tue 25/06/2024

New Music Reviews

Arctic Monkeys, Arsenal Emirates Stadium review - the masters of indie pop excel

Kathryn Reilly

“I hope they do Mardy Bum,” a small boy squeaks longingly to his mother. She was probably his age when Whatever People Say I Am, That's What I’m Not came out almost two decades ago. This is very much a multi-generational affair incorporating those of us who were too old to like them when they started, their peers now also in their mid-30s, and lots and lots of kids.

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Music Reissues Weekly: Tribal Rites of the New Saturday Night

Kieron Tyler

“It all started with a June 7, 1976 article in New York magazine about Queens, New York working-class young adults who flocked to a local disco in platform shoes and outlandish clothes to perform organized dances. [Bee Gees manager] Stigwood read Tribal Rites of Saturday Night, and immediately bought the rights from the author, seminal rock critic Nik Cohn.”

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Chvrches, Barrowland Ballroom, Glasgow review - homecoming provides only intermittent thrills

Jonathan Geddes

Of all the Scottish bands to be name dropped at a Chvrches gig, the Bay City Rollers would be far down the list. Thankfully singer Lauren Mayberry was only citing the 70s group in reference to her tartan outfit, and not a surprise cover of “Shang-A-Lang”, but the Glasgow trio do share another similarity, in that they’ve proved to have considerable staying power in the pop world.

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Music Reissues Weekly: Let's Stomp - Merseybeat and Beyond

Kieron Tyler

The words “Mersey” and “beat” were first publicly paired-up in July 1961 when a newspaper titled Mersey Beat went on sale in Liverpool. The debut issue – dated July 6-20 1961 – was distributed to newsagents. Its editor, art student Bill Harry, personally delivered copies to 28 other shops. It was also on sale at local clubs and jive halls. The NEMS store’s Brian Epstein took 25 copies of the first issue. The print run was 5000 copies.

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Le Tigre, Barrowland Ballroom, Glasgow review - letting out their emotions while having a party

Jonathan Geddes

There was a youthful tinge to the jubilant chorus of “here we, here we, here we f****** go” that greeted Le Tigre arriving on stage.

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Music Reissues Weekly: Heavenly - Le Jardin de Heavenly

Kieron Tyler

“It takes a real effort to sound this small, this timid; to resist the effort to rock out and kick pedal. Singer ‘Amelia’ (oh yeah, I bet that’s her name) has spent her entire adult life pretending she doesn't menstruate. The rest of her band, too, look like the sort of fanzine autistics who still wear dungarees at 30”.

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Disney 100 - The Concert, OVO Hydro, Glasgow review - a slick tour of the Magic Kingdom

Jonathan Geddes

There are a few perils to saying supercalifragilisticexpialidocious, as Janette Manrara discovered on this opening night of Disney’s anniversary arena jaunt. Trying to divide the Glasgow crowd into sections to sing the song, Manrara tripped over who was to sing what, something only notable because the rest of the evening was possessed of an almost overpowering slickness.

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theartsdesk on Vinyl 77: Scuba, Dannii Minogue, Tito Puente, ABBA, The Undertones, Oracle Sisters and more

Thomas H Green

VINYL OF THE MONTH

Rahill Flowers at Your Feet (Big Dada)

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Jaminaround, Ancient Technology Centre, Dorset review - music in the round that delights

mark Kidel

The circular form of the large turf-roofed round house at the Ancient Technology Centre in Cranborne, Dorset, is tailor-made for music in the round. The latest in the series of Jaminaround concerts made the most of the intimacy that the venue provides, with music that engaged the audience in a way that conventional staging makes difficult.

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Music Reissues Weekly: Folk, Funk & Beyond - The Arrangements Of John Cameron

Kieron Tyler

Donovan’s “Sunshine Superman” was the UK’s first explicitly psychedelic record. Although there were delays with it hitting shops, it was recorded in December 1965. A large part of its impact came through the instrumentation and arrangement. Jazz players were on board, playing in a folky way without abandoning their core musical sensibilities. The ground-breaking arranger responsible was John Cameron.

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