My latest reviews are up on This is Fake DIY. As Following:

The Fall-

The Candle Thieves-

I highly recommend both to anyone. Well not anyone, but anyone I like. At the moment I am locating venues for gigs, doing a little bit of styling and booking photo studios. Busy bee me.


Get Well Soon...

Get well soon Bret Michaels. I don't know what I'd do without another series of Rock of Love.



RIP Malcolm Mclaren
22 January 1946 – 8 April 2010


I suppose.

The Reading line-up is very disappointing this year.Glastonbury isn't much better (okay, with maybe one exception) and maybe you can't go abroad.


It will be extremely fun, okay.

p.s Thom Yorke is not in any way relevant to this post. I just wanted to treat you with his lovely face.


Your bed is kind of frightening.

I had to take this video from my friend because I love Tubelord and it's been a while since I made you all listen to them.

So half of the reason I barely update this is because my login details managed to slip out of the holes in my brain some time in the last year. But don't get me wrong, I still care. But I am trying to reign in what I care about and, instead of boring you with bands that I don't actually care about that much, I will tell you things that I do care about. And maybe you will listen and maybe you won't.
At the moment I am making a magazine. It's thematic and based on the novel A Single Man by Christopher Isherwood. It's been stressful but I do love it. Once it's been to the printers I may scan it on here, if I manage to get over my technophobia.
In the last week I have gained two internships. One is at a place called Verb Music Group in London. I will be doing fun things, prepping peoples, styling etc. The other is at NME magazine. So this will be fun.
And a big congratulations to Jesus for rising from the dead. You go girl.

Is it just me or do Suede sound like summer's coming?


Being grown up isn't half as fun as growing up.

The other day when my flatmate came home with her old diaries I felt disappointed that I had never kept a regular diary. She read me all of her entries from the last 10 years and I wished that I could have a crystal ball into the past. Then I looked at this, my blog. My first entry was just over 2 years ago when I was 18. I still feel 18 and I don't feel that 2 years is a long time. However, looking at my old words I feel completely different. I am watching my past like a film in rewind or through an aquarium. This is why, even though I am increasingly slack with my posts, I find it hard to get rid of it and I don't feel I will ever get rid of it. Like certain songs, this will remind me of a huge part of my life that I want to remember. This is every era and I often cringe reading it and maybe sometimes even I don't understand what I am talking about but it will remain here forever.

Give Up The Ghost

For those that missed it Thom Yorke debuted three new songs at his gig in Cambridge last Thursday. This is one of them, the most beautiful I think.


Don't Harm Me

It's a little late but I hope everyone got their RAGE tickets. I sure will be there.
Tonight there is a gig happening that I am very, very upset to not be at. Thom Yorke is playing in Cambridge in around half an hour and I am not there. It's strange because usually I can get in to most gigs I want in some way or another but this one just crept up on me too quickly. I fear I may feel this way when it's Coachella time as well, but due to a million reasons especially a VERY busy work schedule I will definitely not be there. Sucks.
In other news I have started writing for This is Fake DIY:


A few times in my life I've had moments of absolute clarity, when for a few brief seconds the silence drowns out the noise

I went to see this film the other night and it was stunning. I was surprised by Colin Firth, playing such a different role to his norm, but he was amazing. Julianne Moore was beautiful and Tom Ford also surprised me. If you liked The Hours, I would definitely recommend this.


Reasons To Be Beautiful

Aside from Ariel(the Little Mermaid), Courtney Love was the first real-life human idol I had. I would say from the age of around 13. She is amazing in every single way and this song is one of my favourite Hole songs ever. The prospect of a new Hole album, tour and the NME show is extremely exciting. I hope people will appreciate and understand her more now after the not-so-successful solo album America's Sweetheart.


Animal Collective- Fall To Be Kind

The release of Merriweather Post Pavillion saw Animal Collective go from four-star underground experimentalists to critically-acclaimed musical geniuses. In this success they built up our optimism leaving the expectancy of any follow-up hanging on high hopes with anticipation.
While Fall to Be Kind is only an EP, the five tracks that it houses hold a multitude of secrets. Opening tune ‘Graze’ could be the most optimistic, upbeat song that Animal Collective has ever created. Its jingles are evocative of the sound a kaleidoscope may make while spewing its beaded guts on to the ground. When Avery Tare’s sweet singing commences, a pan flute plays without even a slice of irony.
The secret to the following song, ‘What Would I Want? Sky’ is in its sample of ‘Unbroken Chain’ by Grateful Dead. The new found respect Animal Collective has received is seen in this rare sound with this being the first song to have officially cleared a sample from Grateful Dead in history. However, this stunningly experimental track remains soulful and truly their own with a sound like no other.
‘Bleed’ seems like a bridge between light and dark. Its hazy lo-fi ambience shows a change in tone from the first two jovial, harmonious tracks, preparing you for the darker tones to come. Although it has no obvious direction, it could hardly be labeled as filler.
It’s a rare treat for Tare to allow us a speck of insight into his life; the band eludes an airy, mystical resonance which only heightens the esoteric sounds they create. Yet in ‘On a Highway’ Tare goes as far as to reference another member of the band directly in his ode to lonely tour days: “On a Highway, Sick of too much reading, Jealous of Noah's dreaming. Can't help my brain from thinking.” The dirty background sits hand in hand with images from a dusty open road and an estranged, homeless heart.
The seven-minute spectacular ‘I Think I Can’ has an oscillating layer of voices trapped by the synth leaving you with a sense of discomfort only exorcised after a repeat of Graze.
Merriweather Post Pavillion was groundbreaking and aided the army of Animal Collectives cult following. Yet the Fall to Be Kind EP was not made as a rival to its predecessor, but rather an outlet for all those experimentations that didn’t make the final cut.


Songs of the week.

These songs aren't necessarily new at all however (sickeningly typical) songs that have been plaguing me for the last couple of weeks:

. Mumford & Sons- Little Lion Man
. Radiohead- Meeting in the Aisle
. Thom Yorke- Hearing Damage
. Elbow- One Day Like This
. Sum 41- Motivation
. Hurts- Wonderful Life
. Delphic- Red Lights
. Slow Club- Christmas TV

On that note, watch out for Hurts and Delphic. Big things a'happening.


Great Lake Swimmers

By definition, the Jazz Cafe is accustomed to housing jazz bands yet tonight they host a sold-out show headlined by folk band Great Lake Swimmers. The buzz outside the venue is unequivocal as fans squeeze elbow-to-elbow, included is the odd opportunist seeking spare tickets. This etiquette would not lead to the batting of an eyelid outside bigger venues like the O2 or Wembley Arena, yet this venue's capacity, at 350, is barely a fingerprint in that of either venue.

The distinguished yet small setting is flooded to the brim with a boisterous crowd who refuse to suppress the noise even when support band Sleeping States start. The experimental two-piece unsuccessfully struggle to be heard over the bedlam of a currently blasé audience who remain occupied with gossiping and bundling the pocket-size bar. Their sound loses itself in an animated sea of noise which belatedly quietens down to a murmur as the bearded five-piece grace their stage with noteworthy instruments and country-boy plaid shirts.

The sea was eventually sedate as lead singer Tony Dekker eased into country-esque 'Let's Trade Skins'. The songs parades Dekker's charmingly distressed voice which is lavishly bathed in heartache and melancholia. A harmonica is attached steadily to his face, looking like a freakish amalgamation between a Tron suit and an exceptionally unfortunate brace, waiting to be played. The harmonica kicks in adding melody and a rootsy, vintage vibe to the piece. The ambiance sits tight throughout the unguarded, bedeviling batch of country songs including 'Various Stages', 'There Is A Light', 'Still and Put There By The Land'. All the songs sing sagas of heartsickness and home-life, a serene collision of love and nature and the allure embraced in both.

As 'Chorus in the Underground' kicks in the crowd enliven, stomping and clapping like the folk from a country barn dance. The rhythm gives a sly but definite nod to 'Cash's Walk the Line' and there is an abundance of new sounds with the addition of Erik Arneson's harmonium and Darcy Yates plucking perpetually on the upright bass. 
Everyone is notably brought down to earth after a performance that could make anyone humbled, homesick and wanting to celebrate their roots.


Esben and the Witch

If we could produce a soundtrack for our darkest, most esoteric dreams it wouldn't sound all too different from Esben and the Witch. This gloomy three-piece hailing from Brighton sound like a fantastical Halloween version of Shakespeare's A Midsummer Night's Dream with spine-tingling electronics and brooding female vocals haunting enough to put you straight under a spell. So let your senses succumb to the thriftily imaginative, nightmare inducing, enigma worshipping, Rachael Davies, Daniel Copeman and Thomas Fisher of Esben and The Witch.

Creation of Esben and The Witch: The Brighton connected band opened up The Pink Fairy Book by Andrew Lang, and was at once overpowered by their namesake narrative: a delightful Danish fairytale of slaughter, sorrow and cruelty, and ta-da the sadistic fellows were formed. But evidently it’s their name alone that sums up this trio's music better than any words could.

Song to win over an audience: The curiously entitled 'About this Peninsula'. At first sounding like an eerie ode to a post-rock Radiohead, the song kicks off when Rachael's fragile yet definite vocals overflow with a sense of energy and immense beauty. Adding to the perfectly constructed noise-fest, Rachael’s chanting sighs seep delicately through soul-ripping melancholy and the dirty post-rock tension.

Secret Sixth Sense 1: The band give themselves the unusual label of 'nightmare pop' and their EP, 33, is one of the most bedevilled collection of twisted tales that we have ever heard.

Secret Sixth Sense 2: As intensively sincere and scholastic E&W are in their mysterious escapades, there’s nothing better than their open embrace to good-hearted pop, proudly covering live Kylie Minogue's 'Confide In Me’. Eat your heart out Kylie!

Failed Ambitions: So thoroughly academically spoken in interviews when revealing the brimming talent of the band, we were mesmerized by their intellectual creativity, and simply gobsmacked to find any failing ambitions to elaborate with. With a light-popping moment, the grammatical four piece felt all rather Pinky and The Brain...first stop, Esben and The Witch lure you in with musical hypnosis , next stop, total world domination! Ah!

Esben and The Witch Fans: Passionate History intellects obsessed with Gothic architecture, Victorian art and foreign mythology seeking for the tortured musical equivalent for a daily backing track.

Esben and The Witch Experience: Using mesmerising stage props from glaring owls to glowing globes, Esben and The Witch will entangle you with cobwebbed Björk siren calls, swirling guitars like a dirtier Siouxsie and the Banshees and a drum machine set to a Radiohead arrhythmic heartbeat, dead-set on comprising your sleeping sub-conscious.



Happy New Year to you all.

I think this year is going to be the best yet. For me 2009 was all about realisations. One is that you can spend your whole life wanting to be somewhere, some place where it's all happening yet in reality once you get there it means nothing if those you love aren't there with you. This year is about settling down and doing things for me. I will write what I want to write not what I am told to. I will have more confidence in my writing and I can only get that from loving my own work. I think this year is going to be good, I hope it is for all you people as well.


Pains of Being Pure at Heart

Copious subgenres have been thrown about to label this four-peice. Are they shoegaze? What about nu-gaze? Well whatever you wish to call them, they are undoubtedly one of the most consistent new bands around. With a nostalgic nod in the direction of influences My Bloody Valentine and Black Tambourine, TPOBPAH come out with their best EP yet, wistfully entitled Higher Than The Stars.

This beautifully crafted record is a roller-coaster of asphyxiating highs and jaw-dropping lows that whirls from motion to melancholy with soft, optimistic steps. It starts with the title track and an unswerving drum beat that keeps you neurotically tapping in melodic comfort alongside singer Kip's voice which sexually oozes with echoed longing and is noticeably softer than usual.

The fresh jangly-pop guitars are ecstatically rhythmic leaving you on an almighty high only to be slowly swooped down with following track '103' which pays ode to the bands earlier, atmospheric vibe. Synth-based track 'Falling Over' is the staple song, showing new strengths of the band with catchy, brooding tones while 'Twins' TPOBPAH's dirtier, fuzzier self. All in all this equation leads to an extremely complex, varied arrangement of songs and one hell of a masterpiece.

Rather than being stuck in an indescribable rut of labels and genres, the Pains of Being Pure at Heart continue to push the boundaries of their abilities, as their emotive EP presents, and unfortunately, much to the discomfort of the genre police.


King Charles

The knowledge that King Charles travels in an arty crowd comes as no surprise seeing as some of his local haunts are the Notting Hill Arts Club and The Lock Tavern. Devilishly handsome Charles is unabashedly English and one of those rare artistes who just exude the elegance and stature of an icon. With his well-thought-out image and unruly beehive hair, it's not surprising that his looks are often speculated more often than his acoustic odes to love. This, however, is a huge shame because one listen to his tracks will diminish any Victorian-styled Lothario image you may have held and replace it with fond thoughts of this hopeless romantics sentiments.
Creation of King Charles: Somewhere between studying Sociology at Durham University and living the student life Charles found himself in a band named Adventure Playground. This band toured relentlessly with respected musicians such as Laura Marling, Noah and the Whale and Mumford and Sons. Eventually, in this hazy time, King Charles found himself a soloist gigging in all Girls' schools which ultimately led to him touring with the same bands alone to a much appreciating audience thus creating King Charles- the solo artist.
Song to win over an audience: Charles is a poet in his own right, seen in these visionary lyrics from his perfectly flowing single 'Time of Eternity': "The fulfilment of beauty has to be love, the fulfilment of love has to come from above, when i feel the darkness descend upon me, everything in time is short compared to eternity."
Secret Sixth Sense 1: King Charles once 'rescued a baby Giraffe from the jaws of the jackal, was soaked in the venom of the spitting cobra and moved to Maida Vale.' Ahem, to the wild mind of that Press Release, we expect to see the majestic artist performing his next safari rescue on stage. Please?
Secret Sixth Sense 2: As a man who likes the finer things in life, his West London upbringing and cello-playing background has often been the cause of his trustafarian label. Yet secretly, we think he was cloned with the genetic involvement of Marc Bolan and Bob Dylan, or they just had crazy impossible relations in a Junior like scenario.
Failed Ambitions: With Jack Sparrow-esque attire it's impossible to ignore the dirty pirate-look within him. Yet with a passion for Sociology, tales of apocalypse and poetry instead of the obligatory gold'n'rum it seems he would have made quite the odd shipmate.
King Charles Fans: For all the New Age Cavaliers Googling the wrong name. Likewise all those star-cross'd lovers and hopeless romantics who were either born in the wrong decade or like to pleasure the tortured artist within themselves.
The King Charles Experience: Charles' psychedelic-acoustic sounds flow over dancing pianos, vibrant guitars and electronic-folksy songs. Whilst in a definite category of bands such as Devendra Banhart and Noah and the Whale, King Charles looks and sounds quite unlike anything we have heard before in the uttermost complimentary sense of the phrase. An idolatry figure of the future, a reluctant poet, a trustafarian, call him what you will you can't deny the boy has talent and plenty of it.


Happy Christmas

Happy Christmas to you all. I am in a hotel in Nottingham. My birthplace. With everybody I love. I never want to leave. I hope you have a good Christmas.


Nick Cave and Warren Ellis

Nick Cave and Warren Ellis have been collaborating on various projects over 15 creative years, with The Bad Seeds and Grinderman and soundtracks for films like The Assassination of Jesse James in 2007 and The Proposition back in 2005; and now comes the highly anticipated album White Lunar.

White Lunar is a double CD (16 tracks and 17 tracks) that allows previews of the soundtrack to the film adaptation of Cormac McCarthy's novel 'The Road' along with material previously unreleased, unavailable and rare. The unique tracks are equally composed and poignant.

Classical yet timeless, CD1 'Srey Leak' opens with glittering piano effects reminiscent of raindrops in hidden lakes where as the closing track on CD2 'Sorya Market' is a stunningly placed piano track that would only be used in a tearful goodbye scene yet includes a hidden track ten minutes in sounding like an angry earth.

Each track assists to document the psychological and physical struggle of the post-apocalyptic story where we see both Father and Son trek across a wasteland and telling their story of survival. Ellis and Cave's talented hands give the tragic story new depths and musical dimensions so perfectly crafted for this tale it's hard to believe this story was ever told without it.

The second disc contains four tracks - 'Halo', 'Daedalus', 'Magma' and 'Zanstra' that are named after craters and all prove to tell the next part to a story, or a trip through the world environmentally with Daedalus sounding like 'space music' and Magma not sound unlike an angry swarm of bees some distance away.

Each intriguing track takes you on to the next in a segue from subject to subject in a way that seems to make sense. It carries you through a journey built by imagery of beautiful but human trodden landscapes and unexplored worlds, whatever this album lacks in words it makes up for in unabashed intensity


Future of the Left

After seeing these guys a few days ago I can't stop listening to them. Amazing!


Don't Let It End.

I have been putting up my big, black Christmas tree and thus feel the need to spread Christmas cheer to all. A stunning Christmas song:

p.s I said Christmas three times in that paragraph.

I am now Student Ambassador of VICE magazine for London. So go to and read up and laugh and be shocked or whatever you wanna do. Awesome. Aside from that I am reading Fear of Flying which is really fabulous and I went to see Muse a week or so ago at O2, then Moby at the Palace Theatre. It was unlike anything I have seen before, Why Does My Heart Feel So Bad? made me cry like a stupid baby. Actually so did Porcelain as it very much reminds me of someone special. Embarrassing. It was otherworldly however and I fell head over heels for Moby. He did an interview in the middle of the set and one of the questions was 'Who do you only like sad songs?' I cannot remember his exact answer much to my annoyance however it was something like the following: happy songs are happy. They make you jump around and have fun and it's cool. But sad songs stick with you and you allow them to alter your emotions.

Maybe I have made that quote up but whatever I thought it was very intellectual.


But I don't wanna be like Dawn.

I decided to change and be organised and speak to you every single day and read one book at a time instead of five and learn french fluently. Then I watched Palindromes.

People always end up the way they started out. No one ever changes. They think they do but they don't. If you're the depressed type now that's the way you'll always be. If you're the mindless happy type now, that's the way you'll be when you grow up. You might lose some weight, your face may clear up, get a body tan, breast enlargement, a sex change, it makes no difference. Essentially, from in front, from behind. Whether you're 13 or 50, you will always be the same.

Are you the same?


Are you glad you're the same?

It doesn't matter if I'm glad. There's no freewill. I mean, I have no choice but to chose what I choose, to do as I do, to live as I live. Ultimately, we're all just robots programmed abritrarily by nature's genetic code


Old piece rewritten for a column

I appreciate that the music industry is progressively ruled by money. However, often a band or person will use their status to try and change this. For instance Radiohead giving their fans the power to chose the price of their album In Rainbows. Some said it was demeaning for music yet some said it was revolutionary. I shall take the latter. So I believe that Radiohead, in theory, handed the music back to it's audience. Or just created a very intelligent marketing strategy that provoked this quote from the ever perceptive Lily Allen: "They’ve got millions of pounds. It sends a weird message to younger bands who haven’t done as well. You don’t choose how to pay for eggs. Why should it be different for music?" I am not sure how valid that comparison is and I am not yet convinced that any opinion she has regarding music should be encouraged.
Next to jump on the bandwagon was Gene Simmons, protesting: "I open a store and say ‘Come in and pay whatever you want.’ Do you really believe that’s a business model that works?"
Well actually Gene it did work but understandably one is most likely used to affording a prostitute and a line per album sale which wouldn't go down well with fans paying as little as 45p for the album.
But it is not all bad news; Mcfly gave out their newest album in the Mail on Sunday, although arguably as it was the only chance for them to shift a few copies, even before that Prince did the same making the papers sales go up by 600,000 copies.
So can we really put a price on music? It's something we should all enjoy and love but how much is too much to pay? Especially in this so called Credit Crunch. With an ever decreasing amount of disposable income, we should surely celebrate free music. So in hindsight shall we take advantage of these opportunities? I, for one, most definitely will.


A Nation Lacking Sophistication

There have been countless inspiring eras in the past bringing with them the most spectacular icons that we have witnessed such as Audrey Hepburn, Marilyn Monroe and Elizabeth Taylor. These women emanate elegance, beauty and sophistication. They have the ability to provoke sexiness by mastering the art of seduction in the most refined and classy way. These women make me nostalgic for an era that I was not even a part of. So after looking at these idols, forgive me for feeling shame that Lady Gaga is perceived as an 'icon of today'. I am a definite fan of the celebration of femininity, that's a given, however when our Grandchildren look back on the 'olden days' of our adolescent years, a woman who describes being a stripper as an 'art form' is not something I would like to them adhere to. Nor will I feel reminiscence and sentimentality when my Granddaughter comes to Sunday lunch dressed like a robotic hooker because she is trying to channel that 'inspiring' Lady Gaga look.


Amazing, baby.

This is an interview I did with Amazing Baby a while back. Excuse the absolute awfulness of it all, it was rather the D.I.Y job. But one of the funniest interviews ever.


The best sonnet by far. It makes me shiver.

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damask'd, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground:
And yet, by heaven, I think my love as rare
As any she belied with false compare.


To be an icon.

i want my words to flow like waterfalls
and stick like runny honey
i want my sentences to jump off the page
and writhe and poke around your chest
i want each letter to spit itself out
and dance on your shoulders and kiss your face
i want my soul to spill it's blood and guts all over this screen
then you will touch it and lick it and keep it
and then i will be a part of you for ever and ever
and for ever and ever we'll be together forever

Dinosaur Jr. Pieces

'Pieces' is a typical Dinosaur Jr erm...piece. It is taken from their 9th studio album, the second since their 2005 reunion, which is entitled Farm. The record brings back their distinctive sound - the guitars are still extensively distorted especially Barlow's thumping bass, Murph on the drums continues to be rapid and urgent and front-man J Mascis still drawls and pleads his way through the four minutes and thirty-two seconds of the record. Mascis' melodic guitar solo was surprisingly clean and compressed although remaining, somehow, characteristic. The whole set up proved to build a somewhat musing, dazed 70's vibe to the track. Although there is no apparent progression in either talent nor sound this is undeniably classic Dinosaur Jr. and fans will be in feedback heaven.


Au Revoir Simone

Arriving at the Union Chapel in Islington it appeared that there could not have a more fitting environment for Au Revoir Simone.
It is such an alluring, exquisite setting which was perfect for the bands sweet, otherworldly sounds, the first of which was All Or Nothing, taken from Still Night, Still Light their latest record. It was an awe-inspiring start to the beautiful Brooklyn trio's 13 track set.
The usual favourite Stay Golden was revamped with the use of the Union Chapel's notably loud piano which gave it a very endearing, urgent sound and so much added depth that you wanted to just close your eyes and get lost in if it weren't for wanting to see Annie, Erika and Heather's sweet faces getting lost in it themselves. Before that came Sad Song, Anywhere You Looked and Shadows and following came another oldie Through The Backyards Of Our Neighbours.

Take Me As I Am was charming and sentimental with lyrics such as; 'I know, It's easier said than done, But we've talked a million hours, To end up just where we begun, In this time we're passing, With these distractions, We could be having fun.'
Then came the new favourite Trace A Line which brought an impressive applause with Annie stomping her feet on a box on the front of the stage adding new sounds to old songs. It sent charming shivers through the packed out crowd who sat in awe at these delicate dreamers.

Following this was Only You Can Make Me Happy, Knight Of Wands and Tell Me and monumental cheers. Whilst this ending left us glowing it surely could not have been over. We needed more. Thankfully, the girls returned to the stage with beaming smiles and watering eyes truly grateful for such appreciation and continued to play Tell Me, Lucky One and Dark Halls in what must be one of the most touching heart-warming encores that I have ever witnessed.

It was climatic and beautiful, it saw Erika run up to the Chapel's pulpit to play the tambourine and dance whilst Heather and Annie looked on at her in shock and awe and evidently could not stop laughing in the most genuine way. Unfortunately it could not last for ever and 10.30pm which Annie cutely dubbed 'God's Bedtime' saw the Union Chapel's curfew when the girls reluctantly left the stage full of happiness and grace to an applause that will have undoubtedly broken the venues 85db noise limit of which Annie made copious jokes about in her between-song chats.

In some ways it was refreshing to see an all girl band who didn't claim to be making some kind of stand about the world. No crazy feministic jives or odd OTT outfits. Nothing but a drum machine, three keyboards and three sweet, ethereal girls living out their wildest dreams and singing about romanticised situations and summers of love with such imagery we feel we could have been there. To be in the audience gave you a sense of something bigger, like you had just witnessed something life-changing. It was obvious to all that the three girls had given a performance that they were acutely proud of and touched by and we, as the audience, gladly reciprocated that feeling right back to them.


It has only taken my whole life. Sit back.

God. Once again it's been a while and of course I will miss out a thousand things. A few weeks ago I found myself at Wembley Stadium watching White Lies (awesome), Girls Aloud (devastatingly rubbish), Jay-Z (errr...) and Coldplay (woo!). It was stunning as usual, heart-warming and every other beautiful word you could think of. Couples kissing everywhere, loads of ran etc. I love them, I love Chris Martin.

A couple of days later it was Transgressives 5th Anniversary show at Heaven. If I am honest I can't say I stayed too long. It was Ox.Eagle.Lion.Man, The Rakes and EWGEG. I left halfway through The Rakes because, quite frankly, I hated them and their egotistical banter. No thanks. So I went to see Slow Club at Scala instead. Great decision on my behalf. First was a band called The Cheeks who were pretty good although I missed most of it. Then Slow Club who were so so good. So funny and likable and it was embarrassingly moving.

Fast-forward a week or so and I saw Tubelord at Banquet Records in Kingston. It was an acoustic set and so good. Their album is AMAZING. I would really suggest anyone get it. Track 4 is the best. So much more has happened I can barely remember. I went back to Wiltshire and saw Tubelord again at The Vic in Swindon which was just as good despite the very dense, small crowd of thugs. I have also been doing a lot of work for Supersweet which you can find on my twitter. And that is about all for now. Au Revior x


One Day.

One day no one will ever know that you existed
For that fact neither that I
But I will remember for ever that I lived
That you were the apple of my eye

I know they don't want me to stay.

I am back in London! I love my house so much. It's in a quiet place and it's just..stunning. And modern and beautiful and my bedroom is huge. I never even want to leave the house, I have forgotten how to socialise!

The Lonely Feather

One day the wind spoke to me, muttering my name
down that damp city street I lay scorched with impurities
it took me from where i rest damaged yet silently still
and i soared against the decayed apartment blocks

I am amongst endless faces yet I know I float alone, I float alone.
The beginning and end all pass me in a narcotized haze
like a half-cut dream that perhaps I had attended
I barely remember, or perhaps, perhaps not.

I brush against the world and try to stroke the ground,
just to touch or feel. I leave nothing but in-consequence, indifference
and take with me handfuls of shrouds of glass.
Please someday take me back up and let me sail away.

I will never close my eyes and feel the wind again on my face
what is the significance in such a feeling
if it is only the mirror to tell my tale?
The biggest backdrop is only that without a soul to share.

But there was once, I do remember, that I nearly felt the sky
when I saw you frail and frayed at the edges and barely even alive
I arced and began to circulate still sweeping along
you smiled and floated past and instantly I understood you, as alone as I.

We already have our first project. To trawl the streets of London and look for a 'new musical trend'. Awesome. Here is some more work I have done for Supersweet: