Radiohead: Format error.

Before i start this small article, i would like to point out that Radiohead are the best band in the world. Period. But even i've had enough of bands trying to think of the new big idea, that doesn't involve the progress of their own music. In an essay for 'Index on Censorship' Colin Greenwood has written "We have just finished another group of songs," he wrote. "And have begun to wonder about how to release them in a digital landscape that has changed again.".

The band are incredibly talented and create some of the most intelligent, inventive and intriguing music ever made, but there's no need to take that ideal into the distribution of music. Sure, with the release of 'In Rainbows' in 2007, Radiohead made headlines with a pay what you like scheme for the album's release. It was clever, and no doubt got them more fans (as i'm sure for some it was pay nothing at all) . But, Thom Yorke and the rest of the Radiohead's need to stop thinking about how to be more foreward-thinking; and how to fast track the 'synergy' of music distribution. Just stop. The clever part is the music, let it speak for itself. Maybe i'm cynical about it, maybe i just don't do enough blue-sky thinking to see why the world needs one band to release an album, in a different format to everyone else, i like iTunes and cd's (yes i'm 17 and reminiscing about iTunes). But, i think the underlying issue is maybe, just maybe, Radiohead are scared. Perhaps they think the next album is not going to be as well received as everything before it (i pray it's not so), so they need something big, inventive and ever so Radiohead-y just to get in those reviews.

But, i'm a cynic, and i hope i'm wrong.

Itunes Festival: Biffy Clyro and Pulled Apart by Horses

In early May me and 3 friends got on a train headed for London Victoria, from there we were to get the tube to Hammersmith and that night witness 'The Biff' in all their glory. But, it was not the case, as upon reaching Gatwick airport we heard those immortal words: 'everyone, i left the tickets at the station'. It's not all bad though, i made the culprit buy me some dinner.

Still, that is quite annoying, so naturally, when i was at Glastonbury and heard the rumour that Biffy were to play a special guest slot on The Park stage on saturday night, i just had to get there, and thankfully they weren't just rumours (Chemical Brothers at the Stonebridge Bar, was a strong one. Somehow). What followed was a sweaty, injury filled 7 song set filled with some of the band's biggest hits, but it only left me wanting more. So when Itunes announced that Biffy Clyro were due to play the finale of their festival season at the roundhouse i knew i had to be there. After losing out on tickets for any of the gigs, every week, my chances were running low, but as that last glimmer of hope, Biffy started posting competitions for the last sets of tickets for the gig, and thankfully - to UK Under Current - i won tickets, and with the support turning out to be the much hyped Pulled Apart by Horses, i was just in the best of luck.

'Surely the greatest live band in Britain' says The Observer about Pulled Apart by Horses, so i was pretty hopeful about them. The Observer was not wrong. Maybe not the greatest live band in the UK, but these guys sure can play. Both lead singer/guitar Tom Hudson and lead guitar James Brown jump into the crowd at various occasions during the set, they similarly share a love for standing on top of 5ft amps and whipping out a hypnotic guitar solo. Favourites 'High Five, Swan Dive, Nose Dive' (preceded by high-fiving your neighbour, naturally), 'I punched a Lion in the Throat' and 'Hey Buddy' go down a storm, and when these guys leave the stage an air of awe lingers around the crowd as they haven't just played a gig, they have played a show.

As Zane Lowe put at the end of the original broadcast of Biffy's 'That Golden Rule': 'Terrifying!, is that what you wanted, Biffy Clyro fans, is that what you've been hoping for all week all day'. And it was everything i'd been hoping for, at Glastonbury it was still light and too hot and there was no real light show, but here, under a roof, with a light system and a relatively cool room, 'That Golden Rule' was absolutely astonishing. Followed by the light/sound-synchronized 'Living is a Problem' this opening duo of belters set the mood for the night, this crowd was definitely in store for something incredible. Highlights from 2007 album 'Puzzle' includes a monumental '9/15ths', a crowd pleasing 'Who's got a match' and my personal highlight of the night, an emotional solo acoustic version of 'Machines' from lead singer Simon Neill. 'Mountains' the song that got Biffy into the top 10 in the summer of 2008 brings a strong sing along as does 2009 album 'Only Revolutions' single 'Many of Horror'. Not to be outdone by their support band, members of the band lept down stage to see the fans, as well as facing the death defying amp-climb solo. Closing with an encore of 'Cloud of Stink' and the gigantic 'The Captain', these 3 boys from Kilmarnock leave us with torn shirts, trampled feet but most of all, the need to see them do it all again.

Definitely two of the most exciting bands in Great Britain, it's no surprise that Biffy Clyro have sold out arena dates in the winter. As for Pulled Apart by Horses, they're live shows will be picking up so much buzz you won't be able to miss them.

3 Track Preview: Kele - 'The Boxer'

As one of many loyal Bloc Party fans out there, i was very skeptical about lead singer Kele Okereke's solo project. With an upcoming album entitled 'The Boxer' under the name Kele I was holding my breath.

Before Bloc Party went on hiatus, tracks such as 'One More Chance' showed a clear dance influence on the band, so it's no surprise that Kele has swayed to a far more dance based style for his upcoming album, he has even 'dropped guitars' on some tracks, leaving a gap for more of a dubstep and drum and bass sound.

Lead single 'Tenderoni' is not just a step away from Bloc Party its a completely different sound, comparisons to Wiley's hit single 'Wearing My Rolex' spring to mind, with it's dark synth bassline. Although the sound has changed, Kele's lyrical style has not, he croons 'Every time we kiss it seems like you’re holding back/Don’t be so quick to pull away' Lyrics like this suited Bloc Party, but for the sound of 'The Boxer' i'm not convinced. Soon enough though, the lyrics fade away into a strong powerful bassline, suitable for any party.

Album opener 'Walk Tall' kick starts with a dubstep beat worthy of any form of 'skanking' you can think of, and signs of Bloc Party's 'Intimacy' track 'Ares' show here, with the to-ing and fro-ing of lyrics coming from Kele in a war-like chant. As the synth heavy bassline begins to growl the sound of indie kids waiting for a new 'Helicopter' can almost be heard sulking back home, as there's nothing here but the beast that Kele has become.

'Signs' from 'Intimacy' was one of my favourite tracks from the album, and i'm pleased to say the glockenspiel is back for 'Rise'. Although a great sound is back from Bloc Party for 'Rise', once again i'm not convinced by Kele's new lyrical direction 'Brothers and sisters, can’t you see you are stronger than you think?' but as soon as it's come in, it's fading away, clearing a path for a dark, intense and incredible drop.

From these 3 tracks, i'd say that 'The Boxer' is definately going to be turning some heads, but also turning away a vast majority hoping for some more Bloc Party. Elements of the tracks do show a brave new direction for Okereke and I do like the songs, but I'm still unconvinced on some aspects of them. But hopefully on June 21 when the album is out, it will all piece together to make something worth listening to.

Xbox Reverb: The Maccabees, La Shark and The Laurel Collective at The Village Underground

After weeks of signing up, losing out, entering competitions and generally trawling the internet to get a ticket for the finale of Xbox 360's 'Reverb' tour, finally, through the help of The Penny Club - A youth run media blog website - i finally managed to make it to the gig and boy, it did not dissapoint. The Shoreditch based venue The Village Underground was nothing like i expected. A giant pink spray painted 'Reverb' on the side of the building was only the first of many brilliant features to the venue's appearance, a large neon 'Xbox 360' led the way under the door, and finally after sorting out wristbands and passes we were in, and it took my breath away.

As well as the main floor of the Village Underground, there were two long and wide brick archways filled with televisions and consoles, projections on the walls and a bar. The architecture of the building made me think of another of my favourite venues, Brighton's Concorde 2, with its large brickwork and arching. Maybe that's part of the formula for an excellent venue.

Anyway, this isn't a blog about architecture this is a blog about music, so here we go. The first band up were the Laurel Collective, who got their place thanks to Xbox's ingenious system where the fans pick the bands, and the fans picked very well. The Laurel Collective's 'experimental avant-folk-pop' was excellent, vocalists Martin Sakutu and Bob Tollast kept form throughout, their to-ing and fro-ing of melodies keeping everyone on their feet, whilst the other members kept the sound-scapes filling the room. The Laurel Collective, watch out for them, they'll be up there with their 'collective' counterparts, 'The Animal...' soon enough.

Up next were 'La Shark'. Even before they started playing, i knew they were going to treat us to something special. As the band appeared from the green room, i made a double take, surely they didn't all have mime-artist face paint over their eyes? But as surely as lead singer Samuel Geronimo Deschamps' hair is tall, long, bright red and only on top they were, and it suited them, it somehow did. The organ driven '1958' was a highlight, as well as the foot stomping 'Mr Modern Man', but the thing i liked most about La Shark is the charismatic Deschamps, he pulls in the crowd, reaches the high notes and manages to sing in french, without being cheesy. Yes Matt Bellamy, I'm talking to you.

On to the headline act, The Maccabees, and even on my fourth or fifth gig they always pull it out of the bag. This gig was their last gig before heading back to the studio (other than festival appearances), so they were going to go out with a bang! The opener 'William Powers', from their second album 'Wall of Arms' kick started the crowd in good fashion, followed by a riotous 'One Hand Holding' and soon enough fan pleaser 'Can you give it'. The second half of the set contained first album fan favourites 'Toothpaste Kisses' with lead singer Orlando Weeks' whistling skills in fine performance, and the ever brilliant 'First Love'. Then the dark bassline of 'No Kind Words' reared its head (With friend of the band and music video star Matthew Horne in the crowd) and it went down a treat. 'Love you Better' closed the set, and emotions ran high as Orlando and guitarist Felix dropped their instruments and stage dived into the wild crowd. So, even after relentless touring, they still have as much fun as they can at gigs and i suppose thats why they're one of my favourite bands, they just love what they do.

After the set i had a few words with Orlando and Sam Doyle (Drummer) and to my surprise they remember Eastbourne Festival 2009, my first Maccabees gig. 'It was in a ballroom wasn't it?', yes Sam, yes it was.

As i said before, The Maccabees, they never dissapoint.

Jake