Wide Awake Festival, Brockwell Park -3/9/21 -Live Review

Photo by Max Styles

I’ve been to a fair few open air festivals in London before, some great and others not so much. Brockwell Park is a gorgeous location for a comeback day gig, situated just outside of Brixton station and brimming with lush vegetation. The lineup for Wide Awake was announced pre COVID back in 2019 when all we had to worry about was the tories getting back into power. Despite the bill being fairly different to the one initially announced, having The Windmill represent the main stage was a welcomed addition as well as being fairly surreal given how tiny that venue is. At this point however, I think it’s hard to be fussy when we’ll take anything over spending another 18 months watching Netflix, wanking and drinking ourselves to oblivion in our rooms.

Arguably the biggest guitar band in the country as of 2021, IDLES opened the main stage to a hungry audience, as push pits and bodies galore bopped to the likes of “Heel/Heal”, “Never Fight A Man With A Perm” and “Model Village’. The latter of which vocalist Joe Talbot had to explain what the song was about as apparently certain nerds online couldn’t seem to understand. As a band who’ve faced backlash for not being working class enough or apparently ‘appropriate’ punk culture, none of those factors mattered here as a wholesome lunchtime mosh was had by all. The brief Oasis cover was a tad cringey but that’s just my bias for hating anything to do with that band. Thankfully they redeemed themselves by closing on “Rottweiler”.

The plan was to see Porridge Radio afterwards, but finding the stage proved to be too cumbersome, it was bloody boiling, and we’d already missed half their set wandering around, so we opted to stay where we were. 

As my editor (James) pointed out, having IDLES on early as they drove down the M4 to headline in their hometown meant that it allowed other adjacent bands in their scene to have a bigger audience than usual. That being said, Brighton’s Squid’s were polarising to say the least. I’m usually a big fan of bands that have their drummer be the foreperson of a band, with Ollie Judge’s cynical observations and shrieks filling out the field coupled by Squid’s craft of song build ups. However, with only “Peel Street” and “Narrator” showcased from their latest album, along with even more new material sandwiched in between their older hits, a fair few audience members walked away midway through their set, and those who stayed were not quite sure what to make of things. 

Heading over to the So Young tent, a sizeable audience clambers in for Preston via London’s White Flowers. A dreamy three piece with tunes reminiscent of early Beach House, with gorgeous textures and floaty vocals. A sea of dads and Goldsmiths University types reacted well to the hazy instrumentation, albeit with some odd headbanging. James said his ears hurt because the bass drum was inexplicably the loudest thing on stage during their set. In his defence, he was being very brave about it. 

Back over to the Windmill main stage again, PVA’s glistening electronic musings make a nice break from the death by post punk mission that seems to be on Wide Awake’s agenda for today. Exploding one moment into a cacophony of noise to a gentle lul in the next, the dance group’s use of layers create a vibe that brings out the natural hit serotonin in the middle of the day we’d all been craving. 

Photo by Max Styles

Given the Sonic Youth comparisons made about Dry Cleaning, I was stoked to finally check them out, however we opted to go see Goat Girl on the mainstage instead as meeting up later may have been a bit difficult. There’s only so many times you can say ‘I’m by this tent’ and lose your mates entirely so it wouldn’t have been worth it. The South London ensemble, along with an extra violinist were unexpectedly drowned out by the quiet mix on stage, and crowds of people talking loudly to their mates over some of the slower jams ruined the atmosphere for me. It goes to show that some artists aren’t as effective on outdoor stages as they are in packed tents, and unfortunately this was absolutely the case here.

A nice surprise came from art punk weirdos Snapped Ankles, strutting their stuff at the Moth Club tent and bringing the weird vibes to us in the afternoon. You can’t quite put your finger on why they’re so enjoyable to watch, but their woodland aesthetic, blistering keyboards and genre blending madness makes them hard to not absolutely lose your shit to. If those watching Goat Girl looked too cool to be there or give a shit about any of the bands, the audience for Snapped Ankles is the complete opposite of that, with fans shamelessly throwing their mates across the tent, dragging strangers into the fold too.

With the sun gradually going down, Black Country, New Road treat us once again with the crowd warming playfulness of “Instrumental”, as a sea of gun fingers and men in bucket hats on shoulders dance their backs off. For every delicate introspective moment from newer cuts like “Goodwill Hunting” and “The Place Where He Inserted The Knife”, a sea of bodies bounce in unison for “Opus.” It’s surreal to witness a band who once could barely fit on the same stage together have such a visceral reaction from the crowd. 

Earlier that week, Black Midi announced that a string of shows had to be cancelled due to frontman Geordie Greep’s doctor advising him not to play following a throat infection. It was a nice surprise to see that not only did BM commit to their Brockwell Park set, but Greep was still as unhinged and bombastic as ever. He even managed to fit in a play scuffle on stage whilst bassist Cameron Pitcon seduced us with “Still” a country flavoured ditty on banjo. With some assistance from BCNR, the post punk giants combined forces together to deliver a truly memorable performance, never being able to sit still for too long before overloading our senses. Artists that are this unconventional and eccentric never usually achieve this level of success past a niche audience, but with both groups being nominated for Mercury prizes and playing bigger venues with each year, it seems like nothing can stop these incredibly talented people with so much potential.

If anyone deserves the first prize medal for today however, it was always going to be Shame. Frontman Charlie Steen points out that all the members had been going to Brockwell Park since they were kids, I can only imagine how euphoric it must have felt for them to headline a festival in their childhood playing fields, 10 years later despite the world still undergoing a pandemic. Tracks like “6/1” and “Nigel Hitter” are played ever so slightly faster than their recorded counterparts, but that tempo change makes all the difference. Drummer Charlie Forbes channels Steven Morris with his extremely tight drum fills, never missing a beat and adding an extra layer of ferocity into the fold. Steen has the crowd at his mercy, as circle pits and crowd surfers galore amalgamate into a whirlwind of chaotic energy. Blending newer tracks from Drunk Tank Pink with older cuts from Songs Of Praise, the moodiness of their stage presence was balanced with pure aggression. Ending on the cinematic turned cacophonic “Station Wagon”, the existential nature of the final lyrics “Won’t someone please bring me that cloud, move that cloud, join us on planet Cluj” encapsulate a true sense of unity that Wide Awake managed to accomplish today. 

Photos by Tia Bryant / Max Styles / James Pearson

30 Best Albums Of The Year 2020

The one thing that has kept all us going this year is the amount of incredible music that has continued to flow out of every part of the musical spectrum. There’s been some truly incredible releases over the past twelve months, and we are forever grateful for every artist that has released music to keep us going through these truly wild times. With that said, we’ve narrowed down what we believe is the absolute best of the best of this year, it was no easy task, but to us this is the music that truly stood above the rest.

30. Armand Hammer – Shrines

Surely album cover of the year. This, their fourth album, reflects the angst and anger felt by many. Somehow they still come out sounding quite positive.

— Barry Tucker

29. Tony Bontana – Di-Splay

Witnessing an artist at their dawn is never always easy. However since Bontana’s existence in the musical world, his debut album only capitalises on his extremely concise and evocative musicianship. Di-Splay shows Bontana coming into his own, the album includes a great deal of features that highlights the extreme amount of talent that Bontana is amongst and works with. Godspeed to Tony.

— David Tucker

28. Hachiku – I’ll Probably Be Asleep

Anika Ostendorf releases her long awaited debut album, and her sound has never been fresher. Combining elements of dream-pop, shoegaze and indie rock, Ostendorf has created an album that’s as assured in its delivery as it is as catchy in its grooves. Recorded mostly by just Ostendorf herself “in whatever bedroom she was currently inhabiting” according to her Bandcamp bio, but this only adds to the raw and emotive sound she captures on this album. It’s the almost ultimate lockdown album, touching on themes of becoming grounded and accepting where your life is in the moment, except it was written over the course of the last two years. Perhaps Ostendorf knows more than we do? Either way one thing we know is that we have spent hours getting lost in the swaying sounds of this fantastic debut.

— James Pearson

27. Quelle Chris & Chris Keys – Innocent Country 2

Back for their second collaboration since 2015’s Innocent Country. It’s full of mellow tunes delivered in Quelle’s laid back style. Quelle says the theme of the album is peace. Not a bad shout.

— Barry Tucker

26. Lianne La Havas – Lianne La Havas

Full of soul, love and a huge helping of natural talent, Lianne La Havas’ latest album is rightly self titled. This album is La Havas through and through. Incredible vocal performances, woozy and dreamy songwriting and an abundance of confidence. Featuring one the most intoxicating riffs in the form of “Can’t Fight” that we named as one of the best songs of the year. And a truly mesmerising cover of Radiohead’s “Weird Fishes” that’ll leave you in utter awe at just how much new depth La Havas brings to this track, just listen to that vocal rise towards the end of the song.

Read our original review here.

— James Pearson

25. Caribou – Suddenly

Dan Snaith returns with a more lowkey follow up to 2014’s Our Love, but his extreme craftsmanship and attention to detail remains prominent throughout. Manipulating sounds at his will, to create some of the most heartbreaking whilst simultaneously dance hall worthy beats yet. Acting as a retrospective on his relationship with others and his self, the majestry of this album lies within its ability to be raw whilst being full of joy all at the same time. “Never Come Back” is the perfect example of this, as Snaith looks back at the fallout of a breakup, backed by a highly intoxicating groove. Read here why we named it one of the best songs of the year.

— James Pearson

24. Ulla – Tumbling Towards A Wall

To witness an album so effectively dissolve music to its natural organic roots has never been so beautiful to witness. Sound moves in organic movement, tonal sounds trickle and slide through polyrhythmic trajectories. Ulla Straus composes each of the tracks with a keen eye for satisfaction. Sounds sustain before crumbling and swinging forming clusters. Listening to this album is the pure definition of chaotic beauty. Understanding a collective movement of all parts forming a complete whole.

— David Tucker

23. Perfume Genius – Set My Heart On Fire Immediately

Mike Hadreas follows up 2017’s No Shape with an album that shifts and twists through various styles of pop, shoegaze, country and industrial rock. Yet in each field of sound Hadreas has never sounded as confident as on this album. The one thing that binds all these varying sounds and moods together is Hadreas phenomenal vocal performance. He consistently pushes himself to see how intimate and simultaneously vibrant as he can get. There’s also room for one of the best alternative pop songs of this year in the form of “On The Floor” that has such a fantastic groove, melody and chorus that it’ll have you on the floor, either from dancing too much to it or reading deep into the lyrics.

Read our original review here.

— James Pearson

22. Off The Meds – Off The Meds

On their debut album, Off The Meds define their sound with a huge collection of absolute bangers. From start to finish the album contains addictive rhythms and lyrics that will keep you driven and motivated. The creativity of the sound being put into each of the tracks is so refreshing whilst making the tracks so much more enjoyable. Dance music at its finest!

— David Tucker

21. Bdrmm – Bedroom

It’s easy these days for any band with a reverb pedal and overdriven guitars to be classed as “somewhat shoegaze”. However there’s a feeling that needs to be captured when creating this music, and on debut album Bedroom, bdrmm define this mood to a T. Searing soundscapes, hard hitting riffs and lyrics that speak on themes of self-acceptance, anxiety and the disparity of youth. Their influences are clear, but the delivery matches that of many of the shoegaze greats.

Read our original review here.

— James Pearson

20. Katy J Pearson – Return

One of the most assured and confident debut albums released this year from Bristol based country, folk, indie singer-songwriter Katy J Pearson. There’s not a moment on this album that feels wasted or half-arsed as Pearson delivers one heartfelt ballad after another. There’s also a some truly captivating songwriting and storytelling layered within each song, just look at opener “Tonight”. But there’s also some fantastically groovy pop bangers within, such as “Take Back The Radio”, which we named as one of the best songs of the year. Pearson has finally declared herself as a modern country queen and we hope her reign is long and joyous.

Read our original review here.

— James Pearson

19. King Krule – Man Alive!

Archie Marshall’s bleak and blissful songwriting continues to be ever enchanting on third album Man Alive!. On The OOZ Marshall created a world for the listener to inhabit, but this time around he’s taken a look at the world around him, pondering questions of what the hell is going on? Through jazzy instrumentation and hazy soundscapes Marshall returns with perhaps his most succinct project to date, refining his sound to its purest elements. There’s also deep amounts of raw emotion laid bare on this album, from the isolation inspired “(Don’t Let The Dragon) Draag On” to the dreary ballad of “Perfecto Miserable”, Marshall is at his most vulnerable. Through all the despair and depression that’s infused within this album there’s also an underlying sense of hope, that things might just get better if we try. The blissful serenity sign off on closer “Please Complete Thee” is an embodiment of just that.

Read our original review here.

— James Pearson

18. Ana Roxanne – Because Of A Flower

Ana Roxanne has an incredible ability to transport you to a plain of absolute tranquility through her deeply meditative and evoking ambient music. As she intertwines elements of nature within her songs she allows you to reconnect with the world around you, realising its true beauty. Even just the simple mellotron arpeggio of “- – -” can take you back to memories and places you thought had long been forgotten. Read here why we named it one of the best songs of the year. The cover may be just a simple white sleeve, but within there’s so much more colour and vibrancy that can only be truly appreciated when you dive deep into the sounds.

Read our original review here.

— James Pearson

17. Pink Siifu and Fly Anakin – Flysiifu’s

Pink Siifu released NEGRO this year, a very angry and noisy album. In contrast, this collab sounds fresh and relaxed, and with its huge number of amazing contributors (Madlib and liv.e to name two), reflects much of their musical heritage, but is firmly a modern hiphop classic.

— Barry Tucker

16. I Break Horses – Warnings

A truly magical journey of dream-pop, carried by Maria Lindën’s dreamy vocals. Built out of Lindën re-imaging the soundtracks to classic films she was watching, Warnings is one of those hidden gems that just makes you stop when you first hear it. Infusing elements of 80’s pop and alternative electronic music, this album is as colourful as it is expansive. It’s easy to get lost in the many layered soundscapes that Lindën beautifully crafts, just look at opener “Turn”. Just over 9 minutes long and yet over that course it consistently moves and travels within itself, taking you along with it on a cloud of pure bliss.

Read our original review here.

— James Pearson

15. Clipping. – Visions Of Bodies Being Burned

The more brutal and bloody follow up to 2019’s There Existed An Addiction To Blood sees Daveed Diggs and co. create a true horror movie within an album. The flow and rhythm of Diggs’ deeply descriptive and potent storytelling is largely unrivalled. The production of this album is also a feat within itself, fusing elements of hip-hop, industrial metal and noise rock to make a sound that is as harsh as it is captivating, drawing you in with every listen. “Say The Name” is a perfect example of this as the ending descends into all out twisted chaos. Sequels always have the immense task of becoming bigger than the original, and Visions Of Bodies Being Burned does just that, with an unchallenged cool. There’s also an incredible amount of perfectly placed and effective features from the likes of Cam & China, Ho99o9 and Sickness.

— James Pearson

14. Adrianne Lenker – Songs And Instrumentals

After Big Thief’s tour at the start of the year was cut short, Adrianne Lenker returned back to Massachusetts, rented a small cabin and said she would give herself a break from working. The exact opposite of that happened and the result of Lenker’s itching desire to write is Songs And Instrumentals. Recorded entirely through its entire process on analogue equipment, this album is intimacy defined to its core. The glistening guitars and floating melodies of “Anything” is enough to make anyone believe that they can find love. Lenker is at one with nature on this album and through the natural recording techniques and bird sounds placed throughout she perfectly captures that feeling of getting back to simplicity.

Read our original review here.

— James Pearson

13. Sault – Untitled (Black Is)

What a year for SAULT! Releasing their 3rd and 4th albums of soul with jazz, hiphop and Afrobeat tweaks. Inflo and Cleo Sol (whose solo album is also very good) have made tunes that in these difficult times, need to be heard.

— Barry Tucker

12. Charli XCX – How I’m Feeling Now

Charli XCX continues her incredible run of powerful future pop albums with her latest How I’m Feeling Now, an album written and created entirely during lockdown. It’s not only a showcase of Charli’s incredible songwriting talent, but her never diminishing work ethic. Packed full of bangers and dance-floor anthems that capture the desire we all have to simply be around people again. Opener “Pink Diamond” is an ode to the club and that feeling of joy from being within a big crowd where the only feeling that is going round is just pure joy. Produced in part by Dylan Brady, one half of hyper-pop masterminds 100 gecs, this album also features some clear cut production, almost feeling as if you’re inside a vacuum as every sound is pulled front and centre. The ultimate lockdown album shows just what can be done within the limitations of home.

— James Pearson

11. HMLTD – West Of Eden

The ethos of HMLTD is to never create two songs that sound the same, and boy is this album packed full of variety. From spaghetti western ballads, to post punk ragers to the text to speech Japanese glitch pop “Why?”, this album has it all. But just because the style changes that doesn’t mean the quality does. Each song is full of so much bravado that it’s enticing to try and guess where they will be going next. This album certainly packs a punch, just listen to the bass line of “LOADED”, whilst also being heartfelt and full of earnest on the 80’s pop ballad anthem “Mikey’s Song”. Read here why we named it one of the best songs of the year. A commentary on the disparity of modern civilisation, whilst also offering hope that we can start anew, this is certainly a capsule of modern life distilled into a downright joyously crafted album.

— James Pearson

10. Freddie Gibbs & The Alchemist – Alfredo

The latest outing from Gibbs shows him team up with long time master producer Alchemist. Gibbs is an absolute professional when it comes to story telling. The way that messages and narratives are put together are a mix between humorous and sobering. This album yet again defines Gibbs as one of the most important artists of out generation. Alchemist provides the perfect landscape for an 80s film that Gibbs narrates.

— David Tucker

9. Nothing – The Great Dismal

There might not be a better representation of the bleakness that many of us have felt this year than The Great Dismal. Cathartic and devastating is the sound that encompasses the Philly band’s fourth studio album. Inspired by the images that emerged of a black hole, the band paints truly disturbing scenes both with their lyricism and sonic explosions. Touching on themes of isolation, extinction and human behaviour, the band have soundtracked, almost unknowingly the mood and collective feeling of this year. This album feels like it’s constantly trying to burst out of it’s soundscapes whilst simultaneously sucking you in to a great void of nothing. They have taken their already devastating sound and expanded it out into new and vibrant directions.

Read our original review here.

— James Pearson

8. Rina Sawayama – Sawayama

The debut from Rina Sawayama is truly enticing, showcasing her ability to blend and fuse genre’s and sounds through her extremely powerful vocal performances. Just look at the Marxist anthem of “XS” as the power pop verse’s crash into the chorus with the overdrive infused descending metal guitar lines. There’s also perhaps one of the best vocal performances of the year on opener “Dynasty” as Sawayama matches the swirling lead guitar line note for note, leaving you truly awestruck. Throughout its runtime this album never slows down, consistently offering new and exciting ideas that showcases how much of a natural talent Sawayama has. It’s like a festival where Sawayama is fronting every band. As far as debut’s go they don’t get much better than this. We’ll be keenly watching to see what Sawayama comes up with next.

Read our original review here.

— James Pearson

7. IDLES – Ultra Mono

Devastatingly brutal is the sound of IDLES third album Ultra Mono. This is the band at their most refined and potent. They narrow their sonic output out to be it’s most powerful and don’t leave any room for interpretation on their political stances. From the anti-war opener “War” with its spitfire like drum solo to the behemoth bass swells of “Reigns”, IDLES have concurred the studio to create their most black and white sounding album yet, or mono if you will. But even more hard hitting than the instrumentation is lead singer Joe Talbot’s growling vocal delivery. There’s anger, fury within his voice, but it’s all driven by love. Continuing to call out the small minded government that runs this country whilst simultaneously trying to unify everyone that listens to his words. Ultra Mono is a culmination of everything IDLES have become and holds its place as one of the most explosive punk albums released this year.

Read our original review here.

— James Pearson

6. Mary Lattimore – Silver Ladders

The greatest aspect of Silver Ladders is Mary Lattimore’s talent for evoking memories and telling deep and flowing stories with only the pluck of her harp strings. The intricacy of the movements that Lattimore intertwines into each song takes you into a deep space of acceptance and unity with the world. These songs are perfect for a cozy night inside or a late night walk through lamplit streets. Produced by Slowdive’s Neil Halstead, there’s also aspects of shoegaze sewn throughout, which can be heard through the cascading guitars on “Til A Mermaid Drags You Under”. Further evolving Lattimore’s sound to become so full of life and subtle beauty that you feel each note gliding over you, taking you further out into the blissful cosmos she creates.

Read our original review here.

— James Pearson

5. King Gizzard & The Lizard Wizard – K.G.

Birth. Death. Taxes. King Gizzard releasing new music. These are the constants of life as we said in our review of K.G., the 16th (!!) studio album in ten years from the genre defying band of magicians King Gizzard & The Lizard Wizard. And if you’re looking for a place to start in their comprehensive catalogue then there might not be a better place to start than this album. Defining and refining the eccentric elements of the bands sound to an ever changing and yet continuously flowing tracklist, the self title of the album is truly deserved. Just listen to the transition from the woozy folk ballad of “Honey” to the Black Sabbath infused closer “The Hungry Wolf Of Fate”. Also featuring the bands take on a “90’s Turkish house banger” in the form of the groovy “Intrasport”. Adding to all that, this album was recorded remotely with the members being in various lockdown’s, they really are an ever chugging well oiled machine.

— James Pearson

4. Tame Impala – The Slow Rush

Kevin Parker has done it again. Arriving 5 years after the heartbreak fuelled and synthesiser driven Currents, The Slow Rush sees Parker take a look back at his life and where he’s going next. Although over the years Tame Impala’s sound has gone through many phases, one thing that has remained consistent is Parker’s incredible attention to detail for creating sonic landscapes and his studio wizardry. The sound might not be as clean as Currents, but there’s still so many layers and flowing melodies to each song that you could spend a day just trying to unpack one. Parker also embraces a more disco-centric sound on “Breathe Deeper” and “Lost In Yesterday”, whilst still keeping that flair of psychedelia about them. But almost by accident Parker soundtracked a pandemic with opener “One More Year” as the vocals swirl and chant “One more year” around the soundscape. Four albums in and Parker still has that signature flair of excellence that is ever present.

— James Pearson

3. L.A. Priest – Gene

It is rare that an album is so self aware of its existence within the first four words. “Shit is fiery fire” is just about the best way to sum up Gene. The sophomore album further establishes La Priest as one of the funkiest, electrifying and downright great songwriters of the contemporary alternative scene. Each track is flooded with an abundance of beautiful noise that makes every song all the more vivid and meaningful. Instruments fizz and bubble like the pot of a magical wizard. I’m not religious, but this is one priests sermon i’ve been attending every Sunday.

Read our original review here.

— David Tucker

2. Phoebe Bridgers – Punisher

The amount of beauty and sadness that Phoebe Bridgers packs into her sophomore album is unmeasurable. The stories told and their heartbreaking delivery from Bridgers help establish her as one of modern musics greatest storytellers. This is the perfect headphones in the dark album. Sonically this album also pushes Bridgers sound design to its most enticing, there’s not a moment that doesn’t make you think, how did they do that? Just listen to “Garden Song”‘ and its crunching, almost watered down guitar riff try and push out of the mix as it chugs along. And of course it wouldn’t be a Phoebe Bridgers album without a soundtrack to the apocalypse. The incredible movement from guitar ballad to all out cathartic fanfare on “I Know The End” is a true testament to not only Bridgers’ incredible song writing talent but also as a retrospective on the modern day. Read here why we named it the best song of the year.

Read our original review here.

— James Pearson

1. Sorry – 925

This album has been the soundtrack to our year. Highly anticipated before its release and upon its delivery there was nothing to disappoint. This album simply gets better with every listen. Packed full of banger after banger, this is a culmination of the bands rise of the last few year as well as their incredibly intricate and subtly fierce songwriting. Casual listeners may just hear these as average “indie” songs, but there’s so much more to them than that. A certain mystique and spark of magic lies within every song, it’s hard to describe. Whether it be the almost deadpan delivery of Asha Lorenz and Louis O’Bryen’s vocal delivery, or the incredibly haunting and often uneasy soundscapes that the band creates underneath a seemingly upbeat sound. “As The Sun Sets” is a perfect example of this, read here why we named it as the second best song of the year. The title 925 is a reference to Silver 925, but for us this album is pure gold.

Read our original review here.

— James Pearson

50 Best Songs Of The Year 2020

In a year of phenomenal music these are the songs we’ve had continuously on repeat, blasting through our headphones until we got sick of them, then fell in love with them all over again. There’s been some phenomenal displays of extreme musicianship, songwriting and studio wizardry this year, and these are the songs we feel bring all of these elements together in a perfect smoothie of sound. Yum yum in our ear drums (sorry). We’ve put them all together in one handy playlist for your listening pleasure as well which you can find here.

50. IDLES – Reigns

A showcase of IDLES new found production prowess, the huge distorted bass swells are the natural progression for a band revered for their unchallenged raw power. Reigning in their chaotic sound to it simplest form, whilst still retaining the grandeur.

49. King Krule – Alone (Omen 3)

First appearing at the end of 2019, Alone (Omen 3) came into existence by a power plant. The acoustic representation of the song would then have its second coming on the announcement of King Krule’s latest album Man Alive! In the album format, the song is a grunge absorbed slice of heaven. The track wallows in loneliness, a voice leaning over you at your lowest. Words of positivity and hope bellow across like a mantra. Guitar and voice give way to a hidden void. Archie Marshall proves himself yet again to be one of the most talented fucking humans. Don’t answer your phone, take the train and remember that you’re not alone.

48. PVA – Exhaust/ Surroundings

A showcase of the London based 3-pieces songwriting technical ability. Just as you think you know what’s coming next, the band will swerve into new challenging lanes. The switch outs from the techno club groove into blissful synthesisers and back again perfectly captures that feeling of euphoria on the dancefloor.

47. Nadia Reid – Other Side Of The Wheel

Simply put, this is a very beautiful song. As Nadia Reid embraces her acceptance of moving on from lost love she delivers a truly emotive indie folk ballad. Swirling soundscapes and a driving groove, Reid further establishes herself as one of New Zealand’s best kept secrets.

46. Overmono – Everything U Need

Evocative music is really hard to pinpoint. Everything U Need is a lesson on how emotion can be conveyed in the best way possible. Dance music with every element being lovingly treated and cared for. This is the melancholy banger that everyone wanted from this year.

45. Fiona Apple – Rack Of His

Three decades into her career and Fiona Apple isn’t ready to give away her mantle as one of indie rocks most revered stars. Reversing the misogyny often given to women around to men when she sings “Check out that rack of his, Look at that row of guitar necks”. Not only speaking from experience, but calling for all those who have also experienced the onslaught of male depreciation to speak out and find power in each other. Also featuring an off-key piano line that will climb through your mind for days to come.

44. Arlo Parks – Black Dog

This has certainly been Arlo Parks year, debut album on the way next year. One of the biggest catalysts for Parks sudden surge in attention was “Black Dog”. It’s hard to pick an element of this song that exceeds the rest as Parks’ emotionally impactful lyrics and vocal performance backed with simplistic yet moving instrumentation makes an all round heartfelt indie anthem.

43. Georgia – Never Let You Go

Confident and cool. That’s the feeling all over London based producer Georgia’s latest album and “Never Let You Go” is the pinnacle of that. Unravelling vibrant and explosive soundscapes backed with a shake-your-butt like groove culminate in one of indie pop’s best bangers this year. We can’t wait to hear this one in the club.

42. Moses Sumney – Virile

Moses Sumney transcends genre to combine his emphatic vocal performance with a hugely expansive backing track that is both hard hitting and beautiful simultaneously. As he breaks down the contradictions of masculinity Sumney seeks to find the grey area in between it all in this groove filled banger.

41. Oneohtrix Point Never – I Don’t Love Me Anymore

Daniel Lopatin can paint sounds like no other. The sound of “I Don’t Love Me Anymore” is so addictive that it’s hard to not have this track on repeat. You’ll spend half the time trying to unravel every layer of sound and unwrap the deep vocal manipulations, but all this does is allow you to appreciate how much of a talented craftsman of sound he really is.

40. Kelly Lee Owens – On

A perfect combination of flourishing dream pop and techno from singer-songwriter/ producer Kelly Lee Owens. Showcasing her studio flair and ability to bend sounds to her will, continually evolving and expanding until it reaches its hard groove filled climax.

39. Dua Lipa – Hallucinate

A straight up pop anthem. It’s no doubt that Dua Lipa has made one of this years most confident pop albums in Future Nostalgia and “Hallucinate” showcases everything noteworthy about it. Highly catchy chorus, dance floor worthy groove and a supreme vocal performance from Lipa reaffirms her as one of pop’s biggest forces to be reckoned with.

38. Sault – Hard Life

Delightfully intoxicating groove, soulful melodies and a switch up that’s full of messages of self worth, further amplifying the pseudonymous collectives continuous messaging that black lives do matter. The mysticism surrounding the project only makes it that much more enticing.

37. King Gizzard & The Lizard Wizard – Straws In The Wind

King Gizzard have always been giving a retrospective of modern times within their music but this might be their most black and white song to date on the matter. “Pandemonium, selfish pigs
Headless chickens scared shitless, The media will never quit” declares singer Ambrose Kenny-Smith. Weird production aesthetics and more explorations into microtonal tuning sees the band stay as colourful as ever. Also featuring the best leaf blower solo in recorded history.

36. Bdrmm – A Reason To Celebrate

Pure shoegaze bliss. Borrowing from the founding fathers of shoegaze, bdrrm capture the explosiveness of My Bloody Valentine and melancholic joy of Slowdive to form a sound that’s as fresh as the Hull 5 piece’s faces.

35. Charli XCX – Pink Diamond

Recorded entirely during lockdown, Charli XCX’s latest album is a testament to her incredible work ethic and prolific output. Opener “Pink Diamond” is hard hitting ode to the club, that captures the longing we’ve all been feeling this year. Harsh beats, heavy hitting synths and shrink wrapped production make for yet another addition to Charli’s ever-growing list of bangers.

34. Angel Olsen – Whole New Mess

This is Angel Olsen at her most candid. Returning to a sound that was found in the early days of Halfway Home, Olsen crooning over crunchy reverbed guitars. Speaking on the feeling of constantly wondering how you’ll mess the day up, Olsen is raw in every sense of the word.

33. Ana Roxanne – —

The beauty of Ana Roxanne’s music comes from its assured ability to evoke memories you thought you’d lost forever. Put on some headphones and get ready to become lost in transcendence as the arpeggiated mellotron and emphatic ambient notes swirl and turn around in your head.

32. Axel Boman – Eyes In My Mind

Returning for a single outing, Axel Boman released Eyes Of My Mind back in April during the height of the pandemic. Being locked behind doors listening to the enchanting soothing house was a real pleasure in the abundance of sadness during this period. Eyes Of My Mind will always be seen as a reflection of hope.

31. Thundercat – I Love Louis Cole

Thundercat ventures into some his most progressive jazz yet, featuring his signature fast fingered flurried bass lines and a hard driving beat from none other than Louis Cole himself. A testament to the bassists extreme musical talent.

30. Caribou – Never Come Back

This song will make you want to dance and cry at the same time. With a deeply hypnotic groove and melody it’s sure to have your head bopping wherever you are. But dive deeper than the rich production that Dan Snaith brings once again and you see the producer/ songwriter trying to gain clarity of lost love, and whether the other person truly wanted to be there.

29. Nothing – Say Less

A brutal and chaotic chaotic soundscape that only gets denser with each listen. Guitars flailing and drums spiralling, there is a war going on within this song. Nothing have taken their already devastating sound and pushed it to new and exciting boundaries .

28. Kurt Vile – Dandelions

Kurt Vile has a supreme talent for finding true beauty in simplicity. That’s why this ode to a summers day spent playing in the flowers with his daughters is so elegantly pure and heartwarming. Each instrument and sound feels like it’s bursting out from behind a cloud, to shine light wherever it can.

27. Tame Impala – On Track

Kevin Parker’s take on a stadium ballad, sprinkled with his signature serving of flanger. As with most of Parker’s album from this the concept of time takes center stage, mainly the overarching fear that it’s slipping away without any progress, a fear that we have all felt this year. Without knowing it Parker perfectly captured the mood of 2020.

26. DEWEY – Is It Infatuation?

The hypnotic groove of this track will immediately draw you in, becoming truly infatuated with its melodies afterwards. A confident and bold pop ballad that is sure to be the first of many to come from Brighton based singer-songwriter Fifi Dewey.

25. Aleksandir – I Used To Dream

Aleksandir solidifies his name with his debut album. Released as a single, I Used To Dream, is a song acting like a lucid dream. The song propels and develops in a way that is extremely satisfying, yet completely unpredictable. Aleksandir is an absolute delight to listen to.

24. Rina Sawayama – Dynasty

Pop-rock ballad with a top level vocal performance from one of indie pop’s most exciting new stars. Just listen to Sawayma match the rising guitar solo towards the climax almost note for note, true musical prowess. A power anthem that is sure to be a staple of Sawayma’s live show, and we can’t wait to see it.

23. King Krule – Underclass

Jazzy, moody and a crisp saxophone solo, this is King Krule distilled into one powerful tune. Archie Marshall asks the question of whether he will still be loved at his lowest. Lush instrumentation that glides you through the hazy and deeply intoxicating mind of Marshall.

22. Clipping – Say The Name

Daveed Diggs and co. return with a more bloody and menacing follow up to 2019’s There Existed An Addiction To Blood . And this title track distills the album to its core. Infatuating beat and menacing chorus lines over a superb and continuously flowing delivery from Diggs descends into all out horror towards the back end of the song.

21. Okay Kaya – Comic Sans

A master craft of minimalism. A highly addictive chorus line and sparse production allows Kaya Wilkins to show off her greatest talent, vocal manipulation. Every listen brings something new to the forefront, it’s a song that keeps on giving.

20. Mary Lattimore – Pine Trees

It’s truly incredible the emotions and memories that Mary Lattimore can invoke with just the pluck of her harp. Layering melodies and warm synthesisers until you at once feel at ease, feeling as if nothing in the world could be wrong. Close your eyes and let the plains of flowing grass hills take over your mind.

19. Fenne Lily – Elliott

With heartbreak at its core, this emotional filled slow burner is as moving as it is intimate. It’s hard to pick one element that is more beautiful than the rest as the slow plucked guitar, sweeping violins and hushed vocals all compete to make you cry the most.

18. Lianne La Havas – Can’t Fight

As this sons builds through its many intricate layers there’s one constant that remains, Lianne La Havas’ immeasurable natural talent. Reaching a truly hypnotic and enchanting climax of sound that showcases La Havas’ delicately rich songwriting ability.

17. King Gizzard & The Lizard Wizard – Intrasport

Who knew that they needed a microtonal 90’s Turkish house banger? Well here King Gizzard are to deliver it, and boy does it slap. Infatuating groove and a deeply funky bass, this latest expanse on King Gizzard’s ever revolving sound is both hypnotic and sinister if you dive deep enough into the lyrics. “I used to dream about killing certain people” sings Joey Walker.

16. GUM – Don’t Let It Go Out

Jay Watson really is a force to be reckoned with in the world of psychedelic rock. When he’s not touring the world with Tame Impala or writing for POND he’s busy crafting huge sonic bursts of grandure, like in the climax of this song. When the sun eventually explodes and burns us all to a crisp I expect this to be exactly what it sounds like, unrelenting bliss.

15. Sorry – Rosie

There’s just something about the way that Sorry write songs that make them sound so familiar yet in a world of their own. A classic indie rock sound at its core, yet deep below in the production and flow of the song lies a darkness that feels like its trying to emerge at every opportunity. The almost dead pan vocal deliveries of Asha Lorenz and Louis O’Bryen lure you in to somewhere that feels distant and yet oh so familiar.

14. Yves Tumor – Gospel For A New Century

Glichy melodies, sensational chorus lines and twisiting instrumentation. This song allows Tumor to show off their new found lead singer status. Taking the song and owning it with an unchallenged glamour throughout, instrumentally and vocally it’s one of the most enticing sounds Tumor has created to date.

13. Katy J. Pearson – Take Back The Radio

A confident and assured country/ pop/ indie anthem. A hugely catchy chorus and infatuating melody, it showcases Pearson’s fresh and vibrant songwriting talent. If this isn’t featured on the next season of Nashville (is it still going?) then what has the world come to. Bristol’s best kept secret has been given to the world, and it’s a better place for it.

12. Benny Sings feat. Mac DeMarco – Rolled Up

The combo we all needed this year. A simple, and yet tasteful expression of the blues we all feel at times shows that you don’t always need deep layers of production to make a fantastic song. DeMarco’s happy-go-lucky chorus lines paired with Benny Sings’ minimalist crooning melodies are a true match made in heaven.

11. Adrianne Lenker – Anything

Adrianne Lenker manages to create so much with so little. From Songs And Instrumentals, an album recorded in its entirety with analogue equipment, Lenker perfectly captures the intimacy of love. The combination of the caressing guitar sounds and Lenker’s emotive vocal performance is enough to make anybody believe in love.

10. I Break Horses – Turn

A gloriously magic and sonically layered 7 minute dream pop journey, guided by Maria Lindén’s radiant vocals. Twisting and turning over its run time, forever gliding to its next moment of pure bliss. Turn out the lights and let Lindén take you to new found depths of consciousness.

9. Phoebe Bridgers – Punisher

The title track of Phoebe Bridgers sophomore album is an ode to Elliot Smith, without a doubt Bridgers’ biggest influence. Pouring her heart out to someone she’s never met shows just what it’s like to be infatuated by the idea of someone. Instrumentally this is one of Bridgers’ most hauntingly beautiful and delicately devastating tracks so far; I hope the rolling piano line is the soundtrack to the ascent to heaven.

8. Perfume Genius – On The Floor

The chorus and groove of this song is an infatuating as the emotions that Michael Hadreas sings of in this indie pop anthem. Fantastic production, feeling reminiscent of both 70’s funk and 90’s power pop this track is sure to have you writing letters to your teenage heartbreak asking where it all went wrong. Both emotionally fuelled and impactful.

7. HMLTD – Mikey’s Song

Bathed in 80’s power pop ballad nostalgia, this offering London based experimentalist indie outfit HMLTD has it all. An encapsulating melody, huge powerful chorus and gorgeous instrumentation. The band prides themselves on not having any two songs in the same style, well if they were to do more with this much bravado then I don’t think anyone would complain.

6. IDLES – War

An immediate and hard behemoth of an opener that sets the tone for the whole of IDLES third album, brutal. Both chaotic and controlled at the same time, the noise descriptions of lead singer Joe Talbot seem tongue in cheek at first listen, but soon you realise they are describing the horrors of real war. Affirming their political stance with no sense of mysticism about it, “This means war! Anti war!” cries Talbot of blistering guitars and searing synths.

5. L.A. Priest – Rubber Sky

Where Sam Easgate excels as a songwriter is his continual strive to push sounds to their absolute maximum potential. Recorded and played in its entirery by Eastgate this electronic pop banger not only showcases his multi octave vocal ability but also his ability to make sounds transcend into new planes of depth. Also featuring a truly dirty bass line.

4. Tame Impala – One More Year

Kevin Parker is a studio wizard and the opening track of The Slow Rush only enhances this notion. Almost gregorian chants of “One more year” circle around the soundscape as Parker sings of having to wait just a bit longer to be where he wants to, sound familiar to anyone? Unknowingly creating the psychedelic blissful sounds that soundtracked many peoples quarantine life.

3. Phoebe Bridgers – Garden Song

Phoebe Bridgers has a unique talent for sounding so huge whilst simultaneously delivering some of the warmest and softest sounding songs in indie folk. The watered guitar line continually tries to reach out over itself, just to be nurtured back down by Bridgers soft reminiscing of her dreams. It’s hard to describe just how much beauty is in hidden within the subtleties of this song, it’s best to just let it speak for itself.

2. Sorry – As The Sun Sets

It’s hard to describe just how hard hitting this song is whilst simultaneously being so full of suave. A truly menacing sound, the beauty is in the dense and ever expanding production. Quoting Louis Armstrong’s classic “What A Wonderful World”, Sorry seek to capture the emotional density of just simple life, and do it with an unchallenged cool.

1. Phoebe Bridgers – I Know The End

Phoebe Bridgers wrote the soundtrack to the apocalypse, and then the apocalypse happened. This hauntingly devastating and emotionally triumphant closer to one of this years best albums perfectly combines the beauty of Bridgers delicate guitar ballads in the first half, to break out into all out chaos in the end. Fanfares, choruses of “The end is here” and a final bow out scream from Bridgers perfectly captures the collective emotional whirlwind of this year.

IDLES – Ultra Mono Album Review

Partisan Records – 2020

The Bristol boys are back. Back with fury and love in their heart. Over the last 5 years or so IDLES have been leading a revolution of sorts. Yes there’s always been political music in punk and indie, but IDLES seem to have brought this music to the masses. They may not be topping charts any time soon but the legion of progressive and like mined individuals that have become devoted to the proclamations of a group born out of anger has been a joy to watch. And that’s what IDLES are all about, Joy. They even named their last album after it incase you missed that one. Their messages of community and inclusivity seem to have brought together a group of people who have also become disheveled in the way the world is being run. Together they are angry, but face this anger in the best way possible, laughing and dancing in the face of it. The AF Gang Facebook group is not only a place for fans of the band to share their collect love of the band, but also a place for people to meet other likeminded individuals and just share daily experiences and interests. The band pays homage to this in “The Lover” as they sing “There’s a feeling washing over me, It was built by you and me, Our unity makes me feel so free to say… “Fuck you, I’m a lover”. There’s more than just a band here, there’s a collective force.

One of the main attractions of IDLES is there confidence to “Say what they mean, do what they love, and fucking send it” as lead singer Joe Talbot states on “Grounds”. Politics has always been at the core of IDLES sound and messages, and their passion for more unified world. They’ve come under criticism before for ‘class appropriation’ but in the end we’re all on the same side. Their messages might not be the most controversial statements ever made in music but are a driving force in the acclaim they get. “Over-working, working nurses and teachers, While you preach austerity is… Carcinogenic” declares the band on the chorus of “Carcinogenic” a clear dig at the failing Tory government that has lead a nation into chaos, to IDLES their polices are cancerous. These aren’t just throwaway passages though as each lyric is sung with fiery intent, Talbots signature teeth grit pose is an image as clear as daylight. But through all the moody chords and imposing movements they still know how to snark at the privileged in a comical fashion. The frantic “Model Village” analyses the classic English country lifestyle for what it really is, a plastic façade. “He’s “not a racist but” in the village, Gotta drive half-cut in the village, Model low crime rate in the village, Model race, model hate, model village”. The main comedy coming from Talbot’s sarcastic upbeat delivery during the verses, juxtaposed with the fury of the chorus “I beg your pardon? I don’t care about your rose garden!”. And lead single Mr. Motivator” that sounds almost like a parody of an IDLES song, with its absurd cliché lyrics and bouncing riff. “Like Flava Flav in the club riding on the back of John Wayne, Like David Attenborough clubbing seal clubbers with LeBron James”. But engrained at the heart of this song is the notion of rising up, laughing in the face of absurdity and dancing. Joy as an act of resistance.

Sonically this album hits like a meteor. It’s a behemoth that will kick your teeth in if you get in its way. But it’s also the most refined IDLES have ever sounded. Straight from the starting line “War” is brutally chaotic, the riff is charged with pure cathartic energy and the drum break leading into the second chorus is one of the tightest, hardest hitting drum solos in modern punk. “THIS MEANS WAR” screams Talbot over an orchestra of frantic guitars and chugging bass lines. “Reigns” also features one of the, and excuse my lack of a better word here, PHATTEST bass lines that is sonically possible. Like a giant walking through a forrest this song moves with a grooving pulse, leading into the anthemic anti-conservative chorus that has become an IDLES speciality. Their punk roots are as strong as ever even through the colossal sound that the band creates. The driving groove and chugging bass lines of “Anxiety” are reminiscent of those older Brutalism like riffs. With the screeching and searing guitar lines creating a frantic feeling that’s reflecting the emotionally vulnerable lyrics. You can feel the tension not only in the increasingly crunchier riffs but also as the vocals begin to crowd over each other; the panic creeping in.

Through all these huge sonic moments no matter how chaotic they get, there’s still an inept tightness to the bands sound that really drives the punch home. This is mainly in part to the incredible work drummer Jon Beavis does keeping the grooves locked in, allowing the sound to really hit hard. There’s the marching beat of “Kill Them With Kindess” that makes for perfect strutting music. The back and forth swing of “Grounds” that even at its most explosive moments lands back firmly on its feet after sky rocketing with the chorus eruptions. And the pounding jungle like rhythm of closer “Danke” that sends the album out as fiercely as it started. A certified air drum classic. In the lead up to this album the band spoke of how hip-hop had influenced their sound on this album and this is most clearest in the beats of this album; the key element to any hip-hop banger. Take away the menacingly eerie riff of “The Lover” and apply a lo-fi piano melody and get ready to lay some bars.

This album is a culmination of everything that IDLES have become so far and perfectly distills the essence of why this band is one of the most important voices in music. “I am I” is the message and lyric that is repeated throughout this album, a statement that stands as a point of integrity and a “momentary acceptance of the self” as the album packaging states. The message behind the title of the album is that this is the black and white of IDLES, the core elements refined and defined in this career defining album. The thunder can be heard for miles, and until the storm breaks, it’ll be rumbling for a long time to come.

Live Review: IDLES – Abbey Road Lock-In Sessions

Rating: 4.5 out of 5.

What happens when a band revered for their high energy, chaos induced and passionately charged live shows descends on a studio that is one of the pinnacles of the music world? Pure cathartic magic.

It’s not like they’re not used to playing these iconic venues though. Last year headlining Alexandra Palace and selling out it’s 10,000 person capacity within an hour. And have recently announced a run of new UK shows for next year that sees them serve a four night residency at Brixton Academy. The difference here though is though the usual mosh pits and unify anthemic chorus’ were missing. But we know that thanks to the community IDLES have created around their music, everyone watching forgot where they were, at least for a time.

It has certainly been a strange year for live music. With the usual barage of summer festivals taken away for obvious reasons, and venues closed for the foreseeable future. Band have had to find new ways to connect with their fans. IDLES have always been a community band. The AF Gang Facebook group is a homage to the love and admiration that not only the fans have for the band but the band has for the fans.

Over the course of these 3 ‘lock-in’ sessions IDLES delivered one of the most raw and resounding live performances of the livestream age. With the setlists spanning their entire discography, including the four new singles from their forthcoming album Ultra Mono, due on September 25th. “It feels like we’re under the microscope” proclaims lead singer Joe Talbot and like most experiments under a laboratory, it’s fascinating to watch and will even throw up some surprises.

Blasting straight into action with ‘Heel/ Heal’, the sound is frantic, raw and yet consistently focused. It’s been quite some time since the band fully performed together, but they look and feel at home. Feeding off each others desire to get back into what they love, delivering thunderous live performances. And in true rock and roll fashion, Set 1 ended with a guitar smash from Bowen during ‘Rottweieller’. The lyrics do insist to “Smash it, ruin it, destroy the world”

It’s not just the fast popping punk riffs that show off their live prowess though, but some of the darker, moodier moments. The transition from ‘Gram Rock’ to ‘Date Night’ is ominous and boding, as the almost western film soundtrack like riff slowly chugs along. After viewing all these songs thrown together it’s easy to see how much the bands sound has grown over the years. Moving from the bouncing riffs of ‘Rachel Khoo ‘ to the marching beats and highly synthesised guitar riff of new single ‘Grounds’. But

Talbot has always been a passioned singer, he delivers the lines with conviction and intent. You can see what these songs and the messages he puts in them mean to him. Through his gritted teeth the anthems of a revolutionist and forward thinking generation are sung. “The best way to scare a tory is to read and get rich” he instructs on ‘Mother’.

There may not be an audience to react to but they still own the stage, keeping everyones digital eyes fully on them. Guitarist Mark Bowen still prancing about during riff breaks, he’s even suited himself up this time; usual attire is limited to just underwear. Talbot hops on the floor tom to help drummer Jon Beavis during ‘Rottweiler’. And Lee Kiernan, who’s usual approach is to take his guitar playing into the audience, still finds a wall to climb as he’s serenaded by Bowen with a medley of one line covers.

They even had time to throw in some devastatingly brutal but brilliant covers, with the highlight being The Beatles’ ‘Helter Skelter’, which I’m sure everyone is aware, but was in fact recorded at Abbey Road studios. A song that’s received its fair share of covers of the years, but none have ever sounded this empowered, haunting and beefed out.

Yes there were a couple of restarts and missed cues, but this just added to the emphasis that this was a show for the fans; it had to sound right. They even brought out the enlarged lyrics sheets at points. “Reminding me what a terrible singer I am” jokes Talbot before they kicked into action on the high paced ‘Mr. Motivator’.

There were also a plethora of dedications on the third set, one to a fan who sadly passed away of cancer and one to “The NHS and all our key workers who’ve kept us afloat, long live open minded, down with tory scum”.

“I miss this so fucking much” proclaimed Talbot during the third set. So do we Joe, so do we.

IDLES share new single ‘Mr. Motivator’

Photo by Pooneh Ghana

IDLES have shared the first single from their upcoming 3rd album, ‘Mr. Motivator’. This is the first new music from the band since their seminal second album ‘Joy As An Act Of Resistance’ in 2018 which saw the band gain a cult following for it’s raw left-wing lyrics and forward thinking messages.

In a statement about the new single frontman Joe Talbot said “We want to start this journey with a means to not only encapsulate the album’s sentiment, but to encourage our audience to dance like no one is watching and plough through these dark times with a two ton machete of a song and the most beautiful community of scumbags ever assembled. Let’s go. All is love.”

Take a listen to Mr. Motivator below!