Liberal Conspiracy: Tory MP tries to get Ken Livingstone thrown out; will fail

This is hilarious.

The Spectator is carrying the exclusive news that Ed Miliband faces calls to remove Ken Livingstone from Labour NEC after ‘disgusting’ remarks

Ken Livingstone said that American foreign policy ‘fuels the anger’ that drove such young men (from Boston for example) into acts of terrorism.

I think there is a grain of truth in that, but a bit simplistic.

Nevertheless, Conservative MPs never miss an opportunity to get some publicity for themselves. Brooks Newmark MP has written to Ed Miliband this afternoon, asking the Labour leader to condemn the remarks and remove Livingstone from Labour’s National Executive Committee.


Ed Miliband should focus on the campaigning rather than getting side-tracked by opportunistic Tory MPs.

Perhaps I should jog rightwing memories with this:

MI5 repeatedly warned Tony Blair that war on Iraq would trigger a “substantial” increase in terrorism against the UK, former director-general Eliza Manningham-Buller revealed today.

She said that by invading Iraq, Britain and America had given al Qaeda a powerful recruiting tool.

“Arguably we gave Osama Bin Laden his Iraqi Jihad. So that he was able to move into Iraq in a way that he wasn’t before,” she added.

Ken Livingstone says what ex-MI5 chief said earlier, shocker.

via Sunny Hundal Liberal Conspiracy

God Is In The TV: Meursault, Found, Withered Hand at Edinburgh Liquid Rooms – 26/04/13

Put on as part of Haddowfest, even before a note had been played, on paper this was a fantastic gig featuring three of Edinburgh’s finest acts. And given the profile that both Meursault and Withered Hand now have – having headlined the much bigger Queen’s Hall in Edinburgh in their own respective rights- at this point in their respective careers it could be argued that this was an intimate gig.

Doors were at seven so I was aghast to arrive at twenty-past seven to find Dan Willson and his band well into their set. Focusing on new songs, they sounded brilliant, and when the long-awaited follow-up to Good News appears, don’t expect it simply to be part 2 on the evidence of tonight.

‘Hi, we’re Found…we think.’ Found have parted company with bassist Tommy Perman, but the new look, two-piece band are now trading in rather fine analogue electronica. Their most recent album, 2011’s Factorycraft saw them reaching new heights critically and commercially, so let us hope that they continue. ‘Bangin’ has been the description of their recent shows -and I would agree.

Neil Pennycook and his merry men take to stage with a reminder from the compere that they have been longlisted for the Scottish Album Of The Year Award, alongside obvious pals like Paws, Errors and RM Hubbert and commercial heavyweights like Calvin Harris and Emelie Sandé. To my shame, I hadn’t seen a full band show from Meursault before, but I’m in quite a hurry to see them again. If their third album, Something For The Weakened demonstrated that they had evolved from folk-meets-electronica (don’t you dare call them folktronica!), then live this is one step even further. Opening with ‘Flittin’ they show that actually they can rock -but on their own terms.

This is perhaps best demonstrated by ‘Crank Resolutions’ which live is more in keeping with the magnificent melancholia of The Blue Nile or Mogwai. It’s not to say that Meursault are a miserable band -live on stage Neil Pennycook is on fine form, and quite the cheery bloke. He even dedicates ‘Dull Spark’ to Oskar ‘who is four today!’ Between their first album in 2008 Pissing On Bonfires/Kissing With Tongues and the present there’s an impressive trajectory, and it will be interesting to see what Neil and co. do next. There will be an ever-growing crowd of observers waiting, too…

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via Ed Jupp God Is In The TV

God Is In The TV: Track Of The Day #260: Ascetic – I Burn

Here we have an Aussie trio who go by the name of Ascetic: They play post punk with more than a gothic overtone to it and their debut album, ‘Self Initiation’ came out earlier, making me a late arrival in hearing it. Glad I stumbled upon it though, for it’s a fine set of tunes – here’s one of them.


  • ascetic

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via TC God Is In The TV

Rocksucker: The Best of This Week’s Singles: Michael Molloy, Pastels, Neon Neon and more!


The Best of This Week’s Singles, as hand-picked and reviewed by Rocksucker, is surely – and let’s be honest here – the true start of your week. Even more so than Monday, or Sunday (for our friends over the pond). It’s when you’re at your happiest, kindest and most productive, at least as far as we’ve observed, which is testament to the endorphins-producing property of a particularly strong batch of singles. (Unfortunately, they cannot account for outdoorphins.)

Singles are also a great source of iron, vitamin D and whatever it is that makes your hair and nails look boss. Now, have yourselves a simultaneously earful of and butcher’s at the following…

Ground Pilots – “Castaway”

We loved previous single “A Billion Things” and this follow-up ramps up expectations for forthcoming debut album In the Way of the Oceans with a sublime rambler’s lilt somewhere between “Everybody’s Talkin’” and I Am Kloot.

And how do you make that even more sublime? That’s right: heaped vocal harmonies, pedal steel and a playful, ocean-based stop motion video. Deal resoundingly sealed, now bring on the LP!

Rocksucker says: Four Quails out of Five!

a quaila quaila quaila quail

Janelle Monáe feat. Erykah Badu – “Q.U.E.E.N.”

Queen? More like a lady Prince, at least on the evidence of this wibbly synthed mini odyssey. Erykah Badu must surely collaborate with a different artist each day, but she continues to choose her collaborators wisely. This is retro yet fresh, poppy yet clever and furthermore there are some right old nifty lyrics in there. “The booty don’t lie”, indeed.

Rocksucker says: Four Quails out of Five!

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Lars and The Hands of Light – “Time To Glow”

It’s this week’s least judgable book cover, folks! Tradition dictates that a man in sunglasses, cap and vest swaggering attitudinally through a cheap-looking video should be ridiculed, if not reviled; allow the initial cynicism to subside, however, and you’ve got a glorious throwback on your hands.

Twiddly John Squire guitar, hazy yet colourful production, ace two-part harmonies and a big chiming koto* riff…you might find yourself blurting out a “…yeah…” of approval. Promising stuff from these Danes, as long as they’re willing to mix it up a bit elsewhere.

(*Or whatever it is. We shan’t pretend to know our traditional Japanese instruments.)

Rocksucker says: Three and a Half Quails out of Five!

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Michael Molloy and Alex Evans – “Rise & Fall”

18-year-old Liverpudlian Michael Molloy was one of three people killed in the coach crash on the way back from last year’s Bestival, and this is the last song he ever recorded. Even stripped of its tragic context, “Rise & Fall” would still be moving: it’s got gleaming guitars, acoustic melancholy that quests where so many others labour, and a soulful baritone of a lead vocal that is way, way beyond its years.

We’re not letting emotion getting the better of us when we say that this is excellent stuff. Help take it to number 1, why not, because goodness knows the world could use a good one.

Rocksucker says: Four and a Half Quails out of Five!

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Neon Neon – “Hammer & Sickle”

You can check out our review of the album here, but we love Neon Neon so this demands inclusion irregardless. Great video too from Rob Schroeder, too.

Isolated from the album, “Hammer & Sickle” holds up rather splendidly indeed, even if it does mine melodic territory already covered by his excellence Gruff Rhys. It’s lodged itself firmly into our cerebral cortex, though, so we might just go the whole hog and throw an erotic banquet for our communist buddies.

Wanna come? It’s BYOB, but you have to share it.

Rocksucker says: Four Quails out of Five!

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The Pastels – “Check My Heart”

Blimey, look who’s back! It’s been sixteen years since their last album but this lightly fuzzy jangler sounds like they never left. Phrases like “original and best” are what spring to mind when holding this beaming, irrepressible melody up against the reams of decidedly flat-by-comparison imitators, and it comes across as if it was written in an impromptu fit of joy the moment that there sun came back out.

It is, indeed, liquid sunshine, and it comes with a lovely, cuddly video featuring an apparent cameo from Peter Schmeichel…

Peter Schmeichel lookalike

…and people drawing giant cocks on the pavement (as in the ground, not Malkmus and co.)…

The Pastels


Gorgeous stuff, welcome return, all of that.

Rocksucker says: Four Quails out of Five!

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The Staves – “Facing West”

Sailors, lock up your…er…selves: here be sirens! Those otherworldly harmonies elevate a sweet, understated strum into something really quite beguiling, and you get the impression there could be even better yet to come with a bit more lateral thinking applied to the music accompanying their stunning vocals.

Rocksucker says: Three and a Half Quails out of Five!

a quaila quaila quailhalf a quail

Tune in tomorrow for The Worst of This Week’s Singles!

The Best of This Week’s Singles: Michael Molloy, Pastels, Neon Neon and more! appeared first on Rocksucker. Visit Rocksucker for more music news, reviews and interviews.

via Rocksucker

Liberal Conspiracy: Dial M for Murdoch: a riveting read on the biggest media scandal of the decade

by Nicola Moors

“Gutter journalism had sunk into the sewer”, aptly describes the moment when it was discovered the News of the World had hacked the phone of a murdered schoolgirl.

Indeed no one was more shocked at the actions of the newspaper than fellow journalists.

Dial M for Murder opens your eyes to the depths that the newspaper, and News Corporation, went to in order to deceive the public, police and politicians of their criminality.

With the Lord Leveson’s report of his inquiry into press culture, practices and ethics now finished, you could be forgiven for never wanting to hear of phone-hacking, the Murdoch’s or News International again.

The tale of how the Murdoch’s, namely Rupert and James, and their empire single-handedly changed the face of British journalism is an infamous one. In fact, it’s a story so sensational that it would be, ironically, fit for the front page of tabloids like the News of the World.

From the closure of the 168-year-old to the resigning of several high-flying executives, including Rebekah Brooks, the chief executive of News International herself, this book tells it all and is simply a must-read.

Although many of the events told are already known to the public; the book gives a gripping account of the links between them and includes several revelations in the book. Ultimately immoral and unethical journalism is exposed throughout the scandal, however the trade’s positive points are also demonstrated – such as the persistent doggedness of journalists that never gave up investigating, despite threats of blackmail.

During the Leveson Inquiry, the Murdoch’s pleaded ignorance to knowing the extent of the phone hacking in their company – although whether you believe this is another matter.

Also during the Leveson Inquiry – which is delved into time and time again – Rupert is depicted a ‘doddery old man’. As the owner of a multi-billion pound empire, it’s safe to say that Rupert Murdoch is anything but doddery.

One recurring problem with the book is that Tom Watson, one of the authors and the Labour MP attacked by Rupert Murdoch’s organisation, has obvious bias against News Corporation – although he acknowledges this in the preface. ”But though the story is inevitably coloured by personal experiences, we didn’t want to overemphasize our roles”.

Tom’s close relationship in the ongoing saga means that he often confides personal facts to the reader, making it sometimes feel too much like a private diary, rather than an independent account of events.

Having said that, it’s a riveting read – as the events unfold, it’s difficult to put it down.

One piece of advice would be to take your time reading it; there are numerous people and events involved, so it can easily get confusing.

Nicola Moors is editor of University of Sheffield’s independent newspaper Forge Press, and a freelance journalist. She tweets from here.

via Guest Liberal Conspiracy

God Is In The TV: The Polygenesis Perusal #2

//Fiocz, Mishkin Fitzgerald, From The Mourning Of The World Project, Samba Touré and Wampire.

Glitches in the fabric of electronica, steam-punk theatrics, foreboding folkloric woes, dulcet tones from Mali and undulating Portland somnambulism; it’s time for another ‘polygenesis’ review round-up.

Rebecca Jade




//Fiocz ‘Social Cognition’ (Glass Reservoir)




The recently conceived Glass Reservoir label, whose various releases aim to ‘examine’ and pick apart the relationship ‘between electronic and acoustic sounds’, lay down their manifesto with the cryptic code moniker, analogue modular synth, composer //Fiocz: What better way to launch a commendable enough new venture than with an exiguous but highly effective exemplary sonic clarion call.

His debut outing for the label is a concatenate of ‘field recordings’, gathered from work, home and environmental surroundings, infused with both lingering sine and fluctuating square waves.

Using scientific, anthropological and mathematical references as oblique descriptions (Dysphora for instance, a sate of feeling unwell or unhappy), //Fiocz’s social cognitive movements crackle and pop with numerous bit crushing and reverb sonorous effects; constantly flickering between bouncing particles and off-kilter glitches.


Despite the electrical fog, many of the tracks slowly unveil vaporous harmonics and tetchy melodies. On the warping, ominous at first, choral ringing Disjunction, our composer shares the bill with Greek electro artists Zenjungle, who squeaks, what sounds like, a piqued accompaniment of strangled saxophone to the template effluence, adds a sparkle of diversity. And with the featured Joaquin Mendoza track Hypnagogia (the experience of the transitional states to and from sleep), that static-charged landscape swells with deep, deep wobbling bass notes and ‘bent-out-of-shape’ piano tingles (an ambient marriage between Mr.Ozio and the Aphex Twin).

Though human contact is kept to a bare minimum, we hear traces of radio transmissions and lost calls fro help from the ether: a last tangible link to terra firma.

Off to a blinding start, subtle as it is, the Glass Reservoir label promises to be an interesting hub for such discoveries.

Released 29th April 2013

Rating: 3.5 out of 5 stars


Mishkin Fitzgerald ‘Present Company’ (Dead Round Eyes Records)

Mishkin Fitzgerald

Seated in the Orthodox pose of a tormented saint; perched behind a throne of Cambodian bedecked skulls, Brighton’s Gothic siren, Mishkin Fitzgerald, looks like a quasi-Joan of Arc on the cover of her debut solo oeuvre.

Synonymous as the voice of ‘orchestral punk rock’ troupe Birdeatsbaby, Fitzgerald steps out on her own, albeit collaborating with the multi-instrumentalist and producer Forbes Coleman (Clare Maguire, Stereophonics, Audiobeach Studios) and featuring some guest appearances – She Makes War on the industrial, banshee operatic, Raise The Bar; a shrewd choice indeed.

Punctilious in delivery though theatrically dramatic, the bombast is stripped and directed through a less raucous soundtrack. However, that’s not to say fans of the band will be left lamenting, rather, surprised at their flame crowned singer’s vocal range and dexterity: from loft apparitional high coos to sobering displays of rejection.

Those haunted maladies and macabre strewn travails remain firmly intact, pushed if anything to starker extremes and evocation.

Musically, for every sad Baroque piano opus there’s a rumpus horror show – the heavy metal backed and ripped schlock, ‘goretastic’, Sugarknife proves a grinding Glam frolic – on this mostly, plucked, chiming and power-chord swaggering requiem.

Aimed, perhaps, at a wider demographic, Present Company liberally stalks Muse, Radiohead and, even, Pink Floyd. The title track itself is almost cinematic and Bondian in ambition, a showcase for possible future soundtrack work and another example of the dynamic Fitzgerald range!

Sophisticated with an ominous, mournful spirit, Fitzgerald’s pours her heart and soul into this impressive LP.

 If you happen to be in or around Brighton on the 1st May, then Mishkin, with fellow ‘femmefatales’ She Makes War, Apples & Eve and Emberhoney, will be holding an album launch at the Komedia.

Released 1st May 2013

Rating: 3.5 out of 5 stars



Samba Touré ‘Albala’ (Glitterbeat Records)

Samba Toure


Ideally the musicians of Mali would prefer to showcase their desert songs and dulcet tones under more optimistic circumstances, but the recent insurgency, now curtailed by former colonial masters France (with additional support from the UK), has shone a light on the troubled west African state.

Years of good work and hard worn research by a host of humble labels couldn’t have ever hoped to compete with the Azawad Bedouin tribes fight; hijacked by a horde of Islamist terrorist groups, which if left unchecked would have imposed a bullying culture far removed from the peaceable and musically tolerant form of Islam, practiced by a majority of the country’s population.

Compelled to speak out, a host of Mali’s great and good (Bassekou Kouyate, Fatoumata Diawara, Baba Salah to name just a few) have added gravitas to their praised sweet tribal blues, in defiance. Known for his work with the late Malian legend, Ali Farka Touré, Samba Touré is an amiable enough chap whose previous acclaimed albums, Songhaï Blues and Crocodile Blues, were more genial affairs, now shows his disproval with a grittier, riskier new protest, Albala.

Touré performs a measured response, though indignation is seething on the ‘well-travelled road’ song Fondora. Strewn by the unwanted obstacles of conflict, Touré harangues Mali’s less than welcome miscreants: “I say, leave our road/ All killers leave our road/Thieves leave our road, looters leave our road/Rapists, leave our road/Betrayers, leave our road.”

Albala – translates from the Songhaï language as ‘danger’ or ‘risk’ – is a darker, albeit lamentably so, LP. But so delicately melodious and nimble is the delivery that the cries of woe remain hymn-like and hypnotically diaphanous: the blues may have turned a deeper shade of forlorn, yet still sways with meandrous buoyancy and restrained elegance.

A traditional accompaniment from Touré’s regular band mates Djimé Sissoko (on ngoni) and Madou Sanogo (tapping out a suitable candour on congas and djembe), with guest performances from celebrated ‘master’ of the one-stringed violin, souk, Zoumana Tereta, and fellow Malian ‘neo-traditional’ singer Aminata Wassidje Touré is bolstered by effective guitar and keyboard layers from Hugo Race (The Bad Seeds, Dirtmusic, Fatalists). This subtle mix works wonders, giving the overall sound a mystical delta blues feel, resplendent with fuzz, wah-wah and wailing soul.


As Mali vanishes from the 24-hour news roll – hopefully because both France and the local government have successfully brought some kind of peace and resolution – we’re thankfully left to enjoy the enduring musical spoils.

Released 6th May 2013

Rating: 3.5 out of 5 stars


Various ‘From The Mourning Of The World’ (Dark Mountain Project)

From The Mourning Of The World


You can always rely upon London’s morosely adroit troubadour Marmaduke Dando to create, or in this case, gather together life’s most forlorn and resigned laments.  Squeezing the ‘last dregs’ from the barrel of despair, Dando’s own triumvirate imbued brotherhood of Bowie, Cohen and Walker template has produced some wry but sincere recordings; his Heathcliffian Surly debut a pensive, if heartfelt, raised eyebrow to the artist’s plight; romanticizing on John Donne toil and iconic Baltic ports of call.   

In-between work on his latest tome, Sweet Dregs, Dando has been tasked with curating a compilation of earthy protests and daemonic plight (collated from the ‘wild and uncivilised’) for the global-wide, Dark Mountain Project.

Previously collaborating with a network of artists and supporters to fund a trio of essays/stories/art and poetry anthologies, the not-for-profit organization is now hoping to release its first ever album through ‘crowd funding’.

The final artifact will be a lavish double-gatefold (with artwork design and execution by Rima Staines and Andy Garside) affair, and, rightly so, pressed onto heavyweight vinyl, limited to only 500 copies.

Certainly unique in its cast of featured artists, the darkly entitled From The Mourning Of The World collection doesn’t so much harangue as plaintively offer condolences to our desperate age (‘crafting new stories for a civilisation in trouble’).

Starkly stoic and troubling choices sit consanguine with jauntier, bawdry and wistful kooky balladry. Bleakly setting the scene, DRKMTR’s biblical augury The Wild Hunt, is a disturbing introduction. Describing in a somnambulant state the caustic pastoral landscape, bedecked with a ominous ‘pale horse’, ‘false prophet’ and creepy chthonian other, this tale sounds like a missing passage from Aphrodite’s Child’s ‘antichrist superstar’ 666 opus, and is thankfully the darkest it gets.


A series of less gothic songs follow in its wake; including The General Assembly’s pained sentiment to losing direction, Wildwood, and Rebecca Jade’s Cardigans converse with Fairport Convention, ditsy folk swooning Brother.

Keeping good company (of the acclaimed sort), former winners of BBC Radio 2’s ‘Folk Singer Of The Year’, Chris Wood (in 2011) and Jon Boden (in 2010) lend both Parisian accordion chic – on his Men Without Hats Georgian jolly, Beating The Bounds – and earnest wantonness – an alternative version of Boden’s Caesar, especially recorded for this album – to proceedings, yet shine far less than their peers.


Without parallel, the velvety ‘honeysuckle bloom’ tone of, inspired choice, Bethia Beadman stands out as the albums startling highlight. Vocally mesmerizing and compositionally assiduous, her resonating hymn like swoon, Georgia, is a drifting, opulent duet with REM’s Mike Mills and sounds like a long-suffering Joan Baez fronting Anthony And the Johnsons: oh yes it certainly stirs the soul!

Returning to more grounded, and ancestral pursuits, The Boycott Coca-Cola Experience meander through an ever-regressive family tree on the whimsical Nottinghamshire-located, Apeman variant, Mum.

Using an amusing set of leaps and bounds across time, our troubadour journey’s from the present incarnation of his mum back to the stone age: “Her mum was born in 2000 BC/Her mum was there when they were building Stonehenge for the first time/Her mum never saw the wheel.”

A paean to simpler, ancient communal times, our modest protagonist seeks a retreat, unshelling shellfish, surrounded by his tribe and partner on the Meden.

From the confrontational voice of dissent to bygone alluded scriptures, Dando’s astute ‘picks’ harmoniously merge in an almost uninterrupted flow.

Let’s hope that good work isn’t undone at the 11th hour, due to a lack of funds, though the quality is such that I’m convinced this darkly shaded folk collection will see the light of day.

If you’ve been affected or felt touched by this review –enough to pledge monetary support – then visit the Dark Mountain’s ‘giving’ page to kindly donate.

Released (if all goes well!) 10th June 2013

Rating: 4 out of 5 stars




Wampire ‘Curiosity’ (Polyvinyl)

Wampire Curiosity LP

It takes some effort to sound this languorous and amorphously adrift but Portland, Oregon (the west coast’s less contrived counterbalance to Williamsburg) duo Wampire deconstruct then re-assemble in a placable yet skillful manner this exact mood. Fellow ‘Portlander’ Jacob Portrait of the Unknown Mortal Orchestra, who not only produces but also offers up the odd lyric and melodic arrangement, helps the group obtain this meandrous nirvana.

Purposely ‘straying’ from a signature sound, the Germanic alluded, Wampire instead serve up a ‘platter’ of assorted Telstar surf twang, spooked echo-chamber organ, ‘undulating’ guitar arks and effete funk.

Appropriately entitled Curiosity, their debut indolently sways and wavers, drowned in a resonate fuzz of washed-out 80s reverb and dry ice. Despite this floating, untethered, nature the translucent melodies always manage to seep through, though the vocals remain obscured for the most part.

Redolent to the misadventures of Ariel Pink – especially on the spindly organ-led psych, funeral cortege The Hearst – and John Maus, Wampire liltingly sulk about modern angst whilst attempting to sex things up with carnal ‘come hither’ promises (the outro glitter shimmer of Magic Light and swooned Trains).

Ready to jolt expectations they loll about in an experimental waltz with the Rocky Erickson in ‘Laurel Canyon’ Snacks, and pogo to a subdued apache garage beat on Giants. They even recently covered Kraftwerk’s Baroque-electronic anthem The Model; extending the chiming classicism with hipster vibrations and

Nothing less than evanescent, even after numerous plays, Curiosity hasn’t exactly left an indelible mark; due in part to the intangible hazy force field of production, which is equaling a positive and negative: though for once, each bass note and bassline is at least audible and punchy. File under ‘perfect soundtrack for that imaginary esoteric John Hughes movie, circa 1985’.

Released May 14th 2013

Rating: 3.5 out of 5 stars


  • Rebecca Jade
  • //Fiocz
  • Mishkin Fitzgerald
  • Samba Toure
  • From The Mourning Of The World
  • Wampire Curiosity LP

The post The Polygenesis Perusal #2 appeared first on God Is In The TV.

via Dominic Valvona God Is In The TV

God Is In The TV: Peace – The Fleece, Bristol 22/04/2013

The hype surrounding Birmingham’s Peace over the last 6 months has undoubtedly led to a sold out audience at The Fleece in Bristol. Filled with a vast mix of ages, I find standing with the more mature ale drinkers a little more comfortable than the large portion of young girls, who were always to be expected at tonight’s show. I turn to my friend and ask him where Big Jeff is; a staple to any Bristol gig and a marker to a show worth seeing. He rightly informs me Big Jeff has ‘done his bit for Peace’ and the band is now too big to warrant his attendance. Heading to the gig tonight I shared a similar feeling and was full of both intrigue and skepticism as to whether the band could live up to the large NME pedestal they’ve been hoisted on.

Peace enter side of stage from their tour bus with Harrison Koisser sporting a very ‘friendly’ looking sailor’s top, clearly identifying himself as the frontman and detracting focus away from his Snape-like head of hair. The percussive backing sample of ‘Delicious’ kicks in and as the band begin to filter in their instruments it’s easy to feel excited about this act.

Pop-sickening ‘Lovesick’ sucks the student section of the crowd in early on with those at the front trying every attempt to be captured on the phone that has been fitted to Harrison’s guitar. The serene ‘Float Forever’ is full of youth and passion, inducing one of the biggest sing-alongs of the night whilst ‘Higher’ and ‘Toxic’ has the melody hungry crowd hanging on for those vocal hooks, warm chord changes and big choruses before raising a hand and forming the mosh pit. As the set unfolds I find myself shouting out 90’s rock and Brit-pop acts as Koisser brothers and Douglas Castle move through various familiar guitar tones and pre-sets. Noticeably ‘Scumbag’ verges on being a tribute to Nirvana whilst other parts of the set nod heavily toward bands such as Suede and Kula Shaker.

Highlights of the evening come in the form of ‘Wraith’ and ‘1998’ with the latter affirming for me that Peace are able to explore music as well as compose slightly formatted and predictable pop-indie songs. I have to admit though that my scepticism died early on in tonight’s gig. Peace not only soared through their debut album In Love, performing each track with energy and natural ease but they did it with real charm. Their persona on stage matched their loveable pop melodies and heading home after the encore of ‘Californian Haze’ and ‘Bloodshake’, I found myself singing along to what felt like my new guilty pleasure. I can honestly say I had a really enjoyable evening.

  • Peace

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via Andy Davies God Is In The TV

God Is In The TV: Slam Dunk Festival 2013 – Stage Breakdowns

Going to Slam Dunk Festival this year? Then you’ll need this!
Thinking of going? Then go get your tickets now, Leeds and Hatfield are already sold out!


  • 946745_600344676642446_969840012_n

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via Claudia Gronke God Is In The TV

Liberal Conspiracy: The Week mag illustrates white Boston terrorists as brown

The Week is a British magazine, with an American edition.

Its American edition this week illustrates the Boston bombers.

Note their skin tone: it isn’t white. They look brown, even though US authorities describe them as white.

I find this interesting because one would almost think the magazine wanted to pretend white people can’t be terrorists.

Here’s the cover on their website.

(via Brofiling and @Dem_Tilly)

via Sunny Hundal Liberal Conspiracy

Liberal Conspiracy: It’s official: a majority think the Tory economic plan has failed

A ComRes poll last night for the Independent makes quite a remarkable point.

According to ComRes, 58 per cent of people agree that the Government’s economic plan has failed and so it will be time for a change of government in 2015, while 31 per cent disagree with this statement.

Some 85 per cent of Labour supporters, 73 per cent of Liberal Democrat voters and 67 per cent of UK Independence Party supporters think it will be time for change in 2015 and that the Government’s economic plan has failed –as does one in four (23 per cent) current Conservative voters.

Furthermore, the public is already equally divided over whether the Tories should be given a chance to restore Britain’s economic prospects after 2015: 46% to 44%.

Some 68% of Ukip supporters do not believe the Tories should be given another chance, according to the Indy.

As I said over the weekend, the speed at which the Conservatives have lost credibility on the economy is extraordinary.

via Sunny Hundal Liberal Conspiracy