sunday Roast.

There a few pretty unique releases including Chet Baker’s Jazz On Film…Tromba Fredda OST on a 10″ etched vinyl, Fleetwood Mac’s Tango In The Night Alternate on a 12″ black vinyl album and Madonna’s The First Album on a vivid picture disc. Some live albums occupy the list including Jeff Buckley Live at Sine on a stunning quadruple LP vinyl and The National’s clear-printed Boxer Live In Brussels LP. RSD is offering some quirky film and TV soundtracks including Hitchcock themes from Vertigo/North By Northwest on a 7″ coloured vinyl, and for Lynch fans, two Twin Peaks Soundtrack vinyl from the Limited Event Series, both on picture discs. A release I am particular keen on, is Daughter’s Music From Before The Storm, due to the fact this is its first physical release of the soundtrack. When I heard that I was already invested, yet the pressing has also been released in a clear vinyl and gatefold, which seems darn special. My enthusiasm continues to peak at the thought of finding the Soft Cell 12″ double sided extended version of fan favourite, ‘Say Hello, Wave Goodbye’, alongside The Cure’s Torn Down picture disk release, which offers sixteen new mixes by Robert Smith himself, in a die cut gatefold design.

the problem with this resurgence is that it appears to encourage and legitimise gimmicky releases

All this news for myself and my record player is pure joy. Yet, though RSD’s promotes itself as a day enhancing music culture, it is of course also a major corporate event with a range of issues, regarding independent record labels unpresented and independent record stores not celebrated as much as they should be. Furthermore, with vinyl’s increasing popularity and ‘insta-worthy’ status, the problem with this resurgence is that it appears to encourage and legitimise gimmicky releases. In a Guardian article by Rupert Morrison from last week, who owns the record shop Drift in Totnes, he argued that RSD projects a confused ethos as odds with the spirit of independent community retailers. While RSD encourages people to stand outside their local record store at an unearthly morning hour, it fails to maintain these customers, with the stock from RSD not always representative of the usual independent store’s stock. Morrison argues that “Record Store Day should simply be the big annual celebration of these [independent] organisations and what makes them so special”. For example, places such as Relevant Records in Cambridge, or Spillers in Cardiff, are unique and curate their own identity within the independent music sphere, which should be celebrated. RSD is the day for record shops- for independent record shops. Yet, it appears to have transformed into ‘Vinyl Day’. Despite my personal enthusiasm, of the possibility for a few new special edition vinyl to add to my ever-growing and over-spilling shelf, it is tinged with a sense of confusion over RSD’s ethics. Perhaps I’ll get chatting with the person stood next to me at 5am in the queue regarding these issues.

Album Review: Courtney Marie Andrews – May Your Kindness Remain

For some, being rated as ‘midway between Dolly Parton and Whitney Houston’ by the NME might be a little daunting, but bohemian Arizona singer-songwriter Courtney Marie Andrews seems to take it in her stride. With her fourth record recorded in just eight days and released today, May Your Kindness Remain is an album countless fans and critics both sides of the Atlantic have been waiting for this spring.

Before the record is even playing, its intimately vintage artwork suggests it should be a classic record of the same era as Fleetwood Mac’s iconic Rumours; a loved heirloom of an LP passed between generations decades on, yet there is nothing outdated about Andrews’ signature. Despite being only 27, she has spent over a decade touring and producing self-produced albums, resulting in a polished sonic which sounds like it belongs alongside the likes of Joni Mitchell and Patti Smith.

hard to believe this is a record from 2018 and not a hazy summer of the mid-1970s

Title track ‘May Your Kindness Remain’ preludes the record through a track dripping with raw emotion as Andrews’ vocals carry the song over layered percussive instrumentals and striking guitar notes; its poignancy means it’s unclear to tell if “may your kindness remain” is a wish or a plea as the song builds up to its climax. In terms of tone, ‘Lift The Lonely From My Heart’ maintains the mood set by its predecessor, yet it’s crafted with such skill it’s hard to believe this is a record from 2018 and not a hazy summer of the mid-1970s. Consequently, it’s clear to see this is a record set to become an instant classic with fans of Andrews’ influences such as Bob Dylan, Neil Young and their contemporaries.

‘Two Cold Nights In Buffalo’ kicks off a little more upbeat, showcasing the atmospheres Andrews is able to evoke and play with. Portraying ‘the gentrification of American cities’, the singer evocatively depicts a city of contrasts, where she notes “those yellow city lights accent the gutters and the rats” on her way to visit a loved one. With a brief but sparking guitar solo between verses, it’s proof Andrews is on a streak of success with the album’s tracks so far.

surprising for the listener to hear such honesty on such an idyllic record

As the record heads to the end of Side A with successive ‘Rough Around The Edges’, an honest self-critique of Andrews where she opens up and uses the song’s title to describe herself, it makes for a sincere and frank verbalisation of how the singer sees herself. It’s surprising for the listener to hear such honesty on such an idyllic record. ‘Border’ plays as though it ought to be the soundtrack to a blazing midsummer afternoon with its gorgeously psychedelic organ trails (perhaps a slight ‘Like a Rolling Stone’ homage), before ‘Took You Up’ returns to the slower, rawer echoes of the record’s previous numbers.

‘This House’ dabbles in the indie folky blend Andrews has sewn into the album until now, before ‘Kindess of a Stranger’ seeps in. Nestled in the core of the album, it’s a deeply perceptive ballad, of which Andrews has said that it was written ‘after some legendary musicians took their own life….and how even the smallest amount of kindness can save you’; it’s a breath-taking spin on the theme of depression.

Penultimate ‘I’ve Hurt Worse’ reflects on the idea of being in love with someone flawed, as “we love who we think we deserve”; it could be interpreted as another, more satirical account of Andrews projecting her worries about herself onto someone she loves. ‘Long Road Back To You’ is a strong album finisher and also the record’s longest track at just over six-minutes. Its repeated, almost ethereal vocals sign off the album perfectly, on a record which slips by blissfully but is one which will certainly have caught the attention of critics and fans new and old upon its release.

Sounds Like the 70s: 40 Years of 1977’s Best Albums

As the Eagles gear up to belatedly commemorate Hotel California’s 40^th anniversary, it is worth looking back at some of the other fantastic work released by a slew of bands across a range of genres. 1977 is also the year the world lost “the King” Elvis Presley at the age of 42. Whilst Exeposé have covered 1987’s musical treasures, 1977 had a wealth of gems for music lovers to enjoy.

1977 saw punk take off with the acclaimed debut of The Clash released in the spring, having only been recorded in the February. Whilst The Clash doesn’t contain many of the band’s biggest hits, it showcases much of their sound and was a ground-breaking work at the time of release. It is ranked at 77 on Rolling Stone’s 500 greatest albums of all time list.

In keeping with debut albums, Talking Heads debut Talking Heads 77 was also released in September 1977, containing one of the band’s signature songs, ‘Psycho Killer’, like Blondie, the band were able to create a sound that was an amalgamation of several genres.

Other gems cropped up frequently throughout 1977, one of the most notable is without doubt Fleetwood Mac’s Rumours, which is both one of the biggest-selling and best reviewed albums of all time, with many of its singles such as ‘The Chain’, ‘Go Your Own Way’ and ‘Don’t Stop’ still receiving significant airplay, it paved the way for Fleetwood Mac to become one of the biggest bands of the 80s.

Bob Marley and the Wailers’ Exodus was another one of the year’s highlights, containing several of their biggest hits including ‘Jamming’, ‘Waiting in Vain’, ‘One Love’ and ‘Three Little Birds’. In 1999 Time magazine labelled the album as the best of the 20^th Century, and it is still much loved to this day, over 35 years on from Marley’s death. The political overtones of the album were much admired and the strength of this album showcases Marley’s song-writing prowess and what a unique musical vehicle he and his collaborations with the Wailers were.

The Stranger by Billy Joel is one of my favourite records from 1977 and indeed one of my favourites in general; it covers a fantastic range of genres from the rocky title track, the up-tempo opener ‘Movin’ Out’ to the classic ‘Just the Way You Are’ and the epic ‘Scenes From an Italian Restaurant’. Whilst not as poppy as 1983’s An Innocent Man which contained ‘Uptown Girl’, this album contains several of Joel’s biggest singles as well as some memorable album tracks and shows his dexterity as an artist and how he took influence from a number of genres, with soul and jazz influences frequently on display.

1977 David Bowie, was arguably Bowie at his most experimental, having released Station to Station in 1976, he followed this up with two offerings in ’77, Low and Heroes. Low, whilst containing hit single ‘Sound and Vision’, is a particularly experimental effort, emphasised by tracks such as ‘Warszwa’ and ‘Speed of Life’. The title track from Heroes would, of course, go on to become one of Bowie’s biggest hits, however there are few other notable tracks on the record and indeed ‘Heroes’ didn’t chart particularly highly, with its highest chart placing coming last year shortly after his death.

Queen’s News of the World confirmed their status as one of the all time classic rock bands and contains several of their biggest stadium anthems, ‘We Will Rock You’ and ‘We Are the Champions’, whilst initially not as well received as A Night at the Opera or A Day at the Races, it foreshadows Queen’s transition to mainstream pop/rock in the 80s and is a beloved record by fans, and indeed arguably one of their most important.

It’s worth concluding with Hotel California, which although released in December of 1976, is having its 40^th anniversary commemorated this year by the band with a deluxe reissue and concerts to go alongside. I find a highlight on this record whenever I listen to it; for many it’s likely to be the title track, with its lyrical mysteriousness and legendary duelling guitar solo. For some it might be the riff-tastic ‘Life in the Fast Line’ or the more pop-friendly ‘New Kid in Town’. At present I absolutely adore ‘The Last Resort’, which I feel one could interpret in many ways; it’s a swirling epic, with Don Henley commenting that it is about how man is destroying the environment, a theme as important now if not more so than it was 40 years ago when the song was recorded. Along with many of the records released in 1977 this one has stood the test of time and cemented the Eagles’ reputation as one of the great American rock groups.

Exeposé Turns 30: The Best Albums of 1987

Thirty years ago, in 1987, actor-turned-politician Ronald Reagan was President of the United States, Margaret Thatcher occupied 10 Downing Street having secured a third consecutive victory for her government and the first issue of Exeposé was hot off the student press. Cinema-goers flocked to see Dirty Dancing, and Michelangelo, Donatello, Leonardo and Raphael, perhaps better known as Teenage Mutant Ninja Turtles, had made their cartoon debut on television. Yet among other seismic events which shaped the 1980s, 1987’s music scene arguably had one of the longest-lasting legacies of the year, and not just on popular culture. In a year where Madonna, Whitney Houston and Bon Jovi were household names and global stars, many of the year’s critically acclaimed releases are still important records today and continue to evoke and inspire their listeners, with the following among the best.

1) Fleetwood Mac – Tango in the Night

A decade after their 1977 breakthrough Rumours, 80s electronic and pop hooks had carved their way into the band’s trademark sound. With over 15 million copies sold and recognised as the last studio album from the band’s classic lineup, Tango in the Night spawned some of the group’s most-loved singles. ‘Little Lies’ and ‘Everywhere’ perfectly symbolise the decade’s sonic influence on Fleetwood Mac’s signature, yet still feature enough of the group’s originality and innovation to form a record adored by fans old and new.

Top picks: ‘Isn’t it Midnight’, ‘Big Love’, ‘Everywhere’.

2) George Michael – Faith

Whilst those unfamiliar with Michael’s music might raise an eyebrow at the inclusion of an album whose title track is known throughout the globe, its prominent status reflects the record’s success, which launched George Michael as a solo artist. Fresh out of Wham! and a duet with Aretha Franklin, the record saw Michael win a cache of awards and notably the first by a white artist to reach the number one on the Top R&B/Top Hip-Hop Albums Charts. With its R&B and funk-tinged singles and lyrics mostly focusing on Michael’s relationships at the time, it marked a new start and phenomenal fame for a mature artist who had not yet celebrated his twenty-fifth birthday.

Top picks: ‘Hand to Mouth’, ‘One More Try’, ‘Kissing a Fool’.

3) The Smiths – Strangeways, Here We Come

With its title a reference to the former name of Manchester’s high-security prison, the final record from indie quartet featuring Morrissey and Johnny Marr saw the tensions between the two reach a head as the group had split up before the album’s release. At the time of the record’s creation, Johnny Marr had begun looking for other influences, notably the Beatles’ White Album. Certified gold by the British Phonographic Industry and spending seventeen weeks in the charts, Morrissey and Marr feel the group’s swan song record is their best together.

Top picks: ‘Rush And A Push And The Lands Is Ours’, ‘Stop Me If You Think You’ve Heard This One Before’, ‘Last Night I Dreamt That Somebody Loved Me’.

4) Prince– Sign o’ the Times

Three years after debated magnum opus Purple Rain, Prince’s first album since the disbanding of The Revolution, Sign o’ the Times is Prince’s most critically acclaimed record and embodies a variety of styles, such as funk, soul and electro. With opening title track a sober commentary on political and social issues in American daily life and across the globe, its lyrics feature sombre and evocative lines such as “sister killed her baby ‘cuz she couldn’t afford to feed it/And yet we’re sending people to the moon”; it’s no surprise Prince was inducted into the Rock and Roll Hall of Fame several decades later.

Top picks: ‘Housequake’,’It’, ‘Starfish and Coffee’, ‘U Got the Look’, ‘If I Was Your Girlfriend’

5) INXS – Kick

Australian rockers INXS struck gold with their sixth studio album which preceded a sixteen-month global stadium tour. The best-selling album from the group with reported sales almost at the twenty million in 2012, the album is recognised by critics worldwide as ‘rhythm rock perfection’. Touching on pop rock, alternative rock and new wave, Kick is filled with infectiously snappy hooks and sharp lyrics which at times conflict themselves in songs covering topics from romantic intimacy to apartheid.

Top picks: ‘New Sensation’, ‘Need You Tonight’, ‘Never Tear Us Apart’

6) Depeche Mode – Music for the Masses

A record which contributed to Depeche Mode’s launch into prominent success, and produced by a recording engineer who had previously worked for Tears for Fears, Music for the Masses is a sparkling example of Britain’s sonic in the late 80s. Littered with electro notes and drum machine beats which form a framework for the tracks, this record paved the way for 1990’s Violator, which features some of the group’s biggest tracks such as ‘Enjoy the Silence’ and ‘Personal Jesus’.

Top picks: ‘Never Let Me Down Again’, ‘Strangelove’, ‘Behind the Wheel’

7) Pet Shop Boys – Actually

Having met in an electronics shop in London in 1981, former architect student Chris Lowe and former music journalist Neil Tennant, or Pet Shop Boys, have since sold over fifty million records and are three-time BRIT Award winners, having released a staggering forty-two Top 30 singles. After the success of their debut release, Actually has been loosely marked as a critique of Thatcherism, sublimely told through synth-pop and dance pop, and recorded just before Thatcher’s third electoral victory.

Top picks: ‘What Have I Done To Deserve This?’, ‘Heart’, ‘It’s a Sin’

8) The Cure – Kiss Me, Kiss Me, Kiss Me

The record which helped to launch The Cure in the U.S. and across the globe, Kiss Me, Kiss Me, Kiss Me is the seventh album from the group and received high praise from the music press upon its release. With The Cure prominent figures in the early 80s emergence of gothic rock, this album features one of the group’s most well-known singles, ‘Just Like Heaven’, in addition to Robert Smith’s instantly recognisable vocals and perfectly layered instrumentals.

Top picks: ‘Why Can’t I Be You?’, ‘Just Like Heaven’, ‘One More Time’,

The top picks selected from each album can be heard in our Spotify playlist, ‘Exeposé Turns 30: The Best Albums of 1987’.

Remember This? Fleetwood Mac’s Tusk

When you think Fleetwood Mac, you think Rumours. And who could blame you? That record redefined rock and is teaming with breakup anthem after breakup anthem, each more ‘fuck you’ than the last. Almost anyone could relate. As such, one couldn’t be blamed for entirely missing the band’s follow up album, Tusk.

The fact that this album even exists is a marvel in itself, because after all the affairs and drugs that culminated in the creation of Rumours, you might expect the band to decide to close up shop on a high (quite literally). But not only did they keep at it, they came back with a hugely experimental double disk.

The tracks on Tusk range from mellow, to punk-inspired, to guilty, to downright confrontational, a range of emotions that are rarely quite so well-encapsulated on a record. Tusk opens with the soft, mellow Over & Over, a lullaby-like track that could put you straight to sleep, and is immediately followed by The Ledge, which stands in stark contrast to the previous song, with its guitar-heavy, punk-influenced vibe. The album also features the almost laughable Not That Funny, which listeners can’t help but smile at due to its doo-whop sound contrasted with overtly agitated, confrontational lyrics.

I could present hundreds of convoluted arguments as to why Tusk was and is entirely underrated, but they won’t fit into the word limit for this article. So, instead, I’ll tell you what it all boils down to: Tusk had an impossible task when it comes to following up Rumours, so the true fineness of the record was overlooked. However, I will say that had Tusk been the breakout album of an undiscovered band, it would have been hailed as a triumphant debut redefining its genre.

Review: Isle of Wight Festival 2015

Isle of Wight Festival 2015, the new Glastonbury?

In 1970, an excess of 600,000 people surrounded Afton Down, after the declaration that, given its commercial incapacity, the Isle of Wight Festival would be free. Hills were climbed, fences broken down, and authorities denounced by a new age of revolution and human spirit. But like parents silencing a party, the Isle of Wight County Council Act was in place by 1971, inadvertently lauding 1970’s edition of the festival with the reputation of “the last great event”.

Jethro Tull, The Who, The Doors and Jimi Hendrix headlined this particular chapter of the festival’s history, before its 32-year hiatus. For Hendrix, it was to be his last performance before his death some 18 days later. On the 45-year anniversary since one of music’s biggest happenings, there seemed to be a huge effort from festival organisers to remember, pay tribute to and rival its predecessor, featuring and delivering on a line-up that must now surely put Isle of Wight as a very, very close musical alternative to the prowess of Glastonbury.

THURSDAY

Arriving early on the Thursday, the main stage (renamed Electric Church in honour of Hendrix) was closed off, allowing for exploration of the smaller and new stages, alongside the comprehensive line-up of late 70s/ early 80s talents to play the Big Top tent. From UB40’s Ali Campbell and Billy Idol to Geno Washington & the Ram Jam Band.

Campbell in particular got the crowd – packed far outside the tent – skanking to hits like ‘Red Red Wine’ and ‘Kingston Town’, whereas Idol performed with such energy that he blew the vocal mic halfway through ‘Rebel Yell’, and was left in comic anger, screaming into a soundsystem, with little being heard other than his overinflated ego. He cleverly used the technical problems as an excuse for an encore, where an electric performance of ‘White Wedding’ picked up his fans and – thankfully – his leather jacket, once more.

Then came room for exploration, which included dinner on a renovated old green bus, before heading to the new Strongbow Tree stage for upcoming London DJ Izzy Trixx. The walk back to the campsite that night was colourful itself, past other new stages Hipshaker and Electro Love blaring out Booker T and the MGs before being struck dead by the immense noise from the Hard Rock Stage, which was transformed from its predictable daytime ‘hard rock’ tendencies into a haven of old-time electro/synth-pop with DJ Rusty Egan, the drummer of former new wave outfit Rich Kids. Friday’s action didn’t kick off until 4pm, and the Thursday night vibes were contagious.

FRIDAY

When Friday eventually began, it was with an immense statement of things to come, both for the Derbyshire quartet The Struts and the festival. Their set was crammed with ‘those songs that you know but don’t know where from’, all executed with the charismatic mod-like energy of Luke Spiller, reminding of a camper Freddie Mercury. This energy was seduced, and broken, by Irish four-piece Kodaline, whose heartbroken lyrics were enough to sadden the most excitable dogs (see music video for ‘All I Want’). Next up was a return to the island for 90s rock icons Counting Crows, with a wonderfully diverse set from rock to ska to folk, including an emotional performance of ‘Colourblind’ (famed from the film Cruel Intentions) followed by ‘Mr Jones’, where “all of the beautiful colours,” gesturing to the growing crowds, “are very meaningful.”

Leaving the main stage for a while – preferring the prospect of tired feet and wasted money on fairground rides to even a small chance of seeing You Me At Six – we stumbled across part of an Australian family, the Germein Sisters, taking the Hard Rock Stage. Comprising a guitar, a drumkit and a cello, the trio saw arguably the biggest crowd that stage received over the weekend. Delivering an infectious blend of folk rock, with a lead singer whose voice cracks mid-note (harking back to The Cranberries), the trio’s only shortcoming in their UK debut was the chat between songs, reliant on clichéd “this one’s for if you’re a dreamer” or “for all the hard times”.

As the Germein Sisters left the stage, so did the weather climate confused by their Aussie accents, with torrential rain severely diminishing crowds for Friday night headliners The Black Keys, though ‘Lonely Boy’ and an acoustic ending of ‘Little Black Submarine’ inspired life into the drench masses, who opened perfectly for The Prodigy. Meanwhile, a set from the Hey Joe tent covered Mungo Jerry’s ‘Summertime’ and The Kinks’ ‘Sunny Afternoon’. It was funny. Predictably, the Big Top Tent saw a lot of action once more, providing great music and, more importantly, a roof. A great set from Visconti (producer/ bassist) & Woodmansey (drummer) of David Bowie’s band, performed the entirety of Bowie’s seminal album, The Man Who Sold The World. What the performance had in musical vigour was unfortunately contrasted by the comparatively lacklustre nature to Bowie’s iconic frontmanship. All faith was restored, however, when Suzanne Vega and Gerry Leonard came out to collaborate on the title track, for what proved a very successful opening night to their tour.

SATURDAY

Saturday started with emerging country two-piece Ward Thomas, as comical as it was impressive (including an ode to a town called Ugly). Then to another small stage called the Bohemian Woods, equipped for the brilliantly unusual “Cirque de la Quirk”, where the rhythmic charm of London quintet Keo & the Movement felt very continental. The centrepiece for the day was the festival’s work with Wellchild, for a Guinness World Record attempt of the most number of people wearing the same (Hendrix) mask in one place at the Main Stage.

The attempt was followed by the upcoming singer-songwriter James Bay, a definite crowd favourite, though not helped by basslines that could have, and did have, ‘Hold Back The River’ sung over every one. Then came Jessie Ware, whose stunning voice and audience interaction reminded strongly of a young Otis Redding.

The performances with real verve and liveliness didn’t stop from then on; first with James, opening with ‘Sit Down’, displaying an amazing showmanship, a Heisenberg appearance and dance moves that looked like a crab being electrocuted, before hurling himself into the crowd, surfing his way through ‘Come Home’. From veterans to newbies, the Big Top tent saw Foxes bounding across the stage with a mental crowd for ‘Let Go For Tonight’.

One of the festival’s overall highlights was an electric set by Pharrell Williams, an artist managed by the festival’s curator John Giddings. Giddings considers him a rock band, not a hip hop artist, and his set was testament to that belief, running around the stage, sampling old jazz standards and screaming out his songs so it was hard to forget just how revolutionary his music has been to the last five years of mainstream… Even during a controversial performance of ‘Blurred Lines’ (not condoned by Exeter’s Students’ Guild).

Finally on to the headliners for that night, Blur. God had taken his longest shower the night before, but the lack of rain cascading its way down from heaven put the audience in an audibly excited mood for the pioneers of Britpop. Their set began with a childish xylophone medley over the PA systems, playing ‘Greensleeves’ and the ‘Teddy Bear’s Picnic’, and then an hour and a half passed with their only hit played being ‘Tender’. ‘Parklife’ and ‘Song 2’ were the reasons the bulk of the crowd were there, and when they were eventually played, they weren’t. Damon Albarn’s hyperactive bounding energy for the most part transcended the mass feedback and occasional boredom during their set, which received a highly marmite treatment.

SUNDAY

The final day in Newport started with emerging Manchester outfit The Rainband, with a guitarist who was a former band mate of Peter Hook in Monaco (Joy Division, New Order). A sometimes heartfelt set, it lacked the energy of its “recommended by Liam Gallagher” label, although a final moment of water-bottle-throwing anarchy to end their set, missed the audience and hit the vocal mic, which plummeted into the pit almost knocking out the cameraman, to a backdrop of a very worried and cautious looking Rainband.

One of 1970’s headliners, Jethro Tull’s Ian Anderson, then played to a considerable crowd with wit and experience, playing new material he warned was suitable for those needing a lavatory break, and Bach’s ‘Bourée’ as another tribute to Hendrix. A ten minute recital of ‘Aqualung’ secured the dancing flautist as an act that was definitely not past his time. Rockabilly blues musician Imelda May offered an amazing ‘great to be alive’ spirit, with catchy double bass and trumpet solos making an impressive testimony for the state of Irish music.

A set by Manchester’s Courteeners was endured, while the festival’s atmosphere ashamedly fell in and out of being mistaken for Reading. At a festival headlined by Blur and Fleetwood Mac, it’s hard to judge bands in any other form than on legacy, and the Courteeners’ harmless array of indie pop will struggle to have one. The mood was recovered with back-to-back sets from Swedish sisters First Aid Kit and Scottish songwriter Paolo Nutini. Starting with ‘Lion’s Roar’ from their debut album, First Aid Kit lilted their way through a stunning tribute to Alabama country icon Emmylou Harris, ending with her song ‘Red Dirt Girl’. Nutini then introduced a band of eight-strong musicians alongside him, through a humbling set, sampling Charlie Chaplin’s speech from The Great Dictator: “You, the people, have the power to make this life free and beautiful”.

Paolo Nutini implored everyone to enjoy the legends. The legends were thence led out – fashionably late – by drummer Mick Fleetwood, following a week of cancelled shows due to illness in Birmingham and Manchester. Fleetwood Mac seemed to have a new life in them, from obvious delight and camaraderie at Christine McVie’s return. Starting with the thumping drumbeat of ‘The Chain’, the quintet went on to play hits from Rumours ‘You Make Loving Fun’ and ‘Gold Dust Woman’, alongside a thrilling rendition of ‘Rhiannon’ and a solo escapade for Lindsey Buckingham’s ‘Never Going Back Again’. I have never seen a version of that song sung with such defiance. Buckingham throughout was determined – it seemed – not to be forgotten. Meditating on change through Tango in the Night and encoring ‘Don’t Stop’, while Stevie Nicks’ voice has lost its tone, and all have aged, Fleetwood Mac are still one of the best bands to have graced this earth.

Michael Eavis sits down with his dairy produce, the year is 2016 and he has just attempted to sign Fleetwood Mac for the tenth successive Glastonbury. His butter and his cheese are of the highest quality, but sighing quietly to himself, says, “Kasabian again this year, lads”. Somewhere in the distance, the Isle of Wight Festival edges ever closer towards regaining its status as Britain’s best rock festival.

The only question that remains is, what can John Giddings and his friends at the Isle of Wight Festival possibly do to top this?

Tristan Gatward, Online Music Editor

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