The Survival Code is an Irish-ish Alt-Rock outfit based in London. They’re new on our radar and we’re happy to stick em’ on yours. TSC present an intense, crisp, no-messin’, siddahn an shut yer face style of rock which if nothing else will avert your attention for 3 minutes and 32 seconds.
There’s a wave /raft /Noah’s Arc /shit-storm of ‘Alt-Bands’ around at the moment. Most are young black haired raven-types who’s tunes are permeated with laptops and the clitches of Chaos Pads. The Survival Code, have a slightly more ‘grown-up’ feel about them. Not sure if that’s a great thing in this day and age, but perhaps their music is going to appeal to the more ‘serious’ affectionados, rather than the achingly cool youngun’s who might flit from one buzz band to the next.
Fans of Mallory Knox and YMAS should also get stuck in to this…. Listen and download it for free below.
I’ve been waiting for a band as good as Jungle for about a decade. A band that’s 1 part concise and avante garde pop and 2 parts pure groove. It could be used as reference to a history of the best and sexiest basslines, whilst being one of the catchiest and slick of all pop packages.
FKA Twigs ‘LP1‘ was probably the most intelligent and tender record of year. A smooth Delivery of avant-garde art as intimate as the recorded sound can get and heartbreakingly vunerable. This is a perfect modern record to which many artists could learn valuable lessons from. ‘Water Me‘ was so soul bearing it hurt.
Victoria Park in London has its spots where, if only for a brief moment, you see no buildings, hear no cars and you can allow a gentle sense of escapism to creep into you. As 30,000 people descended on the east London park, the trick of Field Day is to make everybody feel miles away from the city, whilst being at the heart of the vibrant music culture it attracts. Field Day has found continued success in producing a line up which attracts people who know good music, rewards them with undiscovered treats and keeps them coming back by having a fresh, yet unpredictable mix of high calibre acts every year.
The day began with the synthesiser sorcerer Rizan Sa’id creating frantic dancing to the infectious dabke before Omar Souleyman graced the stage bringing an influence which appeared calm, yet it initiated swells of frenetic appreciation of the Syrian from the packed tent. At times I’m sure the vibrations felt on the floor were only half provided by the speakers, the rest coming from dancing feet as heart rates increased and shapes thrown became slightly overambitious.
Jamie xx drew a huge audience in the Bugged Out! tent as his technical prowess stitched together songs which really shouldn’t have worked. Throughout the set ran a continuing thread with an emphasis on listening to the understated intricacies of the tracks such as “Sleep Sound”, but still acknowledging the fact that in that moment, crowds will be vocal in their appreciation. The seeds of the songs had been sown in the crowds’ subconscious long before they found themselves belting out the lyrics to “I’ll Take Care Of You” or “You’ve Got The Love”.
From the distance, a pulsating, magnetic beat began drawing me towards it. The hypnotic repetitions and ever so subtle variations and nuances produced an allure which kept me taking great strides towards it. Time appeared to distort as giant orbs bouncing from the crowd into the sky travelled slowly and elegantly. A lone shuffling onstage figure offered contrast to the gliding spheres as Jon Hopkins’ continuously fine tuned his mesmerising techno to show off all the rich textures and delicate layers hidden behind the vivid beat. Despite the daylight detracting from the famous visuals, by way of an apology the sun covered the joyous crowd in a golden glow which gave a nod to the organic samples the distorted tracks found their origin in.
To close the day, Metronomy emerged in sharp white suits to begin a dazzling show full of glitzy hits, such as “Love Letters” and “The Look”, brooding undercurrents of “She Wants” and the disco ball illuminated the thousands during the pretty “Everything Goes My Way”. Closing on “You Could Easily Have Me” the driving, scuzzy riff topped with a shaky tiptoeing synth line from ‘Pip Paine’ showed the band being keenly proud of their past, a past which involved them humbly playing football in the very park they now were headlining their first ever festival in. A past which seems simultaneously distant, and yet inextricably intimately linked to the present, a contrast fitting of Field Day.
Beginning with a spidery guitar line and warm handclaps, “They Won’t Find Us” is the first track to be released by Dead Seem Old. With a whole LP’s worth of songs written by Thom Wicks during an inspiring trip to Indonesia, he contacted producer Javier Weyler and together the pair recorded the album on an old 4-track recorder at Weyler’s Studio, The Beat Factory.
Sticking strictly to the influences of rare 1960’s surf instrumentals and Grimm fairy tales the collaboration’s first track continues with a flowing bassline and more intricate guitar work, with subtle electronic twinges accompanying the vivid lyrics.
The single “They Won’t Find Us” is out on Lo Records In September and here at Cougar, we can’t wait to hear more.
The musical partnership between Joe Henson and Alexis Smith aka The Flight have produced something impressive dating back to their coming together in 2005. Since then, their creative production hub in East London has worked with some of the biggest names in music such as Lana Del Rey, Bjork and Elbow.
Their latest EP ‘The Sinner Inside‘ sees talented American singer/songwriter Alana Stewart, an artist we have been following for some time, taking on vocal duties may just be their most wondrous and exciting project to date.
‘The Idol and the Idle‘, the 2nd track from the EP is everything British music should be proud of. Understated is a word that is thrown around in this post-XX time, but moody, patient production cooks at the bottom of a pot of brooding vocal sass and beautiful analogue synths. The fact that the song is immediately so iconic without an obvious chorus only strengthens their case.
The lyric “God gets muddy in the glass” is the stuff of Twain, and conjures up a revelation of a world stuck between false promises, filling our voids with frivolous and carnal passions. This is combined with a stark and gritty video accompaniment that asks whether it is better to drink, dance and lay my way into middle age, or to actually think outside the box. Or look up from the box. Or remove my face from someone’s box. Either way I couldn’t have enjoyed it more.