Darwin Deez ~ Boileroom Review

If I were to describe Darwin Smith, from Darwin Deez himself, I would probably comment something along the lines of 'so ironically uncool, that he's cool'.

As for Double Down, their 3rd album, released in September, it really is much of the same catchy, upbeat, clean, guitar-driven tunes, maybe a bit more upbeat and a little less poetic and introspective than 'Songs for Imaginative People', and more of a developed, honed sound than the original 'Darwin Deez'.

Darwin really seems to have found his niche, which, whether you regard it more as pop or rock, definitely falls under the category of 'indie', with an instantly recognisable guitar tone, warm New York accent and a sense of sincerity: Darwin, although dorky, is unafraid to completely open up in his songs, they're transparent, inclusive and come from the heart. He really is among one of the most endearing frontmen currently on the scene.

What really serves as Darwin's niche, however, is the live technique- which is not only genuine, down to earth and take-it-as-it-comes, but the band don't hesitate to not take themselves too seriously. Their dance routines between tracks are not only charmingly and light-heartedly nerdy, but portray the playful attitude of the band towards their performance. Darwin's live guitar solos, moreover, really show raw talent.

Opening with 'Constellations', from the debut album, to get the crowd going, working his way through some originals like 'Bed Space', including the obligatory love song with the touching 'Chelsea's Hotel' and showcasing their new single 'Kill Your Attitude' and 'Last Cigarette', from Double Down. Whichever album was your favourite, it was an uplifting gig in a perfectly intimate venue.

Chatting to Darwin himself afterwards (consolingly, he really was as charming and endearing in person as he is on stage), we agreed on three things:

1. Dancing adds so much more to a gig, for both performers and fans alike.
2. An intimate venue creates a hugely better atmosphere, for both performers and fans alike.
3. My jacket was awesome.


-Squirete
             

End of the Road 2015 review

It may have been the moment when the crowd seemed absolutely silent and still during Laura Marling's hypnotic, stunning set, or when Dawes' 'When My Time Comes' shimmered with positivity and inspiration in the late afternoon sun...but for me, it was during Tame Impala, where I swear I saw a shooting star above the stage, and couldn't think of a wish to make as everything just seemed so gloriously happy.

End of the Road's 10th anniversary was nothing short of magnificent, with the artists seeming to have as good a time as the crowd- Samuel Herring of Future Islands couldn't seem to stop himself from admitting how much fun he was having between songs, Laura Marling described it as 'the most beautiful festival' and the War on Drugs expressed how they were so glad that 9 years after first being asked to play the festival, they were proud to finally have made it to Larmer Tree Gardens. The End of the Road crowd itself is revered for how calm, relaxed yet appreciative it is, so much so that artists such as Midlake in the past have referred to it as one of the best and most enjoyable festivals to play.

Andrew Combs' set was gorgeous on Friday afternoon

The War on Drugs on Sunday

The festival grounds themselves are something else- the forest lights up at night with a blur of origami birds and twinkling fairy lights underneath a canopy of trees... to wander through to the forest disco (a lit-up dance floor which is, quite literally, in the centre of a forest blasting absolute belters.)

The tiny comedy stage situated in the middle of the woods, surrounded by benches and hay bales, doesn't often disappoint with comics such as Robin Ince and Phill Jupitus creating waves of laughter among the trees.

Palma Violets kicked off the festival, headlining the Tipi on Thursday

The ambience of My Morning Jacket's reverberating harmonies inspired, Laura Marling's stunning vocal and guitar seemed to silence, Tame Impala's bassy psychadelic haze took us all to a different, colourful world of hypnotic backdrops and lighting. Nadine Shah's deep vibrato-heavy vocal filled the Big Top tent, which also housed the wonderfully weird Fat White Family. Mac Demarco's sliding guitars and sense of humour drew a large crowd to the Garden Stage, and Alvvays' pretty, lyrical songs of love drenched with reverb seemed to fit in so perfectly with the last of the afternoon sun before the punchy synth and highly entertaining dance moves of Future Islands hit the Woods Stage. It was a weekend of wonderful, new, alternative music.

End of the Road seem to be so ahead of the game in their line-up- there is no doubt that some of the bands further down the line-up are set to find exposure over the following year, predictions including Hooton Tennis Club, Crushed Beaks and Kevin Morby. Also working as a festival of discovery, the beautifully simple yet happy tones of Andrew Combs and his band and mellow easygoing guitar melodies of Ultimate Painting have already found their way onto my playlist.

Laura Marling had the crowd absolutely still

Future Islands was complete with the deep throaty tones and spectacular dance moves from their frontman

Tame Impala's set also featured a hypnotic light show

-Squirette

 {all photos belong to Ella Squire}

John Frusciante

This is short...but I've rediscovered my love for John. I feel overwhelmingly lucky to have seen him play with the Chilis all those years ago. Summer Tour '04.

His more recent material is undeniably good. Frusciante's 2014 album, 'Enclosure', contains textured tracks which hold an atmospheric, but psychadelic feel, feeling chaotic at times but also unbearably engaging with its fascinating electro rhythms and guitar soaked wet with reverb extremeties.

'Murderers', Frusciante's most famed track, while repetitive, is catchy- 'The Past Recedes', off his 2009 album 'Curtains' is acoustic brilliance. But all of these more recent tracks are a bit more, let's say, 'normal' than what his music once was.
For me, however, some tracks of his earlier albums, such as 'Niandra LaDes And Usually Just a T-Shirt' are a saga of psychotic messes, but also often portray nothing but pure emotion. 'My Smile Is A Rifle', 'Mascara' and 'Your Pussy's Glued To A Building On Fire' are stunning at points, but are also extremely confusing, sometimes unsettling in their lyrical content.
Yes, John was completely drugged up, out of his mind on whatever he put himself on after leaving the Chili Peppers...and desperately bankrupt.

...but Untitled #2... never has a simple instrumental guitar seemed to mean so much.

Especially when walking your dog under clear starry skies at 10pm, feeling desperately hungover and wishing I could go back in time to return to the night before.

It does the job. Suddenly I felt better.

-squirette