Category Archives: music

Have Yourself a Merry Indie Christmas

By Bethan Willis

As Christmas is fast approaching you may find yourself unable to escape one thing, Christmas music! Love it or hate it, the same old songs get played every single year! If, like myself, you love Christmas music but tire of hearing ÔÇÿAll I Want For Christmas Is YouÔÇÖ blasting out of the speakers then here is the perfect alternative Christmas music guide!

This is a slightly sad representation of Father Christmas and I hope no one demands presents like this, even if you are a present receiver rather than giver.

If Christmas isnÔÇÖt the ÔÇÿmost wonderful time of the yearÔÇÖ for you, this track will be right up your street! ItÔÇÖs also opened with dialogue from Les Dennis, so what more could you want?

A controversial one. Some may argue Coldplay arenÔÇÖt alternative enough these days to make it onto such a list, but we will allow it just this once.

Love Christmas and The Smashing Pumpkins? Then this is your lucky day! This song proves that not all alternative Christmas songs have to be cynical, there are some joyful ones out there.

IÔÇÖm not here to criticise Fairy Tale Of New York, itÔÇÖs one of my favourite Christmas songs out there. However, if youÔÇÖve grown slightly tired of hearing The Pogues and Kirsty MacColl sing about a dysfunctional relationship why donÔÇÖt you listen to The Hives and Cyndi Lauper sing about one instead!

The alternative worldÔÇÖs version of I Wish It Could Be Christmas Everyday, definitely one for the Christmas lovers out there.

Like Walking In The Air but not Aled Jones? Understandable, have a listen to The MaccabeesÔÇÖ cover instead.

From their Christmas Album released in 1999, a timeless indie Christmas song. And pretty easy to learn the lyrics of.

Packed full of classic Christmas references and a sneaky double meaning if you can figure it out!

If you struggle to remember the characteristics of Santa just give this song a listen for a helping hand. (shout out to my Grandad for introducing this festive tune to me)

So, there you have it, my top ten alternative Christmas songs. Mix these in with the classics and youÔÇÖll never get bored of Christmas music!

Enjoy and Merry Christmas from the Xpress Music Team!

Syml concert in Paris

Written by Agathe Dijoud

Discovering an artist two weeks before the concert was my lucky moment of the month! Brian
Fennell is an American singer, who has been writing indie music for several years, first with the band
Barcelona, and then went solo in 2016. He is now Syml, which means ÔÇÿSimpleÔÇÖ in Welsh, due to his
roots before being adopted. He just ended his Where Did We Go tour around the US and Europe,
and had a show in Paris, at the Point ├ëph├®m├¿re concert venue on November 9th. And since French
trains are so fast now, I could get there from Bordeaux without missing my Friday lectures (it’s a big┬ádeal, trust me). The concert started with Harrison Storm as the opening act, who was great, with
only his guitar and voice. Then, Syml came to the stage, with another musician, and they started
playing beautiful music. It was both similar to the studio version, and very genuine at the same time.
Brian Fennell’s voice was on point to get the audience emotional when needed. He would let us ask
him questions in between songs, such as if he liked cheese (which he does), or if he was planning on
covering Britney Spears (which he was not). He also told us stories for some of his songs, such as
Girl, which he wrote for his daughter. He did not, however, sing any of his Christmas music, such as
Christmas lights. All in all, it was a great night, with an audience made of both teenagers and adults,
and a really authentic musician. I recommend listening to Fear of the water, Mr Sandman, or Hurt
for me. My personal favourite song is The War, which he sang because somebody from the audience
asked him. And he aced it, it was also my favourite part of the concert!

Nothing But Thieves Conquer Cardiff

Nothing But Thieves at the Motorpoint Arena ÔÇô 19/11/18

By Tom Luton

Nothing But Thieves stratospheric rise over the last three years has been truly impressive to watch.
Since the release of their promising self-titled debut in 2015, the band have well and truly begun
their ascent into the upper echelons of UK rock music, playing to huge audiences across the world
whilst supporting the likes of Muse and Biffy Clyro and having their follow up album (2017ÔÇÖs
excellent ÔÇÿBroken MachineÔÇÖ) chart at number 2 on the UK album charts. The release of their 4-track
stop-gap EP last month, the blistering ÔÇÿWhat Did You Think When You Made Me This WayÔÇÖ, and the
commencement of this UK wide arena tour only further cement their status as one of the countryÔÇÖs
finest bands. Based off the performance I witnessed in Cardiff, the only way is up for the
precociously talented 5-piece.

However, the night got off to a fairly muted start, with the Brighton based trio Demob Happy failing
to truly ignite the Cardiff crowd. On record, there is much to admire about the bands hard-hitting
blend of the relentless stoner-rock of bands such as Queens of The Stone Age; the bass riffs off Royal
Blood, 90ÔÇÖs grunge, and 60ÔÇÖs psychedelia. However, live it largely fell flat, descending into a
monotonous, sluggish cacophony of guitar, drum and bass; that was devoid of melody, personality
or charm. They were followed by the Anglo-Australian surfer trio Sunset Sons, who despite the
inherent likeability of their laidback, keyboard-centric take on indie rock, once again failed to truly
connect with the crowd, their presence providing an awkward fit for the event and putting a damper
on the energy of the crowd.

However, any misgivings I had about the choice of support soon dissolved as the stage-obscuring
smoke evaporated and the headliners took the stage. From the opening kick beat of ÔÇÿI Was Just a
KidÔÇÖ to the closing synths of ÔÇÿAmsterdamÔÇÖ, the band held the crowd in the palm of their hand,
delivering an enrapturing and fierce performance with a strong setlist that drew tracks from both of
their studio albums, whilst also giving the more recent singles such as the thunderous ÔÇÿForever and
Ever MoreÔÇÖ and sweeping ÔÇÿTake This Lonely HeartÔÇÖ a chance to shine. The bandÔÇÖs unique ability to
distil their multiple influences (Jeff Buckley, early Muse, Radiohead, Hot Fuss era Killers, The Pixies,

Nirvana) into anthemic slices of modern rock without losing their own distinctive sound translates
perfectly in a live setting, the crowd screaming every word back to them. Connor MasonÔÇÖs
spellbinding vocals are somehow even more powerful in person, his voice as effective when belting
out the ferocious electro-rock anthem ÔÇÿLive Like AnimalsÔÇÖ( a searing take down of the rise of the
modern right wing, with Mason venomously spitting out lines such as ÔÇ£WeÔÇÖre gonna make ÔÇÿem build
a wall/weÔÇÖre gonna live like animalsÔÇØ) as when stripped back for raw and deeply moving ballads such
as ÔÇÿParticlesÔÇÖ and the heart-breaking ÔÇÿIf I Get HighÔÇÖ. After a rapturous sing along to the soaring
ÔÇÿSorryÔÇÖ, the band briefly left the stage, making way for an encore that descends into a crowd
rendition of Bruce ChannelÔÇÖs party classic ÔÇÿHey BabyÔÇÖ. The band soon returned for a three-song
encore, closing with a heroic performance of ÔÇÿAmsterdamÔÇÖ, a song surely destined to be a set closer
for years to come, such is its visceral power and effectiveness as a crowd sing along. As the band left
the stage for the night, Cardiff was left buzzing with the realisation they had witnessed a band at the
height of their powers. Should Nothing But Thieves continue to develop their sound and reputation
as a live band, major festival headline slots and number 1 albums surely await.

Setlist:
1) I Was Just a Kid
2) Ban All the Music
3) Wake Up Call
4) Take This Lonely Heart
5) Soda
6) Broken Machine
7) IÔÇÖm Not Made by Design
8) Live Like Animals
9) Number 13
10) You Know Me Too Well
11) Particles
12) If I Get High
13) Trip Switch
14) Forever and Ever More
15) Sorry
Encore:
16) Afterlife
17) Itch
18) Amsterdam

Bad Sounds Review

Review by Andrew Locke Scobie

With a distinct sound, crowd engagement like no other and theatrics that create a feel much like that of Bowie or other cult musicians, Bad Sounds are beginning to cement themselves as a firm jewel in the crown of up and coming UK Indie Music. Recently they performed in their home town of Bristol and Benny Wu and I were lucky enough to experience this instalment of their ÔÇÿGet Better MovementÔÇÖ.

The stage opened with two very talented warm up acts: Dylan Cartlidge and Indoor Pets and once both of their sets had finished, we were left eagerly awaiting the main show. Bad Sounds set opened with a very minimalist sketch of a lone light bulb flashing on stage accompanied by a voice booming through the speakers explaining how we would leave the gig as ÔÇÿgood peopleÔÇÖ and it was their aim to help us ÔÇÿget betterÔÇÖ. This was very in keeping with the general essence and charm of their debut album ÔÇ£Get BetterÔÇÖ and so the show started.

Opening with such a well-loved song like ÔÇÿWagesÔÇÖ was the perfect choice as the crowd cheered and danced throughout, when it comes to this band, the audience atmosphere seems just as important as the set they are playing. Dressed in their classic ÔÇÿGet BetterÔÇÖ overalls the band continued reeling off hit after hit from their album with songs such as ÔÇÿEvil PowersÔÇÖ and ÔÇÿCouldnÔÇÖt Give It AwayÔÇÖ among others. We were then treated with a short interval with another get better speech as well as a costume change for the band, this time losing the overalls and donning clothes from an array of their music videos.

The fans screamed as Bad Sounds treated the second half playing one of their older hits ÔÇÿMeat on My BonesÔÇÖ. They continued with an incredible set eventually ending with the perfect final song ÔÇÿNo LuckÔÇÖ and, as the front runner brothers Ewan and Callum wrestled around on-stage, confetti and balloons covered the crowd and the show came to a triumphant close. This might have been the best gig IÔÇÖve ever been to and anyone that cares at all about this band would be greatly missing out if they did not see them live.

Bad Sounds Review

Review by Andrew Locke Scobie

With a distinct sound, crowd engagement like no other and theatrics that create a feel much like that of Bowie or other cult musicians, Bad Sounds are beginning to cement themselves as a firm jewel in the crown of up and coming UK Indie Music. Recently they performed in their home town of Bristol and Benny Wu and I were lucky enough to experience this instalment of their ÔÇÿGet Better MovementÔÇÖ.

The stage opened with two very talented warm up acts: Dylan Cartlidge and Indoor Pets and once both of their sets had finished, we were left eagerly awaiting the main show. Bad Sounds set opened with a very minimalist sketch of a lone light bulb flashing on stage accompanied by a voice booming through the speakers explaining how we would leave the gig as ÔÇÿgood peopleÔÇÖ and it was their aim to help us ÔÇÿget betterÔÇÖ. This was very in keeping with the general essence and charm of their debut album ÔÇ£Get BetterÔÇÖ and so the show started.

Opening with such a well-loved song like ÔÇÿWagesÔÇÖ was the perfect choice as the crowd cheered and danced throughout, when it comes to this band, the audience atmosphere seems just as important as the set they are playing. Dressed in their classic ÔÇÿGet BetterÔÇÖ overalls the band continued reeling off hit after hit from their album with songs such as ÔÇÿEvil PowersÔÇÖ and ÔÇÿCouldnÔÇÖt Give It AwayÔÇÖ among others. We were then treated with a short interval with another get better speech as well as a costume change for the band, this time losing the overalls and donning clothes from an array of their music videos.

The fans screamed as Bad Sounds treated the second half playing one of their older hits ÔÇÿMeat on My BonesÔÇÖ. They continued with an incredible set eventually ending with the perfect final song ÔÇÿNo LuckÔÇÖ and, as the front runner brothers Ewan and Callum wrestled around on-stage, confetti and balloons covered the crowd and the show came to a triumphant close. This might have been the best gig IÔÇÖve ever been to and anyone that cares at all about this band would be greatly missing out if they did not see them live.

Acts Of Fear And Love- Slaves Album Review

The bastions of middle class youth disillusionment return for a shorter, more consolidated and more heartfelt third outing, delivering what is without question their best record to date. AOFAL drops the Speakers Corner-shoutiness of their previous work in favour of something far more personal and emapthisable, dealing with themes of social media, self image, boredom, hate and good old fashioned break-ups too. Suddenly you’re not just screaming along with them, you’re in the same boat as them thematically too.

AOFAL also sees a welcome change in direction in sound. It’s more post-punky and original, though they haven’t lost their rough edge, which pokes its way through the album at all the right moments. The big punches come, however, when Slaves go off kilter and go quieter; ‘Daddy’ stands out in this regard. Though ‘Photo Opportunity’ kills it with the Weezer-esque structure and is anthemic chorus, which so effortlessly sums up life in the south east of England. Slaves arenÔÇÖt just moving on; moreover, theyÔÇÖre becoming cleverer with their sound, and wielding it with the same ferocity and dexterity as their lyrics.

A prominent online reviewer – whose opinion I’ve always respected but on this occasion I thoroughly disagree with – said that Slaves are a band who “just use punk as a fashionable veneer to make somewhat edgy, substance-free pop rock”. I’ll give him pop rock in regards to AOFAL given that it’s got plenty of singles potential and is far less abrasive sound-wise than previous Slaves records (just listen to ‘Cut And Run)’, but to call them “substance free” is an insult to the fact that Slaves have cornered a niche of the UK music scene and turned it into some of the best records of the last 5 years.

When you’ve grown up in the same sort of placer as Slaves have, Acts Of Fear And Love comes across as a record that just speaks your language. It’s personal not just in terms of its tone, but because it knows exactly what you’re going from. Oh, and it absolutely rocks at some points.