2017 Round Up - Music

It's been...a year. Like everyone, I've experienced some real ups and downs in 2017. I've done better in university than ever before, managed to blag myself an internship with a huge print newspaper, started a job that doesn't make me want to rip my own head off and had some fantastic adventures with the people I love. On the other hand, I've also had to deal with loss, death, mental health, and the never ending hell cycle of modern politics that I can never just ignore because I'm a journalist and have to know about every awful thing that's happening at any given moment LOL.

I'm sure nobody really wants to read blocks of text about what I did and didn't do this year, so I'm going to simplify 365 days worth of life into a big round ups of favourites. I'll be going through music, film, television, culture, fashion and beauty in a series of blog posts over the month. Why not focus on the positives for once? Today we're gonna talk MUSIC, which I'll be breaking down into albums and gigs. Let's go!

Favourite Albums of 2017

1.BROCKHAMPTON - SATURATION II

The members of BROCKHAMPTON are outrageously talented for their ages. All the group's releases so far have been incredible, but SATURATION II is jam-packed with catchy, expertly put together tracks. Even my wee Mum likes them. BEST TRACK - SWEET

2.Alexandra Savior - Belladonna of Sadness

Alexandra's debut singles were so promising and this album lived up to the hype. Her voice is mesmerizing, her lyrics are clever and her ability to paint pictures with words is striking. This album is beautiful and melancholic and deserves a lot more attention. BEST TRACK - SHADES

3.Kendrick Lamar - DNA

Obviously this album is on this list, it's on every yearly roundup - for good reason. I've loved Kendrick for years, and DAMN is one of his best. It's powerful and bold from start to finish, and has further emphasized his place as an icon of modern hip-hop. BEST TRACK - LOYALTY

4.Gorillaz - Humanz

26 songs long! Aside from Drake, who puts out albums of that length?! And unlike Drake's More Life, this album can actually justify being that long. The list of collaborating artists on Humanz is the most impressive of any Gorillaz record yet, and every feature is expertly utilized to show off their skills (hear that, Calvin Harris?). BEST TRACK - OUT OF BODY 

5.Mr Jukes - God First

Jack Steadman was born to make soul music. We're all sad that Bombay Bicycle Club are on hiatus but if there was any reason for them to take a break, it was so this album could be made. It's a stunning blend of jazz, soul, funk and rap. Steadman's sheer instrumental and song-writing talent is overwhelming throughout God First, and he deserves more recognition for it. BEST TRACK - SOMEBODY NEW

6.Courtney Askey - Oh! Softly Goes

Courtney and I met on Tumblr in 2011 when we were both school girls with guitars trying to make names for ourselves online. I've always been blown away by her song-writing prowess, and was so happy when her debut album finally appeared this year. Oh! Softly Goes combines a range of styles, all with Askey's signature captivating, flowing vocals. BEST TRACK - TOO LATE

7.Syd - Fin

Syd's seductive vocals are such a pleasure to experience. Fin, her debut solo album outside of her work with The Internet, shows her at her best. Some tracks are reminiscent of Aaliyah and early noughties R&B, some more influenced by modern rap, but they all work together well. Yes to queer artists singing about queer stuff! BEST TRACK - KNOW

8.SZA - Ctrl

This album is girl power personified. It's so good to hear strong women like SZA singing about how men aren't a necessity - it's like a love letter to herself, and it's honestly inspiring to listen to. The simplicity of the tracks compliment SZA's distinctive voice so beautifully. BEST TRACK - SUPERMODEL

9.Alt-J - Relaxer

Relaxer is certainly a move away from the sound of Alt-J's previous two albums. It's far more electronic, the vocals are somehow weirder than before, and it suits them. It may be short but it's definitely sweet. Thank god there are some indie guitar bands left who are willing to push outside of the genre. BEST TRACK - DEADCRUSH

10.Alaskalaska - Alaskalaska

Technically an EP and not an album, but I've listened to it so much this year it would be unfair to leave Alaskalaska's debut out. I reviewed it earlier this autumn, and I still can't get over how catchy and addictive the tracks are. I can't wait to hear a full album from this London six-piece - hopefully that can be featured on my 2018 Favourites. BEST TRACK - PATIENCE

Just to finish off the list, I want to point out that Arcade Fire's Everything Now is not featured on this list because despite them being possibly my favourite band of all time, it is a truly trash record that I don't ever want to think about again :-) 

Favourite Gigs of 2017

1. Interpol - Turn on the Bright Lights 15th Anniversary Tour (Alexandra Palace, London)

My first ever trip to Alexandra Palace was beautiful. It's an awe-inspiring venue, so hearing my favourite album of all time in full there made for a perfect and memorable night. I went by myself, made friends with some fun strangers and danced with them all night. Turn on the Bright Lights sounds as good now as it did upon its release, and this was the best I have ever seen Interpol perform.

2.Gorillaz - Humanz Tour (The Hydro, Glasgow)

Seeing Gorillaz live is an experience, considering the emphasis placed on the visual aspect of the band. Having live appearances from the likes of two thirds of De La Soul, the fascinating Zebra Katz and the brilliant Vince Staples made for a brilliant gig with a real party atmosphere. Damon Albarn is a master of hopping from genre to genre effortlessly and watching him on stage proves that.

3.Radiohead - TRSNMT (Glasgow Green)

A setlist full of classics, a rowdy Glasgow crowd singing every line, and Thom Yorke's, er, interesting dance moves - it's the perfect recipe for a fantastic festival experience. A lot of Glasweigans criticized TRSNMT for their choice of Friday headliner, but this was a show to remember. And my best friend came all the way from Australia just to stand in a cold Glasgow park and scream 2+2=5 with me, so I had a grand old time. 

Honourable mentions - Mr Jukes - God First Tour (St Luke's, Glasgow) + Rae Sremmurd - SremmLife 2 (02 ABC, Glasgow)

Well there you have it, there's some things that I enjoy, maybe you will enjoy them too. If you do, or you're too lazy to read it all, here's a Spotify playlist summarizing the whole thing. Next time, we'll be talking FILM and TV so keep an eye out for those. See ya! <3 

ALASKALASKA Debut EP Review

ALASKALASKA, an art-pop six piece based in London, first caught my attention back in May when Bitter Winter popped up in one of my Daily Mixes. Since then, they've been one of my 2017 favourites.

Yesterday the group finally released their highly anticipated debut EP, comprising of Bitter Winter and its B-side Familiar Ways, their second single Patience, and brand new track This. Upon listening, it's hard to believe ALASKALASKA have only been together for just shy of two years. Their sound is so distinctive and modern, a perfect blend of soulful jazzy elements and feel good indie-pop. Imagine the best parts of Mr Jukes, Sharon Van Etten and Honeyblood crammed together and made melancholic.

Starting out with the delightfully catchy Bitter Winter, lead singer Lucinda John-Duarte's vocals glide elegantly over a foot tapping beat. The song perfectly captures the essence of feeling young and not entirely sure of yourself with the tongue in cheek line: "When I grow up/It's a very big when/I'm just hanging around/Until then". Brass instruments reach a powerful crescendo towards the end of the track, ending on a euphoric care-free note.



Familiar Ways is next up and is one of the stand outs of the EP. A bittersweet track that highlights the band's ability to build a song up to an emotive high with their sheer musical talent. Introducing sax during the second chorus, Lucinda's vocals become increasingly impressive and captivating, encapsulating the feelings of inadequacy and hopelessness: "If this is called a competition/Darling you will always win/I've been waiting for the bad news/Ever since it all began." The last section of the song feels like an outburst of pent up feelings that have to be released. It's my most listened to track on Spotify this year.

The penultimate track, Patience, starts out with an almost Foals-esque riff, then brings in Lucinda's beautiful autotuned vocals. Her vocal-style is so well suited to the effect and it's reminiscent of  POLICA. It's like a waterfall or a shower just flowing over the catchy beat. Many artists fail to understand how to use autotune to their advantage, but ALASKALASKA get it absolutely spot on. It's innovative choices like these that make the band different to other guitar bands working at the moment and give me hope for British alternative music. 



This is the final song of the EP and is the lowest-tempo track the band have released yet. It's more simplistic than its predecessors but the record is better off for it. With keyboards inspired by 80s power ballads followed up with a synthy arpeggio towards the end, it's almost nostalgic and hazy. In fact, Lucinda sings of feeling stuck between dreams and reality, repeating "I feel awake when I'm inside a dream/I have to pinch myself whenever morning comes".

I have struggled to find another new British band that knows its sound as well as ALASKALASKA. This EP proves their songwriting prowess, instrumental skill and mood-provoking ability. It is hard to compare them to other existing bands because they are so unique. Lucinda's lyrical capability is awe-inspiring. A woman expressing the hazy confusion of your early-twenties is a refreshing thing in a music scene awash with the male perspective.

Listen to ALASKALASKA below and follow them on Twitter and Facebook.

House of Cards Season Five Review: Spoiler Free!

Over the past year, actual real-life politics has been off-putting enough. With Brexit, Trump and an upcoming general election, the public is fed up of politicians lying their way to success. With that said however, when House of Card’s fifth season was finally launched on Netflix this weekend, you can guarantee that same public was scrambling to get their fix of dodgy government dealings with President Frank Underwood. 

Frank and Claire Underwood are potentially two of the most immoral, cruel characters that any political series has ever seen. They are deceitful, devious and cunning. They will throw anyone in front of the bus (or train – sorry Zoe) to get what they want. And yet after five seasons, we are still rooting for them. This is what makes House of Cards such an intriguing show. But does its fifth season live up to the previous installments?

The fifth season follows Frank and Claire through the 2016 election and the further struggles on the other side. We see journalists rehashing the theories surrounding Zoe Barnes and Rachel Posner as new evidence comes to light. Just about everybody on all sides of the political spectrum is against the President, and some new characters are willing to do anything to take him down. To quote Showgirls: “There's always someone younger and hungrier coming down the stairs after you.”

What makes this season so tense is not the conniving plans of Frank Underwood or the real-world subjects it tackles. It is the payoff from the excellent character development we have seen previously. For the first time, it looks as if Frank may have got himself into situations he can’t control. He can’t control his impending impeachment. He can’t control his wife. He can’t control Aidan Macallan and the secrets he may hold. He can’t control the ghosts of his past. This season, he has to fight much, much harder than he ever has before, and it’s odd to see Frank’s power slipping out of reach, while Claire’s only continues to grow. 

Ultimately the highlight of the season is Claire’s storyline. As she grows distant from Frank it becomes clearer that she is equally as self-serving as he is, and she is more than happy to jeapordise her husband’s position to help herself. This is the first season in which Claire begins to break the fourth wall as Frank has always done – it’s subtle and infrequent, but successfully shows that she is on her way to stealing Frank’s power over America, and the audience. She is exceptionally ruthless throughout the season and even surprises her husband with just how far she can go. Her relationship with Tom demonstrates her decreasing loyalty towards Frank and it’s an interesting idea to see how the couple’s individual careers will fare without the full support of one another.

I applaud House of Cards for resisting the story-bait of Donald Trump. It’s no secret that certain characters in the show are possible homages to some real-world politicians, and the show has introduced its own version of ISIS (ICO), so it would be plausible to introduce a Trump-esque role into the mix. It would have been cheap. The world of House of Cards stands too well on its own two feet.

The only flaw in this season is that some of the middle episodes start to feel a little dry, but it more than makes up for it in its thrilling final parts. The use of “ICO” is still a little on the nose too, but the story surrounding the group is well written and fresh.

Season five does a beautiful job in exploring the idea that Frank’s power isn’t all it’s cracked up to be. He is facing trouble at every corner and is unable to be satisfied by his own success. It shows that Claire is just as bad as him, and has only become more individualistic throughout their time together in the White House. As always, these characters truly are despicable – but we eat them up and beg for more regardless.

Get Out Breathes Life Into The Dying World of Horror

***Warning - Spoilers ahead!***

Bursting at the seams with visual metaphors, double entrendres and thought-provoking concepts, it’s no wonder Jordan Peele’s directorial debut Get Out smashed the box office. Just weeks after its U.S release, the film has secured Peele’s place in cinematic history - making him the first black debut writer/director to bring in over $100 million at the box office.

Get Out is a unique horror/social commentary film that successfully makes topical racial points while staying true to both the horror genre and Peele’s comedy roots. It follows young black photographer Chris Washington [Daniel Kaluuya] as he visits the family of his white girlfriend Rose Armitage [Allison Williams] for the first time. He is expectedly nervous about the situation, but has no idea of the real terror that is in store for him.

Throughout his stay at the elaborate countryside mansion he notices oddities surrounding him, particularly the unusual way the family’s black house staff act. Despite Rose’s father’s insistence that he and his peers are liberal – note their rehearsed spiel about wishing they could vote for Obama for a third term – he is bombarded with inappropriate racial questions. Is he stronger because he is black? Is he better endowed? Does he feel that being black is in fashion? Eventually, he discovers these questions are foreshadowing for a far more gruesome secret plan the family have for him. He later discovers that the Armitage family run a business that puts the brains of dying or ill white people into the bodies of healthy young black men and women.

The film is laden with clever and subtle references to modern racism. The secret operation of the Armitages is a comment on white society’s idolisation of black culture within mainstream media. It examines how white America often desires the physical attributes of black bodies, without truly taking an understanding of the societal issues people of colour face. Through its use of a blind character who wants to undergo the procedure while staying adamant that he is not racist like the others, Get Out shows how cultural “colour blindness” still contributes to systematic oppression. Even if you were to miss the references, the film is entertaining, offering terrifyingly tense horror sequences and perfectly timed comic relief. The modern takes on race in America are intelligent and quiet, but they are all the film needs to drive home the point.

After a spectacularly gory finale featuring death by deer antler stabbing and graphic brain surgery gone wrong, Chris comes out on top and escapes the family home. One of the finest moments in the film is when he avoids hypnotisation by removing the stuffing from a couch and putting it in his ears. That’s right – a black character survives by literally picking cotton.

Get Out manages to bring traditional horror into the modern age while offering a contemporary take on social and political issues. The film will no doubt be remembered as a telling reflection of the times we live in, as well as a tense horror masterpiece that breathes new life into the genre.

J.K Rowling's Not-So-Magical Political Commentary

What springs to mind when you think of J.K. Rowling? Her international success as an author, her contributions to modern pop culture, her millionaire status? Her political commentary…perhaps not. There’s a reason Rowling’s years in the spotlight haven’t seen her deemed the political voice of a generation – and if you take one look at her Twitter account, you’ll understand why. Rowling’s hot takes on the UK’s upcoming general election are more fantastical than her magical wizarding world.

Most are familiar with Rowling’s heart wrenching journey to success. A victim of domestic violence, she raised her daughter single-handedly while battling depression, earning just £69 a week from unemployment allowance. She wrote the Harry Potter books in coffee shops around Edinburgh to escape the freezing conditions of her flat, and ultimately caught the eye of publishers with her now-iconic tales of witches and wizards.

Having lived through such struggle, you’d expect J.K. Rowling to empathise with those currently in a similar situation. With 1,182,954 people resorting to food banks and an estimated thousands of welfare-related deaths last year, you’d imagine Rowling would be fervently anti-Conservative. As a domestic violence victim, perhaps reports that two thirds of women’s refuge centres are facing closure due to Tory cuts would lead her to campaign for Labour this time around. Apparently not. Just days after the announcement of a snap general election, Rowling took to Twitter stating: “Election 2017: what should you do if you support Labour but can'tstand Jeremy Corbyn?”

That question can be answered in two words – vote Labour. It’s that simple.

This isn’t the first-time Rowling has blasted Corbyn to her 10 million Twitter followers though. When he was first elected as party leader, she called his supporters “utterly deluded”and deemed him “unelectable”. While polls and right wing media outlets have consistently claimed that Jeremy Corbyn can’t be Prime Minister, the irony is that Rowling has outright stated multiple times that she wants a Labour government. By constantly repeating anti-Corbyn sentiments, she is feeding the Conservative campaign. It’s more illogical than a seventeen-year-old school-boy being told to lead an army against the evilest wizard in the world, and winning because he has a magical scar.

If Rowling thinks Corbyn is unelectable, she should campaign for him. With her huge social media following and never-ending media attention, she could have some genuine influence. However, she’s instead choosing to continue her Twitter campaign of hatred against a man who wants the same things she does, meanwhile helping the Conservatives secure what could be one of their biggest wins in recent history.

With mere weeks to go until the election, what exactly does Rowling think she’s going to achieve by berating the leader of the party she actually supports? Let’s not kid ourselves into thinking the UK offers anything but a two-party system. There’s no real alternative to Labour. The Liberal Democrats’ campaign is likely to be effected by leader Tim Farron’s alleged belief that homosexual relationships are sinful, not that they could ever achieve a majority anyway. Rowling tweeted a link to an article showing how to tactically vote against the Conservatives without voting for Labour, which may lead to some gains for smaller parties, but ultimately will split the left’s voting and allow a Tory majority.

For somebody who agrees with Labour’s values and policies, holding a grudge against their leader in the run up to such an important election is plain irresponsible. Maybe developing such an elaborate fantasy world for 20 years has messed with Rowling’s perception of reality. Maybe she thinks everything is as black and white as a fight between good and evil. Maybe she thinks we’re not electing MPs for Westminster, but the Ministry of Magic. I’m sorry Joanne, but Dumbledore isn’t going to fly down on a Hippogriff on election day to prevent Brexit and five more years of austerity measures.

As a child of the Harry Potter generation, I grew up loving everything J.K. Rowling stood for. When I got older, her personal story inspired me. She was a victim of harsh Tory policies for years, but despite all odds overcame it by using the power of her imagination and writing prowess. Seeing her using her platform now, to feed the right-wing narrative that Corbyn can never win, seems reckless and ugly.

The NHS, women, refugees, the disabled, the poor, the young and the elderly, will suffer further cuts and consequences under another Tory government. J.K. Rowling can claim to support those effected by austerity all she likes, but actions speak louder than words. I suppose she doesn’t have to worry too much about the effects of Tory policy anymore though. Ah, to be a millionaire. 

Hazy cosmic jive: a night with Courtney Askey

                                                         

                       

                                                   Photo courtesy of Courtney Askey

There are some inherent differences when it comes to the Scots and the English. In the midlands, for example, they call bread rolls "cobs" which shows they are a morally corrupt nation. In Scotland, we aren't allowed to buy alcohol in shops after 10pm because we can't be trusted to be on our best behaviour if we drink before bed time and also buckfast exists. Additionally people in England seem to have a problem when you call Coke or Fanta "juice", which historically has been known to tear relationships combining those either side of the border apart. (Sorry guys but "fizzy pop" sounds like something from a Roald Dahl novel. See also: it's really daft.)

Sometimes though, really nice things happen and our two nations forget about the centuries of arguing over stupid words and what goes in a cooked breakfast, cold blooded killing, Margaret Thatcher and how you always ask us to say "there's been a murder".

And a really nice thing did happen this week (despite the loss of my hero and angel David Bowie). Courtney Askey, the queen of intergalactic grunge folk released her debut single with Blizzard Records, called Paris Apartment, at a fantastically sparkly night at The Cookie in Leicester.

I've followed Courtney's musical endeavours since 2011 when she was a 16 year old green haired acoustic guitar player posting covers on a soundcloud account. Five years later, Courtney Askey is a proper grown up musician and artist lady - even if she does eat chocolate cereal for dinner sometimes - with a record deal and her very own unique sound influenced by everyone from PJ Harvey and Nick Cave, to Courtney Love and Tom Waits.

Arriving at The Cookie, I noted I'd never seen such an elaborately decorated venue - there was silver streamers over every speaker, glow in the dark balloons, an incredible light show, a disco ball, a holographic banner featuring the title of Courtney's song and space themed party hats for all attendees. It felt much more like a party than a gig.

          

                                                      Photo courtesy of Keith Jobey

First on was Echolocation who recently celebrated their tenth anniversary together. Echolocation have a very distinctive sound and a very distinctive singer. Pete, their front man is rather intimidating as he swaggers around the stage with a curled lip, practically spitting out lyrics about the shabby state of affairs in the world over a expertly composed and performed post punk  sound. Towards the end of the set, Pete announces we are going to do some meditation. He is not joking. This very northern voice instructs us to find our inner souls. Looking around the crowd, I notice people of all kinds of age groups are completely engrossed in what he's saying. One young student type boy shouts to his friend: "This is on another level!" Echolocation know exactly what they're doing - they are experts of their trade.

Next up were Ash Mammal. Ash Mammal seem to have racked up masses of popularity in the brief time they've been together and rightly so. Their sound is an exciting combination of beauty and dirt; front man Cass snarling and shouting in his distinctive Brian Molko-esque voice while drummer Anya manages to competently drum and sing in their gorgeously soft echo-ey way. Ash Mammal are theatrical. Cass moves, sings, talks in a way that is more like performance art than a half hour music set. In a surprise move towards the end of their performance, bassist Jeeves makes a move to do lead vocals in a song about this really bad guy named Freddy and kicks Cass in the shin, tripping over in the process. It only adds to the theatrics. And it's okay because Cass was so hyped up on adrenaline he didn't feel anything anyway.

        

                                                     Photo courtesy of Adrian Manning

Finishing the night was the girl we'd all been waiting for, Courtney Askey. Miss Askey never fails to impress and her set proves that she can do just about anything and everything she puts her mind to (notably, organise this entire event and fill the room to pretty much maximum capacity). The colourful, trippy visuals and Courtney's fully baby pink outfit combined with her fantastically honest songs create an atmosphere that you don't want to leave. Dan and Andy from Echolocation do a wonderful job providing drums and bass to Courtney's songs and give them an edge that is far beyond her age. Throughout the set she brings a series of collaborators on and off stage, performing alone with only her guitar, then dueting with various artists from the night, everything coming to a climax with an incredible passionate rendition of her single Paris Apartment. For this, we have a synth player, a bassist, two guitarists, a drummer and of course Courtney. The entire set is expertly held together and each song offers something a little different. When she announces her final song, Infinity Theory, the crowd goes "aw!" In unison. Everyone wants more from this greatly talented young woman.

                                    

                                                       Photo courtesy of Keith Jobey

The level of planning, thought and effort put into the night was exceptional. It was so much more than a gig. I have no doubts that the new Ash Mammal EP and of course the debut Courtney Askey album will live up to all expectations. In fact, I wouldn't be surprised if these incredibly young musicians blow us away more than we can possibly imagine.

Beneath are my own pictures of the evening (which only back up my point that the event was far more of a massive musical party than a gig)

         

         

                                      

        

        

Is North East Fife still up for grabs?

With less than 100 days until the general election that nobody can predict, people are starting to look locally to get some idea of the future of politics across the nation.

In many parts of the country big changes are expected to take place and this is particularly clear here in North East Fife, a traditionally safe Liberal Democrat seat that this year will see popular figure Menzies Campbell step down. This could potentially shift the vote significantly, especially following recent reports of the Liberal Democrat’s falling popularity and predictions that they could lose as many as 29 seats in May. Add to this the unstoppable rise of the SNP, last year’s European elections in Fife which saw the Tories soar ahead of the Lib Dems, and you see there is a pretty intense political fight ahead for this supposed “safe seat”.

Alongside the SNP’s predicted gain of over 40 seats this year, they saw a great result at the 2014 European Election in Fife, receiving the second highest amount of votes in total. This shows that despite the Labour strongholds in the area and the overall “No” vote in September, the SNP do have a chance of making gains here. But is North East Fife the place?

Conservative candidate for North East Fife, Huw Bell, thinks not. “We don’t have an exact figure for the referendum here but it was sort of mid 60% for no. I find that for a lot of people who used to vote for Menzies Campbell, the most important thing for them is the union; preserving the union, and not having an SNP MP. I think for me it’s going to be who has the most compelling pro unionist argument. And the name and the history of our party will help that.” But what chance do the Conservatives have of gaining North East Fife?

At the 2010 general election, the Conservatives received the second most amount of votes in North East Fife and additionally there was a 5% swing from the Liberal Democrats to the Conservatives. Despite this however a lot has changed in five years. The referendum has undoubtedly changed attitudes and got a lot more people engaged in politics. Previously North East Fife has seen a turnout of 63.6% at the general election – will the political interest generated throughout the referendum debate increase this number? And will that have a notable affect on the vote for any particular party?

Huw Bell believes that anything could happen in the next few months and will continue to work hard in the area. “I firmly believe I will be better to represent all of you and if you want to stop the SNP we are the party that is best placed to stop them. North East Fife is definitely still up for grabs. It’s definitely worth all my efforts.”

A day in the life - Bailey Jay

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Kirkcaldy hopes to keep Brown (03/11/14)

70% of people believe that Gordon Brown should not step down as MP, following Alistair Darling's resignation announcement yesterday.

Brown and Darling infamously worked together during Labour's last run in office. Darling's decision to step down at the upcoming 2015 general election has created discussion around whether the ex-prime minister should also refrain from standing. His seat, Kirkcaldy and Cowdenbeath, is the second safest seat in the UK and he has been their MP for 31 years.

In his constituency of Kirkcaldy however, the majority of people believed Brown should remain in his role of MP. "I've not got a lot of thought for any politicians," said 61-year-old James White, "But I do like Gordon Brown. He's very good at what he does."

Following last week's polls showing that Labour may lose more than 30 of their Scottish seats, people were talking about the potential swing towards the SNP. "I have always liked Gordon Brown and I have voted Labour all my life. But after how Labour treated Scotland during the referendum debate I think I indentify more with the SNP. Next year, I'll probably vote SNP," said 42-year-old Margaret Galloway.

However not everybody thought highly of Gordon Brown. An elderly man, who asked to remain anonymous, said: "Get rid of the bloody lot of them. As far as I'm concerned, Gordon Brown changed the vote to a no. My wife and I have been voting SNP since 1963, and I hope they force him out next year."

Some people also thought Brown's long run at Westminster has made him unable to properly represent his Scottish constituency. "He's been doing this too long and he's lost touch with the real people," said 27-year-old Michael McDonald. "This may be a Labour stronghold, but I think it'll be interesting to see what happens next year."

La Roux, 02 ABC Glasgow

"La Roux? I remember her, she had a few tunes a few years back, didn't she?" was the response I had from my mother as I headed off to Glasgow on a last minute trip, to make use of a friend's free gig ticket. In all honesty, all I could do was agree. I hadn't heard anything from La Roux since I was in first year at high school.

Ultimately, everything about what my mum said was wrong. La Roux, at the release of the debut, self titled album in 2009 anyway, was a duo. Producer Ben Langmaid, and singer Ellie Jackson, teamed up to make catchy synth pop goodness, and singles "Bulletproof" and "In For The Kill" received plenty media attention, notably getting constant air play on Radio 1. Unfortunately, their platform in the mainstream media fizzled out after that. I wasn't even aware that La Roux was now a solo project and that Jackson had released a new album until I got to the gig.

It's a genuine shame that major stations like BBC Radio 1 haven't provided much coverage to Jackson's latest musical adventures. It doesn't surprise me though. Radio 1 is increasingly obsessive over what is new and what is now. If an artist has difficulty with album production, and release dates get pushed back, mainstream radio stations seem to consider them irrelevant. Note The Horrors latest album, Luminous. It's release was only delayed by a matter of months, yet their airplay was significantly lower than the singles from their previous albums. The music industry is a dangerously fast paced place.

Nevertheless, La Roux probably hasn't been damaged too much by ignorant radio stations. The 02 ABC is surprisingly full when I arrive, as Meanwhile, the support band, are already playing. I meet my friend, who tells me, "There's a man in a turtleneck grinding against synthesiser." This is something I have to see.

They're entertaining, undoubtedly. They're memorable too which is more than I can say for a lot of support bands I've had the misfortune of seeing. They make funky, 80s grooves. Imagine Prince, if Prince was white, and also a five piece synth led band. They play quite a long set but it's enjoyable, it's fun. It's an ideal set up for a night of electronic pop.

La Roux surprises me from the second Jackson takes to the stage. She walks on to "Let Me Down Gently", a brilliant track from her new album "Trouble In Paradise". The song's intro is made up entirely of samples of Ellie's distinctive, breathy voice, creating an almost angelic chorus for her entrance. It's gorgeous, reminding me of more alternative electronica like Purity Ring and Thom Yorke, but as the song develops it's clear that the focus is synth pop. I take no issue with this, as what La Roux does, she does it well. The fact I'm watching a synth centred artist perform with a full band makes me smile too. I appreciate when artists put effort into their live shows.

She sings flawlessly, impressive considering her famously high pitched songs. Her vocal ability is astonishing. Alongside her energetic stage presence, it's difficult to take your eyes off her. She's stunning, dressed simple in a black long sleeved t-shirt and gold loose trousers. Her androgyny makes her even more fascinating. Everything about her is elegant, simplistic, and yet on stage she takes huge steps, dancing boldly.

The songs from the debut La Roux album aren't as strong as those from "Trouble In Paradise". She feels more polished, more confident than she did five years ago. They play hit "In For The Kill" quite early into the set, and Jackson is noticeably more confident. Her vocals soar effortlessly and she looks so content and comfortable on the stage.

The highlight of the set is "Silent Partner" a seven minute exploration in synth from her new album. Jackson plays electronic drums while dancing her signature skipping motion. The song is almost New Order-esque and the passion in which she hits the drums is impressive. It's a perfect pre-encore number, and the crowd goes wild for her. "La Roux, La Roux, La Roux is on fire!" chant the audience in a thick Glasweigan accent. She even receives a marriage proposal during this song.

I could not be more impressed by Ellie Jackson. The extent that she and her music have grown since my last interaction with her in 2009 is admirable. It's clear that the split from her previous band mate was a blessing, not a curse. Although it does seem to have put a spanner in the works in terms of media coverage, but people are still listening and attending gigs on an international scale. Azealia Banks just released her debut album independently and the media also appear reluctant to assist her in advertising her work. Perhaps what we need to see more of is powerful women becoming successful on their own, in a way that works for them. It's time to see mainstream artists prove that the mainstream media is not a necessity for them to thrive in the industry.

8/10

The Horrors & Telegram, 02 ABC Glasgow, Friday 26th September

Appearing at their first Glasgow date in two years tonight are The Horrors. Performing at the same venue they did in May 2012, they only have a different support band, a new album, and a slightly older crowd to distinguish between tonight and their previous gig here. Despite this apparent lack of development in the band's popularity over what is a long period of time in the music industry, I am excited nonetheless.

Firstly, I'm looking forward to seeing Telegram, the opening band for the entirety of the UK tour. I've only heard the songs they have online (which is actually at this point only a single, "Follow") and I've overheard a few comments from some younger members of the crowd. "He wears eyeliner!" says one girl, "AND he looks like Morrissey!". I'm also quite excited for The Horrors too. Their new album Luminous, was one of the best of the year, and I can't wait to hear how it translates live.

Of course, as all support band crowds are, the crowd for Telegram is, well, dull, and that sort of amplifies how underwhelming the band themselves are. I understand the attraction. It's undeniable that The Horrors attract a very specific type of NME reading teenage girl, and clearly they share a fan base with Telegram. I get it, I do. When I myself was 14 I would quite honestly listen to anyone who had a long haired guitarist with a fringe, and a skinny leg band policy. Although these bands would almost definitely disagree, this part of alternative music does place a lot of emphasis on aesthetic, and Telegram fit that aesthetic perfectly. Their music is ok. I listen to it and I nod my head. If it was on the radio, I wouldn't turn it off. But there's no getting away from the fact that this is just a lot of electric guitar strumming, pedals, and a constantly unchanging drum beat. I practically develop repetitive strain injury from tapping my foot as they offer absolutely no rhythmic change. Perhaps this is too harsh. The sound really wasn't excellent, in fact, I'm not sure the 02 ABC is the best for sound, the room is curved and often distinctive guitar riffs and bass lines because distorted or just lost altogether, but that isn't their fault. I have to try hard to pick out the song I already know, "Follow". I don't dislike their set, but I can take it or leave it, and I know this because when I get home I have no motivation to like their Facebook page, follow them on Twitter, or listen to them again.

The Horrors are (unsurprisingly) the stars of the show. Coming on stage after the sound system has played Atomic by Blondie proves a good choice. The crowd cheer loudly, but their feet stay planted firmly on the floor as they get into "Chasing Shadows", the first track on most recent album Luminous. I can't really understand why nobody is dancing or even moving because everybody is singing, everybody is smiling. I come to the conclusion that the kind of person who attends a gig like this maybe thinks they're a bit too cool to dance.

Despite the totally mind-numbingly frozen crowd, The Horrors are excellent. They are the kind of band that really, really care about music, they aren't there to put on a show, they aren't performers, they're the kind of focused, clever musicians that only want to create the most gorgeous soundscape they can. A rare trait for artists very much set into that category of what the NME thinks is worth listening to.

They are accompanied by the most stunning light show, not a stage gimmick to distract you from the music, but quite the opposite. The lights are so intense they actually plunge the band into darkness and they merely become silhouettes for the entirety of their set, hiding behind colours, smoke and lasers, perhaps trying to rid themselves of the labels placed upon them, as both their fans and the media have at times focused more on their look than the music they're producing. That music, by the way, is crisp clear. They play the majority Luminous and the odd track off Skying and Primary Colours. I forgive them for not playing my personal favourite, "Dive In", because everything they do play is perfect.

The synth. Oh god, the synth. Their infamous triangular synth gets put into use a few times during their set, and every time my heart skips a few beats because it's absolutely genius. How many modern bands have the sheer skill to design and then create their own innovative instruments? What they're doing is modern but it's reminiscent of 60s psychedelia and girl groups and 70s prog rock and 90s shoegaze and it's all these genres lumped together and it becomes this dream like sonic attack on your senses and it's incredible. And I even cry a little during "Change Your Mind". Yeah.

The crowd finally livens up during the final songs, and "I See You" is the highlight of their performance by far. With synth harkening back to 70s disco (I Feel Love by Donna Summer springs to mind) and 80s electronica (Cars by Gary Numan), the song is a pure pleasure. It's almost like waves of sound swirling around you. It's fantastic.

The general consensus is "wow". There are people leaving the venue who are quite honestly lost for words, unaware they could be this affected by music. I, for one, just keep repeating "amazing", as I feel like I've been on some strange 1960s acid trip for the last hour and a half. The Horrors may not have grown in size, but they have grown up, and that has proved to do them more good than any amount of fans ever could.

9/10

University information day held at Fife College

Fifeife College’s St Brycedale campus had its university information event today.

The event, which was organised by the college guidance team, featured a multitude of stalls from Scottish universities and student organisations. Held annually, the guidance team said the event “ensures students know as much as possible about where they can go when they leave us.”

Universities from across Scotland were on hand to offer students information on their futures. Stall holders gave out prospectuses and literature on their universities and explained to students the benefits their courses would give them. The widening participation officer for Stirling University said “It’s essential that students pick a university that suits them and their needs. I don’t try to convince anyone that Stirling is the best and only option. It has to be the student’s choice at the end of the day.”

There were many students at the event, but some seemed reluctant to leave the college at the end of the academic year. 60% of students asked said they were going to continue into the second year of their HND at Fife College, despite the other options available to them. “Although there’s obviously other places I could go next year, bigger cities with better student life, I’m set on staying here to get my HND,” said Kyle Johnson, a fitness student, “I love my class and the lecturers and equipment are top notch really. I’ve only been here two months and I really love it.”

Skills Development Scotland were also at the event, helping students already in the process of applying to university, as well as talking about careers and apprenticeships. The Open University had a stall too, providing help to those interested in further education but without the time or money to attend a physical university.

Overall, the event seemed successful, as students armed with brochures and free tote bags headed back to their lectures. “Events like these are really good because they help me know more about my future options,” said hair and beauty student Ashley George, “and I get loads of freebies”.

Tomorrow's Modern Boxes/Thom Yorke review

Forget The King of Limbs, ignore Atoms For Peace, and put aside critics comments calling Yorke’s choice to release Tomorrow’s Modern Boxes for free via a file sharing website a “gimmick”. Go into this album without your pre-conceptions and scepticism. This album is indicative of Thom’s transition into smarter, more mature electronic music.

Thom Yorke’s undeniable distinctive sound is still here and there are obvious similarities between this and his most recent work, but there is an air of something fresh and new between the bars. I won’t pretend this album is going to change the way the electronic genre is heard or claim this kind of music has never been made before. This is not the Kid A of the 2010s. It is however, important to recognise that Thom’s sound IS undoubtedly developing into something more beautiful than he has ever been able to achieve before.

Tomorrow’s Modern Boxes takes the things you like the most about Amok and The King of Limbs and Kid A, and puts them together into this gorgeous, distorted yet smooth little ball of computerised emotion. First track “Brain In A Bottle” provides an Actress-esque, synth led introduction to the record, complete with chillingly classic Yorke vocals, repeated layered airy “aah”s providing those hair standing up on the back of your neck moments. Within the first minute of the album I found myself smiling, captivated, and absolutely desperate for more of this.
The following track “Guess Again!” is equally stunning, featuring a lower than usual vocal from Yorke. The track is piano led and uses repetitive claps throughout, allowing the main focus to be on the powerful lyrics. Thom creates a disturbing, dream like image, crooning effortlessly over the melody. “While dogs are howling / Behind the curtains / I hold onto my children / The creatures staring in”.

The best track of the album for me, is “Truth Ray”. Slow, prolonged synth is accompanied by a slow electronic drum beat, reminiscent of Codex, though far more interesting, and a lot more heart breaking. It’s the kind of music that almost feels like it’s encouraging you to lie down in a dark room and stare at the ceiling, it wants you to focus on it and it alone. Towards the end Thom uses a typically Thom Yorke vocal effect and repeats short samples of nonsensical half words, engineering them to sound different each time. Tomorrow’s Modern Boxes wouldn’t be complete without this kind of disjointed, uncomforting yet oddly lovely little Yorke-ism.

“Pink Section” is the track that proves Thom Yorke is capable of more than what people expect. Sounding as if it belongs in the Cristobal Tapia de Veer soundtrack to Channel 4 drama Utopia, this short piece is absolute ambient art. Every instrument and every vocal sample on this song has been altered in some way, creating this distorted, dystopian, moany sound. It’s almost like a cracked vinyl playing on a dysfunctional record player. It’s completely fascinating.
Tomorrow’s Modern Boxes is without a doubt the most impressive and most complex piece of music Yorke has put out in years. I have every bit of faith that whatever he and his various band mates release in the future will be as totally, genuinely lovely, as this album is.

4/5

Twin Peaks, Sega Megadrives, and 1950s Erotic Novels: An Interview With Passion Pusher

If you like alternative, mumbly noise pop, you need to listen to Passion Pusher, the lo-fi solo project from Edinburgh based James Gage. With a prolific bandcamp full of his bedroom recorded, drunken fuzzy melodies, and live sets featuring a changing set of talented Scottish musicians, Passion Pusher is captivating. Likening to early Wavves demos, U.S surf rock and Mac Demarco, he is a ray of sunshine on a relatively gloom filled Scottish scene - despite all the lyrics about being rejected by girls. I sat down with James to find out more about the past, present, and future, of Passion Pusher.

Luna: Thanks so much for taking the time to talk to me! First, let's talk about the origins of Passion Pusher. Where did the name come from?

James: It’s an erotic novel from the 50s about lesbians who steal high school students and fill them with heroin and cocaine and then fuck them repeatedly. I read that at about 11 years old and wanted that to be me. Making music was just to get girls, basically. Ugh, I’m such a lame-o.

Luna: Sounds like a book I need to read. Moving on from vintage drug smuggling lesbians, what, or who influences you when you're writing and making music?

James: Pavement mostly, I think every song’s a rip off of a Pavement song, or, I like to do the sneaky thing and go back to like Los Zafiros or The Flamingos and then steal lines from them, because nobody really listens to them anymore. Mostly Pavement to be honest, and Daniel Johnston’s a big thing. A lot of the stuff I’ve been writing lately has been about Nintendo 64s, and Sega Megadrives. I was listening to Alex G and that reminded me I’ve got all this old gaming shit, so I started digging through it, and basically writing about my friend’s accident last year, and then my ex girlfriend...uh, there’s a lot of bad blood there. Or maybe it’s just me, you know. I’m a terrible guy.

Luna: You're not! I noticed online that you're really into Twin Peaks, like, the header on your Bandcamp profile is the Twin Peaks logo, and your music is influenced by it too. What do you think is it that fascinates you enough to keep it as a running theme in your songs?

James:  It’s like the middle classes of it all, like there’s a really good quote from David Lynch where it’s like, when he was a kid he lived in this really nice suburban area, and then he remembers going out and digging out into the grass on his front lawn, and he found a whole ant hill and they were all feeding off each other, and that just kind of, really fits along with how I view the world, maybe.

Luna: I'm a fan of David Lynch too. So, tell us about your upcoming releases, Couch King and Gawd Bless America. 

James: Couch King was recorded with Billy, Kay [both from Herbert Powell] and Derek from Antique Pony. [Derek] plays saxophone on one song. It’s just like two notes he plays in it. Like, we went out for a fag and came back in and he was like “I managed to record some sweet sax for you”. I was like “Thanks man!” The Gawd Bless America tape came about through Kieran [of Herbert Powell] being like, you should definitely come to my house, and I was like yeah man, that sounds cool. Then suddenly all of Herbert Powell arrived. They just appeared. It was like me, Kieran, and Billy, then suddenly Kay arrived, and I was like, hey, we may as well just finish this entire thing off. We recorded like 3 songs and I ended up getting them to scrap them because I wrote better ones. I’m basically planning for the release show to be “Jim Passion and the Passionate Band”. And I’m gonna buy some American flag track pants to wear.

Luna: That definitely sounds like a good look. Speaking of shows, as a solo artist, what's your live set up like?

James:  I steal most of the band from alansmithie, like Andrew and Ru, and I steal Herbert Powell as well for other shows. They’re great for it. I’m like, hey man, you wanna play against some music for me? They’re just like, yeah, sure man! I got Kieran’s brother Gregor in to play bass for me at the Flat 0/1 show, that was something else. We tried to hand the bass off to someone at a recent Edinburgh gig, but nobody was having it. Not one fucking bit. We got a really terrible review of that show too. It was so terrible, we were so drunk. We were smashing up bottles and saying terrible things about other Edinburgh bands.

Luna: That doesn't sound like your best gig to date. Do you think you have had a "best gig"? Or maybe just one that sticks in your memory?

James: Favourite gig I’ve played, fuck. It depends if I’ve enjoyed it or the audience enjoyed it. There’s ones that I’ve really enjoyed but the audience has like, booed me and shit. I think for me, the Flat 0/1 show in July was amazing, that was such a good vibe, it’s a cool venue and great bands played and it was just a really great night.

Luna: Flat 0/1 is a really cool venue. Are there any other venues you particularly enjoy playing?

James: None in Edinburgh, they’re all terrible. Probably The 13^th Note? Or Flat 0/1. Just because they’re, like the closest thing you can get to a DIY venue here, where it’s kind of like, I just like playing in shit cheap basements really. It fits my music and I love it.

Luna: You've played shows with an array of Scottish artists, could you reccommend a few of your favourites? And not Herbert Powell. We've given them too much free press already.

James: But The Herbies are my guys! Sean Armstrong, The Yawns, Andrew R Burns, alansmithee, Pinact, as well, they’re absolutely amazing, they’re going to like, New York. They’re playing the CMJ festival, I was like, I want to be Pinact.

Luna: So aside from wishing you were Pinact, what are your plans for the rest of 2014?

James:  The vinyl, that’s going out at the end of the year, and I’m trying to book shows in Poland as well. The vinyl is being put out by Song By Toad, and it’s gonna be me, Sean Armstrong, Alan, Andrew R Burns and Now Wakes The Sea, with twenty minutes each. And we’re all shitting ourselves about it because we’re all fucking terrible. Song By Toad have picked the worst people to put on a record together. We’re all talented in our own right of like song writing and stuff, but when it comes to like, “sit down and record this song”, for us, we all freak out and drink too much, or like, it’s the same with me and Sean where with me and him it’s a really spontaneous thing, we record the bass line of a song and that’s it done, but Andrew’s kinda like obsessed with getting it perfect, he spent like 3 days recording a guitar bit for one of his songs, recording it over and over and over again.

Luna: Thanks so much James! I'm looking forwards to hearing the upcoming releases.

James: No problem! It's been great.

Keep up to date with Passion Pusher on twitter: @PassionPusher1

Find out more on Facebook: https://www.facebook.com/PassionPusher/timeline

Listen and buy on bandcamp: passionpusher.bandcamp.com