Monthly Archives: August 2020

BBC – Music – Review of The Pond

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Kathryn Williams is the anti-diva. Over several albums and collaborations, the Liverpool-born, Newcastle-based singer-songwriter has made a virtue of huge emotions expressed with quiet restraint, lyrical pith and a complete absence of melodrama and empty gesture.

This she has largely done with the Britfolk primary colours of acoustic guitar, upright bass, discrete drums and her clear, sweet, deliberately intimate voice: a voice that pushes every emotional button by way of a unique clarity of purpose and tone. A strange, compelling kind of blankness.

So Williams fans might be forgiven for insisting that the last thing they want her to do is start anything so routine and vague as a band. But The Pond is exactly that; a three-way collaboration between Williams, former Fairground Attraction member Simon Edwards and Ginny Clee, latterly of The Dear Janes. And the good news is… it’s like Kathryn Williams, but with more stuff going on.

Mixed by Portishead’s Adrian Utley and dominated by low-tempo electronic beats, it’s tempting to be lazy and call The Pond trip hop. But this debut is all done with far too much subtlety and experimentation to go down with a case of the Morcheebas.

There are strong folk elements woven into the electronic noises, feeling organic rather than bolted on. Williams’ lyrics still sound like a sad, smart girl sitting against a tree and capturing lateral thoughts about the meaning of life. And many of the tunes – The River, Art of Doing Nothing, Circle Round a Tree – are among the prettiest and most sensual of her career. Indeed, The River’s extraordinary blend of harmony pop, bhangra and something mysterious, tribal and wild recalls The Dreaming-era Kate Bush – not praise to chuck around lightly.

A couple of the more experimental tracks don’t entirely come off, particularly the gothic faux-dubstep of End of the Pier, and the awkward Bebop, which chucks Gene Vincent, Fleetwood Mac, Duane Eddy guitar and a somewhat mediocre rapper called Kirsch into a pot which appears fun to stir but a mess to eat. But even here you can’t help admiring how far Williams has strolled out of her comfort zone.

Plenty of credit must go to Edwards and Clee, particularly the latter with her outstanding harmonies and gorgeous lead vocal on Hard Shoulder. The Pond, then, are a really good band. And there’s nothing vague or routine about this elegant, charming and quietly profound record.



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Flying Lotus, FKA twigs, Moses Boyd and Arlo Parks triumph at AIM Awards – Music News

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In its first ever virtual ceremony, the tenth AIM Independent Music Awards demonstrated that independent music is as vibrant and resilient as ever. Featuring performances from some of the scene’s leading talents, the show was testament to the rich diversity and creativity that saw the sector shine in 2020.

Grammy-nominated producer Flying Lotus won Best Independent Track in association with Facebook for his dream-like collaboration with Anderson .Paak ‘More’ from the epic 27-track album Flamagra. In a further nod to the electronic music community, Best Independent Remix in association with DesignScene was picked up by Nídia and Lafawndah for Nídia’s percussive reimagining of the Lafawndah’s track ‘Tourist’, ‘Tourist X Nídia Rework’.

Best Independent Album in association with Spotify went to jazz and Indo jazz drummer and composer Sarathy Korwar for his groundbreaking second studio album, More Arriving, exploring the reality of being Indian in a divided Britain. Meanwhile, FKA twigs was awarded Best [Difficult] Second Album in association with Proper Music, for her ambitious, panoramic second full-length LP MAGDALENE, which was met with widespread critical acclaim and featured in 2019 best album lists by The Guardian, The Independent, Billboard, NME, Pitchfork and more.

Jazz prodigy and Mercury Prize nominee Moses Boyd took home UK Independent Breakthrough in association with YouTube Music, in recognition of his status as a breakout star of the London jazz scene, while Korean-American electronic artist Yaeji, who blends sounds from house and hip hop, received International Breakthrough in association with Deezer. Having dominated the airwaves, Freya Ridings bagged the PPL Award for Most Played New Independent Artist.

Digga D’s Double Tap Diaries won Best Creative Packaging in association with Signature Brew, while ever-popular metal group Five Finger Death Punch triumphed in the Best Live Act in association with Creative Technology category by public vote.

Directed by Matthew Thorne, Best Independent Video in association with Vevo went to The Howl & The Hum for ‘The Only Boy Racer Left on the Island’, exploring themes of lost youth, family and masculinity set against the working class suburbs of Northern Adelaide.

Alongside a surprise performance and the world-first live performance of their new track ‘Nerves of Steel’, Erasure’s Vince Clarke was named as the first recipient of the Special Recognition Award for his work as part of Erasure, Depeche Mode and Yazoo and pioneering role in the field of synth-pop, having worked closely with the famed label Mute for over 40 years.

The night also featured a moving tribute performance to Tony Allen from Blur’s Damon Albarn, who performed ‘Go Back’, one of his many collaborations with the legendary drummer. He was joined by Allen’s long-time friends and collaborators Ezra Collective’s Femi Koleoso, Gorillaz’ Seye Adelekan and Remi Kabaka Jr., as well as Allen’s The Good, The Bad & The Queen bandmate Simon Tong.

Koleoso curated a special medley as a further tribute, featuring UK jazz scene’s leading lights Nubya Garcia, Mutale Chashi, Tobi Adenaike, Elias Atkinson, Richie Seivwright, Deschanel Gordon, Junior Alli, alongside Koleoso. Allen’s brother Ignatius Allen picked up the Outstanding Contribution to Music Award in association with Merlin on behalf of Allen who received the award posthumously.

Little Simz and AJ Tracey gave compelling live performances, after picking up the Pioneer Award in association with Evoke Studios and Innovator Award in association with Amazon Music, respectively. Leading the way for virtual awards, these performances took place in a state-of-the-art extended reality studio, immersing performers in a unique, interactive environment brought to life by the addition of 3D graphics.

On the industry side, cult South London label Speedy Wunderground, whose approach to record production sees all studio sessions completed in just one day, was the recipient of Best Small Label in association with Key Production. Jazz :refreshed was awarded Best Independent Label in association with [PIAS], in honour of its pivotal role in the British jazz explosion. IMPALA’s Helen Smith was revealed as this year’s Indie Champion in association with MCPS.

Little Simz: “I remember winning Best Independent Album in the year 2016 with A Curious Tale of Trials + Persons. To now be here, 2020, picking up the Pioneer Award is insane. My journey has definitely been the stairs and not the escalators but it’s been so worth it […] The hardest thing you’ll ever do as an independent artist is to remain independent but the rewards are so great and yeah I think the best thing to do is to stay on it, surround yourself with people that believe in you and believe in your journey, and you’ll get there”.

AJ Tracey: “From performing last year to taking something home this year, I appreciate all the support and love. Obviously I’m gonna keep doing what I do, keep trying to pave the way”.

FKA twigs: “MAGDALENE’s so precious to me, so it really means the world. Being an independent artist means every vision is my own and I get to express that, and my label releases without question or judgement. So thank you Young Turks, and thank you again this means everything”.

Sarathy Korwar: “Thank you so much for this award AIM. It means a lot to me. Being independent in today’s music industry means I get to tell my own stories without compromising on anything and I’m hugely grateful for that.”

Flying Lotus: “It feels like a true blessing to be able to receive an award and to be acknowledged in these times, when they make us feel like our work isn’t essential and what we do is just, whatever. So, thank you for the reminder that what we do is very important.”

Arlo Parks: “This is like a really special day and a really special moment for me and I feel really proud to be an independent artist so thank you very much for this.”

Moses Boyd: I’m really privileged for this particular award because I pride myself on being an independent artist and I think it’s really important in 2020 that artists coming up understand what it takes to make a product, what it takes to make a record, what’s required of an artist. I think the industry has changed so much. A lot more control and freedom is being handed back over to creatives, so I think it’s important that musicians and artists understand that, and hopefully this can be some sort of inspiration for those trying to follow in the sort of path of the independent artist”.

Helen Smith: “I can think of many many people who should get this Indie Champion award, across the European sector. And on the IMPALA board where a lot of decisions are taken that I think quite a few people would have described as a bit crazy. But maybe that’s why we’re getting this award today, because sometimes you just have to do crazy things. And like a champion you have to run like hell, don’t look around, and hold on.”

AIM Independent Music Awards Winners & Nominees:
In order of presentation:

UK INDEPENDENT BREAKTHROUGH IN ASSOCIATION WITH YOUTUBE MUSIC
GEORGIA
DIGGA D
FONTAINES D.C.
KOKOROKO
MOSES BOYD (WINNER)

BEST CREATIVE PACKAGING IN ASSOCIATION WITH SIGNATURE BREW
DIGGA D – DOUBLE TAP DIARIES (WINNER)
HANIA RANI – ‘ESJA’ SHEET MUSIC BOOK
MOTÖRHEAD – 1979
SOPHIE – OIL OF EVERY PEARL’S UN-INSIDES NON-STOP REMIX ALBUM
MOSES BOYD – DARK MATTER LP (DINKED EDITION)

SPECIAL RECOGNITION AWARD IN ASSOCIATION WITH FUGA
VINCE CLARKE (WINNER)

INDIE CHAMPION IN ASSOCIATION WITH MCPS
HELEN SMITH (WINNER)

BEST SMALL LABEL IN ASSOCIATION WITH KEY PRODUCTION
BEDROOM INDIE
EDITION RECORDS
FEMME CULTURE
HOUNDSTOOTH
SPEEDY WUNDERGROUND (WINNER)

BEST INDEPENDENT REMIX IN ASSOCIATION WITH DESIGNSCENE
LAFAWNDAH – TOURIST X NÍDIA REWORK (WINNER)
KING OF THE ROLLERS – YOU GOT ME (S.P.Y. REMIX)
MAKAYA MCCRAVEN – GIL SCOTT-HERON – WE’RE NEW AGAIN
APPARAT – OUTLIER (SOLOMUN REMIX)
MARIE DAVIDSON – WORK IT(SOULWAX REMIX)

ONE TO WATCH IN ASSOCIATION WITH BBC MUSIC INTRODUCING
ARLO PARKS (WINNER)
BLANCO WHITE
CAROLINE
GREENTEA PENG
LAVIDA LOCA

BEST INDEPENDENT VIDEO IN ASSOCIATION WITH VEVO
BLACK PUMAS – COLORS
BOMBAY BICYCLE CLUB – EAT, SLEEP, WAKE (NOTHING BUT YOU)
FLYING LOTUS – BLACK BALLOONS REPRISE (FT. DENZEL CURRY)
GREENTEA PENG – MR. SUN (MISS DA SUN)
THE HOWL & THE HUM – THE ONLY BOY RACER LEFT ON THE ISLAND (WINNER)
ZEBRA KATZ – MOOR

INNOVATOR AWARD IN ASSOCIATION WITH AMAZON MUSIC
AJ TRACEY (WINNER)

BEST [DIFFICULT] SECOND ALBUM IN ASSOCIATION WITH PROPER MUSIC
FLOATING POINTS – CRUSH
FKA TWIGS – MAGDALENE (WINNER)
JOE ARMON JONES – TURN TO CLEAR VIEW
LIFE – A PICTURE OF GOOD HEALTH
MOSES SUMNEY – GRÆ

INTERNATIONAL BREAKTHROUGH IN ASSOCIATION WITH DEEZER
BICEP
FLOATING POINTS
HANIA RANI
IDLES
YAEJI (WINNER)

PIONEER AWARD IN ASSOCIATION WITH EVOKE STUDIOS
LITTLE SIMZ (WINNER)

PPL AWARD FOR MOST PLAYED NEW INDEPENDENT ARTIST
FREYA RIDINGS (WINNER)
FONTAINES D.C.
JAYKAE
JADE BIRD
NSG

BEST INDEPENDENT ALBUM IN ASSOCIATION WITH SPOTIFY
BROOKE BENTHAM – EVERYDAY NOTHING
EVERYTHING IS RECORDED – FRIDAY FOREVER
KIDJO OJUA – THE MIXTAPE
KIM GORDON – NO HOME RECORD
LAURA MARLING – SONG FOR OUR DAUGHTER
MOSES BOYD – DARK MATTER
NICK CAVE & THE BAD SEEDS – GHOSTEEN
THE NINTH WAVE – INFANCY
PHOENIX DA ICEFIRE & HUSKY BROWN – PANACEA
SARATHY KORWAR – MORE ARRIVING (WINNER)

BEST LIVE ACT IN ASSOCIATION WITH CREATIVE TECHNOLOGY
AYANNA WITTER-JOHNSON
FIVE FINGER DEATH PUNCH (WINNER)
RED RUM CLUB
THE REYTONS
THE DARKNESS

BEST INDEPENDENT TRACK IN ASSOCIATION WITH FACEBOOK
AJ TRACEY – DINNER GUEST (FT. MOSTACK)
DIGGA D – NO DIET
FLYING LOTUS – MORE (FT. ANDERSON .PAAK) (WINNER)
KING KRULE – ALONE, OMEN 3
LAUV – MODERN LONELINESS
SORRY – RIGHT ROUND THE CLOCK
SQUID – SLUDGE
SUDAN ARCHIVES – CONFESSIONS
TONY ALLEN & HUGH MASEKELA – WE’VE LANDED
YVES TUMOR – GOSPEL FOR A NEW CENTURY

BEST INDEPENDENT LABEL IN ASSOCIATION WITH [PIAS]
BROWNSWOOD RECORDINGS
GOOD SOLDIER
JAZZ RE:REFRESHED (WINNER)
STONES THROW
YOUNG TURKS

OUTSTANDING CONTRIBUTION TO MUSIC IN ASSOCIATION WITH MERLIN
TONY ALLEN (WINNER)



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BBC – Music – Review of Architects

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There was a nagging suspicion that Architects had snatched at, and missed, their big chance with 2011’s ambitious but ultimately far from emphatic The Here and Now; but the Brighton metallers have returned in dramatic fashion with Daybreaker. While last year’s effort attempted to court the mainstream with slower, apparently more accessible songs, this fifth album showcases the full breadth of the band’s talents, comprising a finely balanced end product.

The Bitter End opens the album with brooding menace before descending into raspy electronic rancour. On the face of it, it’s a slow and abrasive entrance – but there are underlying currents of subtlety and beauty. The high-octane Alpha Omega offers something different, though: the track sprints through tumultuous riffs complementing Sam Carter’s powerful roar ‘til a shoulder-swinging chorus lands smooth, confident vocals over choppy, complex guitar motifs.

These Colours Don’t Run is a heavy mosh which develops from an eerie intro into a song chock-full with interesting rhythms and powerful melodies. The way the band has learnt to punctuate their silences as violently as their most serious breakdowns is testament to their status as one of the UK’s finest and most enduring tech-metal talents.

Another highlight is Even If You Win, You’re Still a Rat, featuring Oli Sykes of Bring Me the Horizon. Bursting straight into chaos, the song ebbs and flows at will throughout its three minutes. The 11 songs only run for 41 minutes, but there’s so much variety to be heard across these cuts that it’s as full an experience as you’re likely to get in contemporary metal.

Daybreaker is a great album. It’ll go down as one of Architects’ finest works – it’s certainly their most well-rounded release to date – and will likely stand the test of time. Don’t ignore this band.



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Cardi B and Megan Thee Stallion set for highest new UK entry as Joel Corry and MNEK head stay firm – Music News

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The new Official Chart: First Look, which airs on BBC Radio 1 today between 6pm – 7pm, offers a first glance of the Top 20 ahead of Friday’s Official Singles Chart Top 100. The chart is based on preliminary sales and early streaming reports.

Joel Corry and MNEK are heading for a fourth week at Number 1 on the Official Singles Chart as Head and Heart remains a non-mover since Friday.

US female rappers Cardi B and Megan Thee Stallion look set to snag the UK’s highest new entry of the week with new collaboration WAP (Number 6), released on Friday.

Cardi B’s website crashed earlier this week as the announcement of the single landed and limited edition copies of the single were made available to pre-order on coloured vinyl including pink and gold editions, picture disc and cassette.

If the pair maintain their midweek chart position, WAP will become Cardi B’s fifth UK Top 10 hit, and Megan Thee Stallion’s second.

A dance cover of Toploader’s Dancing In The Moonlight by Swedish duo Jubel continues its eight-week ascent up the Official Chart, looking likely to break into the Top 10 for the first time on Friday, up four places midweek to Number 8.

Ava Max is up for the highest climber of the week and a potential new peak position for Kings and Queens, up 12 places to Number 12.

Elsewhere, a new Top 20 entry is on the cards for late rapper Juice WRLD & The Weeknd with Smile (18).

The Official Chart First Look is based on preliminary sales and streaming data from the first 48 hours of this week’s chart race, the fuller picture will emerge as more data arrives throughout the week.

The final Official Chart Top 40 will be unveiled on BBC Radio 1’s Official Chart with Scott Mills this Friday from 4pm, with the full Official Singles Chart Top 100 published on OfficialCharts.com from 5.45pm.



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BBC – Music – Review of The Band Perry

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Currently wowing the country charts in their native USA, The Band Perry’s eponymous debut album offers 11 highly polished songs. Fronted by the strident, assertive vocals of Kimberly Perry, they proffer bright and breezy fare that’s the usual lyrical recipe of meetin’ ‘n’ cheatin’, percolated throughout with fizzy bubbles of crossover pop.

With Kimberly still shy of 30, she’s nevertheless the oldest in this family troupe that’s been working the stateside country circuit since 2005. Along with her younger brothers Reid and Neil (handling mandolin, bass and backing vocals), their short career hasn’t stopped the family mantelpiece bowing alarmingly under the weight of the numerous awards and accolades to have been thrown their way.

Whilst there’s no faulting the tightly-drilled performances turned in by the trio and an array of skilled sessioneers, the delivery has a by-the-numbers feel that’s workman-like rather than inspired. Perhaps the fault lies with a set of committee-written tunes that are well-worn and overly-familiar. If I Die Young ponders a life cut short, though not before the heroine has had time to listen to Taylor Dane’s Tell It to My Heart prior to her untimely demise. 

While it’s not always fair to isolate lyrics, clumsily trite observations such as “Like a girl wants her chocolate / Yeah I know that I’ll miss you” and “As far as I can run / To where freedom’s free” leap out, alongside many other examples of hackneyed wordplay. This sort of blandness becomes difficult to ignore and, it must be said, forgive.

Of course, such churlish reservations will not affect the The Band Perry’s radio-friendly momentum. One can only hope the raw talent that exists beneath the glitzy lacquer of this debut will mature and emerge with a more distinctive and original voice on its second album.



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Dua Lipa recruits Madonna and Missy Elliott for remix album – Music News

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Dua Lipa has enlisted Madonna, Missy Elliott, and Gwen Stefani to remix her latest album Future Nostalgia.

The British pop star’s latest record topped the U.K. charts in April and made the top five in the U.S. and she is now set to give it a revamp with the help of some of the biggest women in music.

Announcing the remix album, which will be put together by U.S. DJ The Blessed Madonna, on Wednesday, Dua wrote on Instagram: “Club Future Nostalgia The Remix Album w The Blessed Madonna coming August 21 – Levitating August 14 – featuring Missy Elliott & Madonna – Physical ft. Gwen Stefani remixed by Mark Ronson.

“All Future Nostalgia tracks n then sum remixed by ur faves and many many more surprises!!! C ya soon (sic).”

Madonna, the singer rather than the DJ, has also promoted the album on her Instagram while announcing her and Missy’s version of Levitating.

“Levitating Is Coming………… Dua Lipa, Missy Elliot and Myself!! Its so (fire)……………. Aug. 14th. @dualipa @missymisdemeanorelliott #levitating, she wrote.

Missy also shared the album announcement on her Instagram Stories with the caption, “Yea” and fire emojis.

Club Future Nostalgia The Remix Album is out on 21 August, with Levitating debuting a week earlier.



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BBC – Music – Review of TrioVD

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Although its sonic palette incorporates more synth-sourced electronica than previously heard, this second album from Leeds-based three-piece trioVD possesses the same abrasive and uncompromising attitude that dominated their startling 2009 debut, Fill It Up With Ghosts.

Like its predecessor, almost every second bubbles over with a sound that’s either intriguing or downright baffling. And with its hurtling, remorselessly breakneck pace this isn’t an album you listen to as such; rather, you grapple with it.

Fashioned from the mangled debris from a high-speed and head-on collision between rock and jazz, Maze is ingeniously fashioned. It’s an exotic hybrid vehicle fearlessly veering into strange and unfamiliar neighbourhoods at a velocity that’s not for the faint-hearted.

Drummer Chris Bussey’s presence is vital to this set’s success. His scuttling beats and syncopated swipes at the barrage of rabid snarls and howls emanating Chris Sharkey and Christophe de Bézenac (guitar and sax, respectfully) are a compelling constituent of trioVD’s gloriously off-kilter enterprise.

Although there’s constant arsenal of notes exploding in all kinds of directions, there’s no apparent interest in conventional soloing. Instead the focus is on intense, witty arrangements, dashed off with a savage bravado that appears to make light of their underlying complexity and knotted textures.

This is typified by tracks such as then insistent buzz of Interrupting or DBST, whose mood is both joyous and belligerent. Engaging but volatile, these two often-contradictory states perfectly summarise one of the most inventive and transgressive albums you’ll encounter this year.



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The Killers have found ‘no corroboration’ in sexual assault claims by road crew members – Music News

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The Killers have found “no corroboration” in claims of sexual assault by members of their road crew in 2009.

Brandon Flowers and cos legal team, Reynolds & Associates, launched an investigation last month after sound engineer, Chez Cherrie, alleged part of their crew had boasted about assaulting an unconscious woman backstage in a dressing room in Milwaukee.

However, after contacting her, the venue and alleged victim, there was no evidence to suggest this was the case.
However, the ‘Caution’ rockers would still like anyone with any other details to get in touch, whilst they are working to make sure further reports of assault or inappropriate behaviour are reported immediately.

In a harrowing blog post, Cherrie had claimed she overheard a front of house engineer allegedly tell the crew members that there was “a girl set up in Dressing Room A,” and that they could put their name down “when it’s [their] turn”.

In a lengthy statement, the legal team for the Las Vegas band stated that they were “unable to find any corroboration” in the claims, but Cherrie said she had “conflicted feelings” about the response.

However, she praised the ‘Somebody Told Me’ band for carrying out the internal investigation and admitted she hopes it will be a starting point for future cases like this in the industry.

In their statement, the lawyers claimed that Cherrie “felt she had nowhere to turn with her concerns at the time, the Killers plan to take immediate action for future tours.”

They continued: “[The Killers] expressed regret that the temporary crew member was made to feel unsafe and bullied during her brief time with the band and understand that it is not always feasible for touring crew to raise concerns with their immediate superiors.”

In her own statement, Cherrie said: “After reading through the Killers’ press release regarding my blog, I have conflicting feelings.

“First, I am grateful that they, as an organization, have taken my experience seriously and were moved to internally investigate and potentially lead the industry in a restorative manner so this never happens again. (sic)”



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BBC – Music – Review of Jack Savoretti

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If you had never heard (of) him before, you would swear Jack Savoretti had timed his arrival on the British music scene to perfection. His gruffly soulful voice and introspective singer-songwriting chime with the music of Josh Kumra, and although he doesn’t have the faint glimmer of association with the world of grime enjoyed by Ed Sheeran you can see this album appealing to a similar audience. 

The difference is that Savoretti is older than Sheeran by eight years and this is his third album. His first two – 2007’s Between the Minds and 2009’s Harder Than Easy – didn’t reach the commercial heights expected of someone with his husky tones and, let’s be honest, hunky frame, apparently losing out in the sexy-but-sensitive-troubadour stakes to James Morrison and Paolo Nutini.

For his third album, Savoretti is taking no chances. Produced by Martin Terefe (Morrison, Jason Mraz) and featuring a songwriting team-up with Steve Booker (co-writer of Duffy‘s Mercy), Before the Storm is a trove of gently strummed acoustica for fans of manly introspection and romantic navel-gazing. Not Worthy is the freewheeling opener, complete with handclaps, the kind of thing that would have made sense cruising down a US freeway in 1977. The Proposal takes this retro-country-rockin’ to its logical conclusion, effectively revisiting the melody and brisk gait of Take it Easy by the Eagles. 

Throughout the album, Savoretti’s voice is unreconstructed in its manly tenderness – you can almost taste the testosterone, even when he’s being all anguished and alone. The titles and lyrics tell their own story: this is someone steeped in the language – and clichés – of the guitar-toting outsider. On Take Me Home he’s walking “down this lonely street”; elsewhere, he beseeches someone to Come Shine a Light.

Before the Storm is so pre-postmodern it’s not true – the only track that nods to music of the last 20 years is Changes, whose chord change is reminiscent of The Verve’s The Drugs Don’t Work. A more interesting inclusion would have been his duet with Sienna Miller, Hate & Love, as used in The Vampire Diaries. The track’s unexplained absence is a shame because it is, production-wise, a leap into new echoey, reverb-drenched territory. But it’s unlikely it would have sat easily beside many of these numbers, these ragged and raw confessionals that could have been released at any time in the last four decades.



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Biffy Clyro frontman Simon Neil tried to enter the Eurovision Song Contest – Music News

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The Scottish rocker watches the annual music extravaganza every year and once made a bid for his side project, Marmaduke Duke, to represent the UK.

He said: “I have another band called Marmaduke Duke, and we did actually try entering Eurovision. You have to dream big.”

The ‘Many of Horror’ hitmaker finally “got” the contest after watching it under the influence of acid and enjoying one of the “greatest nights” of his life.

He recalled to The Times magazine: “I wasted an evening watching the Eurovision Song Contest.

“Eighteen years ago a friend and I took some acid and watched Eurovision, and it was one of the greatest nights of my life.

“The universe opened up to me. I got it, I realised how tongue-in-cheek the whole thing is, and now I waste a night each year watching Eurovision.”

Meanwhile, Simon and his Biffy Clyro bandmates, brothers James and Ben Johnston, recently had to cancel their tour in support of ‘A Celebration of Endings’ due to the coronavirus pandemic and admitted to disappointed fans they had been unable to schedule alternative dates for the gigs.

In a statement, the band said: “We were hoping that we were going to be able to announce replacement shows, which is why we have waited so long to postpone them, but unfortunately with the current situation that has not been possible.

“We’ll have news for you and be out to see you as soon as we can.

“We love and miss you all, thanks for bearing with us – we’ll be back as soon as possible.”



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