GIITTV: Video Of The Week #45: Greta Issac – Comfortable

Originally a folk artist Greta Isaac‘s recent single ‘Comfortable’ is a step change in her artistry, super production cuts up her songwriting layers in beats, guitar strums stop start samples and wonderful vocals it’s an unadulterated glitch pop cracker that explores apathy and selfishness even as the world is crashing around our ears.watch the fine video above a collage of found footage, natural shots and live action imagery painted eyes upon eyes symbolic of what we fail to see or don’t want to see in front of us. Originally from Wales but now based in London, her work is as a whole is an exploration into habits and destructive human tendencies; each song explores and exaggerates a different unhealthy trait from the perspective of a neurotic character.

Greta is set to debut this project live at a secret London show on 5th September followed by a return to Wales to play at Festival No.6.

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GIITTV: Bella McKendree – Waiting EP (Trellis Records)

As a teenager in the 1990s there seemed to me to be suddenly so many offshoots and sub-genres of music it was like growing up in one of those sweetshops where everything was nicely ordered in plastic tubs on the shelves, as journalists scrambled to cleverly label the next big thing. Grunge gave way to nu-metal and emo, the Madchester and shoegaze scenes spewed forth Britpop and (the incredibly named) New Wave Of New Wave, while hip-hop and rave combined in techno, jungle and trip-hop. As trip-hop revolutionised what it was possible to do with a home studio for a while it seemed Tricky, Portishead et al were giving us something genuinely innovative and relevant. Then Massive Attack’s sublime Blue Lines changed everything setting a new high-water mark for experimental British music. But like the imagined heat death of the universe after this initial period of great invention it seemed we’d reached a point where musical entropy quickly diminished into a uniform soup of genre equilibrium.

Oddly but interestingly, the last great leap forward stylistically, dubstep, has also seemingly cooled into a version of trip-hop identical to that of the late 1990s as if evolving independently twice like some kind of perfect (but underwhelming) evolutionary end game, all roads lead to trip-hop. Bands like The XX and London Grammar now dilute the airwaves like the last remnants of the stars and galaxies in our universe metaphor.

So, if the world needs another singer/songwriter “influenced by the likes of London Grammar [and] The XX” why shouldn’t it be Bella McKendree. The Morcheeba-by-numbers of ‘Don’t You Wanna Be Loved’ is hardly reinventing the wheel. The predictable slowed down broken-glass beats, double layered vocals and scratchy (as if sampled) organ couldn’t be more derivative. So far, so unflinchingly bland and inoffensive. Similarly, ‘Grieve’ is a lovely country ballad spoiled only by being played at 90 bpm with an overblown piano loop when a pedal steel would have been sufficiently heartfelt and allowed the incredible melody in the chorus to shine. Less is sometimes more.

These aren’t bad songs, far from it, but by consciously shying away from the traditional singer/songwriter blueprint when you are actually a really good singer/songwriter is detrimental to the cause. However, the title track is a bit more like it, simple and mournful in a Lana Del Rey sort of way and the sentimental “I start to wonder if you’re as good a lover as a friend” in the pre-chorus is both relatable and emotive as the song slowly builds towards moments of nigh-on perfect modern power-pop. If you listen carefully there is also some lovely slide guitar in the background, more intuitive with the singer’s natural tone and delivery, but again it’s virtually hidden in the production.

However, like an occasional raisin in a world of curry sauce, Waiting’s appeal is in its brief glimpses of a possible future that all debut releases should contain but more often than not do not, and on closer ‘Baby Lets Fall’ Bella McKendree gets tantalisingly close to the contemporary Kate Bush styling she aspires to.

Waiting is released on August 18th through Trellis Records.

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The VPME Track Of The Day – Dream Wife – Fire

Dream Wife – Fire

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Dream Wife return with a new track and EP,  which includes their previous release, the excellent ‘Somebody’ plus three exclusive remixes of ‘Fire’.  It’s a track that’s already a live favourite and is driven by guitarist Alice Go’s dizzying relentless riffs. It highlights why we regard her as one of the most exciting innovative young guitarists to emerge in recent years.  Indeed Alice’s guitar work adds a real rock heft to Dream Wife’s sublime indie punk pop. It’s another fabulous release from this now must see a live band who are reading their debut album.

Ps/ Still waiting on them releasing the visceral Stooges sounding ‘Let’s Make Out’ which must surely be the next single?

Pre-order the Fire EP: http://ift.tt/2wMheqb

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Fire EP is out September 29th via Lucky Number

 

Dream Wife Live at Blue Dot Festival - Photo Andy Von Pip

 

Full list of upcoming live dates  below and tickets for all shows are available via Dice FM or See Tickets

 

Tour dates:

12/10/2017   Magnet Bar, Liverpool 16+

13/10/2017   King Tuts, Glasgow 18+

14/10/2017   Hare & Hounds, Birmingham 16+

15/10/2017   The Cookie, Leicester 14+

16/10/2017   The Bullingdon, Oxford 16+

18/10/2017   The Wardrobe, Leeds 14+

19/10/2017   Band on the Wall, Manchester 14+

20/10/2017   Esquires, Bedford 14+

21/10/2017   The Haunt, Brighton 14+

22/10/2017   The Louisiana, Bristol 16+

24/10/2017   Old Fire Station, Bournemouth 14+

25/10/2017   Scala, London 16+

Dream Wife - Fire
Photo: Hollie Fernando

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GIITTV: IN CONVERSATION: Paul Draper

Following Mansun‘s dramatic split in 2003, the myths and rumour surrounding a Paul Draper solo record have continued to swirl. Fans of the band desperate to hear what the enigmatic songwriter had been concocting after the dramatic and painful disillusionment of one of the ’90s most idiosyncratic and successful bands were left to speculate feverishly at the time about its existence and when it would be released to no avail. Recording sessions for a solo album were shelved in 2004 and Paul Draper disappeared from view in the middle of a crisis of confidence, fans left somewhat bereft by the complete radio silence from a songwriter who crafted such wonderful albums as their string laden grandeur and dark wit of their 1997 debut Attack of the Grey Lantern and the myriad of ideas contained in its follow-up the experimental concept album Six and the ill-fated Little Kix, their last official release as a band. Draper claiming that lead guitarist Chad tried to sack him from the band several times following the release of Little Kix: “(Chad) didn’t want me to be the producer or the songwriter and he wanted me replaced by another singer and for the band to be more like The Seahorses, remember that band with John Squire? He wanted the songs to come out of jams in rehearsal rooms”

In the years since Paul gradually returned to public view, songwriting for Skin, working with Menace Beach and The Joy Formidable then as part of after a fan petition, he agreed to work on a release of the unfinished sessions for their fourth unreleased album Kleptomania and a ‘Best Of’. Then after various fan petitions and a Mansun fan convention depicting just how strong the Mansun fan community was, even after twenty years since their first album, in 2007 news came that Draper had started working with Catherine Davies (The Anchoress) on producing her debut album. After two EP releases on Too Pure, it’s finally here, the much discussed solo album from Paul Draper. It’s been a long, long wait and whilst perhaps it won’t receive the same commercial attention it would have back in the early ’00s, it’s still a much anticipated artistic statement and a full stop on a myth that’s existed for over a decade and whilst it doesn’t push many conceptual and sonic barriers like Six did, it’s well worth listening to. Dark, brooding, and ripe with percussive rock grooves, layered synths, and shuddering crescendos and laced with Draper’s trademark bittersweet, melodramatic theatrical vocals that swoop with disappointment and injected with searingly honest lyrics.

An attempt to capture a more live band sound, released last week Spooky Action doesn’t try to push much beyond the Mansun sound, indeed any song with Draper’s vocals on is going to remind you of them, thus it surfs the lines between the sonic experimental concept album Six and the more accessible anthemic, lyrical duality of Attack of the Grey Lantern yet it sounds rawer and heavier than both. Choice cuts include the infectious groove of ‘The Things People Want’ the intensity of ‘Feeling My Heart Run Slow’ and songs that point towards a possible future with a psych, voodoo rock of ‘Grey House’ and synth pop of ‘Jealousy is a Powerful Emotion’ that’s redolent of peak Depeche Mode as played by a proper prog rock band, featuring five tracks co-written with Catherine Davies that reflecting on his life, at times exhaustively laying to rest ghosts of the bitter turmoil and betrayal he experienced during the disillusionment of Mansun, it contains some of the most personal and brutal lyrics he’s ever committed to record.

I meet Paul after a record signing at Spillers records, to say it’s somewhat of a surreal experience for me interviewing a man responsible for records I loved to death, in the late 1990s is an understatement made all the more unusual by the animal rights activists on Cardiff’s St Mary’s street that drown out the first five minutes of our interview outside a pub, before we retreat inside. Slightly tired from an in-store a gig in London the night before and the travel to Cardiff the day after, nevertheless he appears in fine form; an honest, engaging, funny and interesting interviewee. Here are the answers to my questions and those of Mansun fans who sent me them:

I heard you played an in-store last night?

I played a three-track acoustic set last night in Rough Trade in London. The set was ‘Friends Make The Worst Enemies’, ‘The Inner Wheel’ and then I ended with ‘Disgusting’ but I had to take a break half way through because the lyrics blew away. I don’t even remember lyrics from this album never mind Mansun ones.

Did working with Catherine help reignite your passion for songwriting again?

Catherine (The Anchoress) had the drive and energy to stand out from the sea of shit out there on the internet and to make herself an alternative pop star. She co-wrote five songs and she sings backing vocals on the middle eight of ‘Feel Like I Wanna Stay’ on the album. She’s a big part of it, if that project hadn’t took off I wouldn’t be here doing this or talking to you.

In the years leading up to the confirmation of new material, you were once quoted as saying (something to the effect of) that you didn’t really like singing anymore, not even in the shower. Did you go through a phase of being tired of your singing voice, and how do feel about it now?

I don’t like my own voice and I don’t like singing but I like making records. Spooky Action is no different to The Anchoress record or the rest of everything I’ve ever done, except I’m singing on it.

You originally started solo record years ago but shelved it didn’t you? When did you come back to this material?

About 18 months ago. I was never going to do it but my studio in Acton got taken over so I had to relocate to my engineer’s studio Pdub, it became obvious when I was working with Catherine there was still the interest there and for the first time, I thought about it again.

When Mansun split up there was fevered speculation online about a solo project…

Mansun was such a nasty break up of a band and I had the wind knock out of me, I never saw myself as a solo artist until I saw the amount of fanship on the internet when doing the album with Catherine. And you can’t turn that down, once you’ve got thousands of people saying yes 20 years after the fact. If Beyonce had come along and asked me to produce her I probably would have done it, I would have made more money but now I’ve done it and I’m here in Cardiff, and it’s awesome.

‘Feeling My Heart Run Slow’ feels and sounds intense like you are being placed in the eye of a very intense maelstrom…

Well ‘Feeling My Heart Run Slow’ means laying low for a while after you’ve been fucked over. Lyrically, everything I did on this album was very very quick. I’d been through such a massive experience that I just wrote the same song out 11 times. Then Catherine stepped in and said you keep writing the same thing 11 times, so I changed the words around, it’s all part of the same story of me in coming out of Mansun, and that’s probably why they’re all a bit dark.

The lyrics on ‘Spooky Action’ are brutally honest. Is there a sense of settling scores and reflecting on being taken advantage of in the past or are they more of a “getting things off your chest”?

There’s no settling scores, there’s no bitterness. If there was settling scores and bitterness I wouldn’t be doing music again. I wouldn’t be here talking to you. It’s just a thought process I’ve had over a long time. Some people will understand some of the lyrics and relate to them, other people won’t. Some of them are obvious others are obvious to the people involved.


Well, even the titles like ‘Jealousy is a Powerful Emotion’ and ‘Friends Make The Worst Enemies’ – they are pretty direct messages. I read somewhere that you felt like you had been taken advantage of in Mansun?

Well, some are pretty obvious, really. I felt like in Mansun they had a good laugh at my expense, but time is a great healer. If I’d have released it at the time it probably would have been a disaster straight after the fact. But the lyrics are still true to how I felt, when I picked those things up 18 months ago and just finished them, they reflected how I felt then, but after finishing the record now I don’t think about it.

Why Spooky Action? I hear this dark shadowy theme running throughout the songs…

The title came first; it came from part of a lyric (on ‘Feeling My Heart Run Slow’). When we started the album and the more spooky it got, the more it went into the title. Conceptual things aren’t usually the place of someone with a genius mind who comes up with an amazing idea, I’d say they are developed more on the fly. I wouldn’t say there’s an amazing concept with Spooky Action other than they are a raw set of feelings laid out on a record. A raw arc of saying the same thing 11 times. When I came back to finish the album off and I revisited the tracks and that place, but I couldn’t have gone back to that place unless I’d resolved it in my own mind. I would say you move on but you never really deal with it fully; it’s an ongoing process of catharsis, but isn’t life like that? Isn’t music a reflection of life?

I hear the themes of mental well-being and anxiety from songs like ‘The Inner Wheel’…

Well, I was pretty fucked up after Mansun. Well with ‘The Inner Wheel‘ there’s a big story to it at the end of the album. I’m asking a question: Is ignorance bliss in life or should you seek a resolution to it? But there’s a double meaning to the song because at the end of my street is a bench and I always sit on it because I haven’t got a garden and it says on it ‘donated by the inner wheel’. I thought the inner wheel was a cycling club but it turns out it was the female masons or something. It’s like the cycling ground of things in my head, so it has a double meaning. If you listen to the end of the song you’ll get it.

I get a really dark and proggy vibe from the album sound. Was this intentional?

On this album we left it pretty loose; they want to equalise everything very tightly. My record was based around playing in a room. There’s a looseness and there’s a groove to it; the darkness emerged, we are Welsh, man – if you are Welsh you have the funk, man. I was born in Liverpool but moved to Wales when I was zero. My band has the funk in it.  It’s more accessible than Six but not quite as accessible as Grey Lantern; it’s somewhere in between. If the record company had left me on my own to make a record that’s probably what the third Mansun album would have been, instead of trying to make us into a pop group. At the time everyone was going mad for us after Six, but we were a big pop band. Now I’m an independent artist on an independent label. I mean I could have done it differently, I had an offer from Sony and Universal to do this album but there would have been compromises.

It might have ended up a bit like Liam Gallagher’s upcoming major label solo album..?

I’ve heard three of the tracks off the Liam Gallagher album – two I really like. But it’s very of the now, it’s very modern. Mine’s very DIY and live sounding.

What are the themes that inform your new single ‘The Things People Want’?

It was one of the last lyrics I wrote about the anger of coming out of Mansun and the realisation of where you are in your life. I should have written I want a Ferrari sport, massive mansion, a house in Barbados and eight million quid in the bank but I changed the lyrics and the reality is somewhat different. Yet I’m living in a flat with no garden so I sit on the ‘Inner Wheel.’

Was there a conscious effort to move away from the Mansun sound with your solo work?

How can I escape the Mansun sound? Yeah, I don’t want to diminish the other guys involved but I was the main protagonist in it.

But you’re still trying to experiment with that sound.  There’s things like the psych ‘Grey House’ and the shadowy ‘Poke The Bear’ that possess experimental elements?

I think you always want to be relevant, have a balance between that and the art. If you’re a Mansun fan I think you’ll like it, if you’re into like Shania Twain or Kesha, Katy Perry or Ed Sheeran then you’ll probably think it’s a crock of shite and I’m fine with that. I haven’t tried to be commercial on this album at all. There’s some songs on the album with hooks on them. With Mansun, we wrote singles and we were the pop music of our day, but I can’t be arsed anymore.

How different is releasing an album now compared to back in the late ’90s when you were with Mansun?

When Mansun was a big band we were the pop music of our day, I was a pop star, and now I’m just an alternative artist, I don’t have any pressure to get in the charts or anything. I think this album is relatively accessible – if anything it’s a bit long winded. I could have pushed it harder and made it more odd but we’ll see how it goes. It is a balance but it just happens; I haven’t tried to write any singles. You’ve got to remember in Mansun, our manager would call us up and say ‘give us a hit rekkid, give us a hit rekkid’ [laughs]. If you’re Katy Perry, I’m sure you still get that. I’ve just done an album, released a couple of EPs I am seeing how it goes. I will play some gigs and try and enjoy it all.

Mansun releases always contained a plethora of themes and inspirations particularly ‘Six’ it was almost like a jigsaw puzzle at times trying to piece together the ideas… What themes have informed your solo recordings?

It’s not a conceptual piece but there’s an over-riding arc of me not thinking too hard about the lyrics but just writing down what happened to me in the band. It’s not about a super hero coming down to save the planet or something!

I saw a programme on BBC4 about concept albums recently and Six by Mansun was a glaring absence, did it start out as a concept album or was it more a case of pulling all the of the ideas/songs together into one record?

We could have gone down the route of having another big pop album instead. I look back now and think maybe I should have. I’d have a house in Barbados now. Suede did their Dog Man Star but they made a conscious decision to make a pop record with Coming Up and there’s nowt wrong with that. We had some bits of ideas and songs, that’s all we had.

I read that you weren’t even talking at the time?

I wasn’t mates with those guys at the time. I was ready to throw the towel in, but they persuaded me to come and do it. We weren’t going to walk away from it.

What are your thoughts on anniversary re-releases/full-album tours, given that it’s always so many years since something was released – Six notably due to turn 20 next year.

There’s going to be an anniversary reissue of Six next year. I’ll do a couple of Mansun songs on my upcoming dates but it will mainly new stuff.

It’s 20 years since the release of the Attack of The Grey Lantern this year. Could you ever see a record like that getting to number one in the charts now?

Well, it depends. Stephen Wilson could. But it’s the age of the established artist; in the ’90s you could come out of nowhere. Spotify has made the established artists a lot more important

I wonder if Spotify has just reinforced major artists sometimes, people listen to it like background music and that’s made music bland as a result.

Most people drive Ford Fiestas, listen to Ed Sheeran and go and watch super hero films; people like middle of the road stuff.

Little Kix remains a lovely, oddly uplifting record with some fine singles. Given the difficulties and compromises you’ve described as hindering the recording of the album, are you able to hear the good elements in it?

I think there’s loads of good elements until the ‘Next Life’, ‘Forgive Me’, ‘I Can Only Disappoint You’, ‘New Beginning’, ‘Comes As No Surprise’, there’s loads of good elements on it – just fucked it up. The production wasn’t right and we didn’t pick the right songs. I was not the producer, I was not even allowed to take part in the mixing side of it.

You have spoken about how you can’t envisage a Mansun reunion, but how do you feel when you see other ’90s acts getting back together such as Lush, Ride, Stone Roses et al…?

Well, it doesn’t bother me or affect the Mansun story. Mansun had our own thing really. I can’t tell you if we would ever get back together; the other guys took the band over from me. It would be their decision really. Maybe I wouldn’t even be in it?

What! It would be like the Jam without Paul Weller…?

Yeah, from the Mansun, yeah there’s a band called From the Jam. I’ve yet to see the full stupidity of Mansun’s other members.

In recent years you have collaborated with quite a few bands and artists including Skin, Menace Beach, The Joy Formidable and of course The Anchoress. Who would be your dream collaboration?

Well, that’s it now, that chapters over. It depends on how this goes but I think it’s going alright so far. My next project after this is me again, that’s as far into the future as I can see.

 I saw you posting about the greatness of Talk Talk on Facebook. Why do you think they are a bit under appreciated?

I just thought they were a great pop group from the eighties when I was a kid but they also went a bit leftfield and stuff with ‘Laughing Stock’ and Mark Hollis’s solo album. I am sure there will be a BBC4 documentary at some point there’s a lot of rumours about them.

What current songwriters/artists/bands are you into?

Alabama Shakes. I like them. I’ve been listening to some of the Cabbage stuff that’s all right, and The Blossoms‘ album. Everything is a bit ’80s and shiny and poppy these days. I like Beak> stuff – that’s cool too; Geoff Barrow from Portishead‘s solo stuff – it’s lo fi which is a nice reference for my solo work. The equipment you have these days that you have to put a lot of effort into making it sound shit

You are playing your first shows for a very long time, are you nervous? What can we expect for the forthcoming tour?

It’s mainly going to be new stuff. I’m a bit nervous and I need to get into shape for it.

Would you consider playing Cardiff again?

Yeah, we will come back in February and March to play Cardiff.

Are there plans for more singles from the album?

We are going to do a couple I think. We’re going to do a 7″ around the tour in September. We’re going to a new single from the album with an acoustic version of one of the tracks on the b-side; a different version from the album.

Paul Draper’s Spooky Action is out now on Kscope.

http://ift.tt/2wP5MKp

Paul Draper plays a sold out tour of the UK in September with a full live band that includes regular studio collaborator Catherine AD (the Anchoress).
These are his first solo live dates. Paul will play at:

Thu 14th Leeds, Brudenell Social Club
Fri 15th Manchester, Gorilla
Sat 16th Glasgow, King Tuts
Thu 21st London, Scala
Fri 22nd Bristol, Thekla
Sat 23rd Birmingham, Institute 2

Photo: Kevin Pick

The post IN CONVERSATION: Paul Draper appeared first on God Is In The TV.

GIITTV: NEWS: Dream Wife announce new EP ‘Fire’

Dream Wife have announced a new EP entitled Fire, which will be released through Lucky Number on the 29th September. The EP’s title track can be heard now below:

http://ift.tt/2vCgAwP

“It’s a song of explosive emotion; volcanic, eruptive and reflective in turn,”
explains the band members, all three of which are astrological fire signs, to The FADER. “During moments of pure connection a bolt of fire can be felt between people. The explosion begins; movement is electric, conversation erratic and you become fully immersed in the moment. Thematically and tonally we explore the paradox present in the symbolism of ‘fire’ as both a creative and destructive force.”

Following a number of festival appearances throughout the Summer including Blue Dot, Benicassim, Latitude and Truck, Dream Wife will be embarking on a headline UK tour in October which includes a date at London’s Scala, their biggest headline show yet.

Full list of shows below and tickets for all shows are available via Dice FM or See Tickets

Tour dates:

12/10/2017 Magnet Bar, Liverpool 16+
13/10/2017 King Tuts, Glasgow 18+
14/10/2017 Hare & Hounds, Birmingham 16+
15/10/2017 The Cookie, Leicester 14+
16/10/2017 The Bullingdon, Oxford 16+
18/10/2017 The Wardrobe, Leeds 14+
19/10/2017 Band on the Wall, Manchester 14+
20/10/2017 Esquires, Bedford 14+
21/10/2017 The Haunt, Brighton 14+
22/10/2017 The Louisiana, Bristol 16+
24/10/2017 Old Fire Station, Bournemouth 14+
25/10/2017 Scala, London 16+

The Fire EP will be released on Friday 29th September 2017 but is available to pre-order now, via Lucky Number, on limited edition vinyl or digitally.

The post NEWS: Dream Wife announce new EP ‘Fire’ appeared first on God Is In The TV.

GIITTV: PLAYLIST: Discover AGE – 11:11

Irish/Australian duo AGE recently released their debut single ‘Peaks.’This widescreen electronic pop gem is laced with male/female vocal refrains looping tropical beats and shimmering synths that flash like strobes, its the soundtrack to the light and shade of city life. Co-produced with mixing engineer Russ Fawcus (Wild Beasts, Noah And The Whale) and mastered by Mandy Parnell (Jamie XX, The Knife) watch the video below.

Despite forming last year and only having played a small number of warm-up shows, they recently supported Temper Trap and played the Radio X/AIM Awards.

Gavin Dwight and Jen Cosgrave aka AGE put together a playlist for us entitled ‘Discovering AGE- 11:11′ we’ll let them explain:

‘We tried to narrow it down and chose 10 influential tracks for AGE. We ended up with 11. Some people think the time 11:11 has mystical power. We think it probably just looks cool on a digital clock. 11:11 is a playlist of music that made us feel something over the last few years. AGE ❤

Jasmine – Jai Paul

What happened to Jai Paul? Two incredible demo’s put out on XL, an illegal leak of his ‘supposed album’ on bandcamp and then he vanishes. 5 years later people are still talking about it, in fact Fader just wrote a long form piece on it again last month.

‘Jasmine’ – It’s hard to express how immaculate this track is. And it’s a demo.

From the bass sliding and panning across the intro and a sample that sounds like someone dragging around chains, the track just builds perfect element after perfect element, only to strip it all back to nothing. A genius who bailed on us for now. Pls come back.

House – Kindness

Filled with the heady mixture of melancholy and hope, like all good music probably is. Super nice to hear a piano sitting in all that space too, even as it eventually gives way to that loose, slow attack synth and massive snare. If it comes on at 2 am in some living room when you’re with good people, you won’t be able avoid a hazy sing along of mixed vocal quality.

1998 – Chet Faker

Another song that tells a sad tale but makes you feel real good, strange! The production would probably be on the slightly too clinical side for me if it wasn’t for the warmth of Nick Murphy’s voice and the vulnerability of the story he’s telling. I remember walking around Lisbon listening to this for days, trying to work out why it works so well.

Dancing Shell – Wild Nothing

Just when I thought I had worked out exactly what to expect from the Wild Nothing dream pop formula, he went and did this. One part Talking Heads, another part Destroyer with glistening arpeggios. ‘’And I’ll be your monkey every night, if it makes you love me, watch me now, watch me”. Quite creepy lyrics there Jack, could work over that Silence of the Lambs scene?

Yoro Diallo – Egyptian Hip Hop

Jen and I saw these guys play one of their first London shows in a cramped, overrated bar somewhere in Hackney Wick. Not long after that, we saw them play a stage at Greenman festival and it seemed like things were moving fast. They were super young, gaunt, spotty 17 year olds. A classic mix of petulant but super talented. The progression from their first EP to their one and only album is what most bands could only hope for. And then they broke up ffs. Urgh.

Lust for Life – Girls

I love Christopher Owens. Grew up in a cult, ran away and escaped in one piece just to write lyrics that no one else could get any with – “I wish I had a pizza and a bottle of wine – I wish I had a father and maybe then I would have turned out right”. The kind of band you think would be all over the place live, but are actually incredible. Another one who split up. Brilliant.

Your Best American Girl – Mitski

I know Pitchfork have been bought by Condé Nast, but they still have a few good tips. Pressed play on this one when it came out and didn’t stop listening to it for months. The video is great, it kinda sounds like Weezer in the chorus but might be one of the most emotive chorus lyrics I’ve heard in yonks. And she called the record ‘Puberty’ – we’ve all been there.

Friends – Francis and the Lights

Guilty pleasure – soz

Eventually – Tame Impala

Obvs. I can’t think of an album that is more perfect or produced to this level. Kevin Parker is not of this earth.

Depreston – Courtney Barnett

I don’t know if this will be for everyone but she is simply one of the best story tellers in music, drawing from mundane experiences like looking for a flat in the up and coming/crap part of town (Depreston), to being stung in your garden and having an allergic reaction that puts you in an ambulance, (Avant Gardener). She’s going on tour with Kurt Vile later in the year and the two have recorded an album together coming out soon.

http://ift.tt/2uKBxD0

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Digital Inspiration Technology Blog How to Copy a Formula Down an Entire Column in Google Sheets

You are working inside a Google Spreadsheet where a formula needs to copied down to the last row of the sheet. There are several ways to solve this problem.

The easiest approach to copy down formulas is to use the fill handle in Google Sheets. Write your formula in the first row of your spreadsheet, and then point your mouse to the lower right corner of the formula cell.

fill-down-sheet-formula.gif

The pointer changes into a fill handle (black plus symbol) that you can drag to the last row of the sheet. The fill handle will not just copy down the formulas to all the adjacent cells but also copies the visual formatting.

If you need to copy the formulas across cells but sans any formatting, select the cell that contains the formatting and press Ctrl+C to copy it to the clipboard. Next select the range where that formula needs to applied, right-click, choose Paste Special and Paste Formula only.

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Apply Formula to the Entire Column in Google Sheets

If you have hundreds of rows in a Google Spreadsheet and you want to apply the same formula to all rows of a particular column, there’s a more efficient solution than copy-paste – Array Formulas.

Highlight the first cell in the column and type the formula as earlier. However, instead of specifying a single cell as a parameter, we’ll specify the entire column using the B2:B notation (start from cell B2 and go all the way down to the last row of column B).

Then press Ctrl+Shift+Enter, or Cmd+Shift+Enter on Mac, and Google Sheets will automatically surround your formula with ARRAYFORMULA function.

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TAX: ArrayFormula(ROUND(B2:B*18, 2))
AMOUNT: ArrayFormula(B2:B+C2:C)

Thus, we are able to apply the formula to the entire column of the spreadsheet with only a single cell. Array Formulas are more efficient as they process a batch of rows in one go. They are also easier to maintain as you only need to modify a single cell for edit the formula.

One issue that you may have noticed with the above formulae is that it applies to every row in the column where you have only want to add formulas to rows that contain data and skip the blank rows.

This can be done by adding an IF contain to our ARRAYFORMULA so that it doesn’t apply the formula the any of the blank rows.

Google Spreadsheet offers two functions to help test whether a cell is empty or now.

  • ISBLANK(A1) – Returns TRUE if the referenced cell is empty.
  • LEN(A1) <> 0 – Returns TRUE if the referenced cell not empty, FALSE otherwise

Our modified Array Formulas would therefore read:

Using ISBLANK(Cell Reference):

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Using LEN(Cell Reference)

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Use Array Formulas inside Column Headers

In our previous examples, the text of the column titles (like Tax, Total Amount) was pre-populated and the formulas were only added to the first row of the dataset.

We can further improve our formula so that they can be applied to the column header itself. If the index of the current row is 1, calculated using the ROW() function, the formula outputs the column title else it performs the calculation using the formula.

=ArrayFormula(IF(ROW(B:B)=1,"Tax",IF(ISBLANK(B:B),"",ROUND(B:B*18, 2))))

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Auto Fill Formulas into Google Form Submissions

ARRAYFORMULA functions are particularly useful for Google Forms when the form responses are getting saved inside a Google Sheet. You cannot do live calculations inside Google Forms but they can be performed inside the spreadsheet that is collecting the responses.

You can create new columns inside the Google Spreadsheet and apply the ARRAYFORMULA to the first row of the added columns.

As soon as a new form submission is received, a new row would be added to the Google Sheet and the formulas would be cloned and automatically applied to the new rows without you have to copy-paste stuff.

How to Use VLOOKUP inside ARRAYFORMULA

You can combine ARRAYFORMULA with VLOOKUP to quickly perform a lookup across an entire column.

Say you have a “Fruits” sheet that lists the fruit names in column A and the corresponding prices in column B. The second sheet “Orders” has fruit names in column A, the quantity in column B and you are supposed to calculate the order amount in column C.

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=ArrayFormula( IF(ROW(A:A)=1, "Total", IF(NOT(ISBLANK(A:A)), VLOOKUP(A:A, Fruits!A2:B6, 2, FALSE) * B:B, "")))

In simple English, if the row of the current cell is 1, ouput the column title in plain text. If the row is greater than 1 and the column A of the current row is not empty, perform a VLOOKUP to fetch the price of the item from the Fruits sheet. Then multiply that price with the quantity in cell B and output the value in cell C.

If your VLOOKUP range is in another Google Spreadsheet, use the IMPORTRANGE() function with the ID of the other Google Sheeet.

Please note that you may have to use semicolons in the spreadsheet formulas instead of commas for some locales.