Morrissey, front man of the ultra hip 80’s alternative rock band The Smiths and icon of cool for aspiring musicians everywhere, now headlining a festival built upon nostalgia for rocks greats of the past. Something a little awkward about this you might ask? Morrissey would certainly beg to differ as he recently flattened Hop Farm’s far reaching demographic with an energetic and powerful set that reminds us just why the man is so highly respected and cherished.

Following on from the grandiose likes of Patti Smith, Lou Reed, and Iggy and the Stooges Morrissey was set a stiff challenge: to headline a list of alternative rock’s very own legends! With modesty the wailing vegetarian man himself acknowledged this seemingly insurmountable task by asking ‘how do you follow Iggy?’ Well, as it turns out, by delivering a set filled with hits past and present, and one that undoubtedly caters to the sing song crazed festival audience.

Morrissey knows his audience well and fittingly opened with the powerful Smiths classics ‘I Want the One I Can’t Have’ and ‘Shoplifters of the World Unite’ that instantaneously ramped up the energy and excitement to soaring heights. This theme continued throughout the set, and while Morrissey’s solo hits such as ‘Irish Blood, English Heart’ and ‘Action is my Middle Name’ were thrown down, the set largely remained a tribute to The Smiths. 

Tunes including ‘Everyday is like Sunday’ and ‘There is a Light that Never Goes Out’ were met with round of cheers, and Morrissey delivered them with the same heart wrenching irony of his youth. The real highlights, however, came towards the end as an earth shattering rendition of ‘Meat is Murder’ and a monumental performance of fan favorite ‘Charming Man’ ensured that this set would be remembered.

The performance was closed by the singular, yet massive encore of ‘Panic’, which saw Morrissey wholly entranced by the music as he danced about the stage, urging the audience to scream their hearts out.

As if time itself was superfluous, Morrissey delivered each and every song with the same critical energy he always has. On top of this, the distinctive wail of Morrissey’s unique baritone voice rung strong with a fine maturity that helped many of these songs sound as fresh as they did almost three decades ago. While, the lack of Johnny Marr’s distinctive riffing did leave a slight feeling that something was missing from the generous onslaught of Smiths classics, this was a technically astounding set.

As you might expect, the spaces in-between songs were peppered with Morrissey’s own controversial views, which he will off course take any opportunity to let out. Cries for vegetarianism were mixed with proclamations of ‘down with royalty’ and urges for people’s power. Whether you feel these opinionated exclamations are earnest gestures or the out of place ramblings of a twat, they are distinctly Morrissey and signpost how this was a performance that encapsulated everything about his long career. 

A lone violin interweaves amongst the lush choral melodies of multiple singers. Soft acoustic plucking merges with abrasive distortion and powerful drums. A heart wrenching voice cuts above the music. This is the sound of Dry the River; a five piece act hailing from the metropolis of London yet whose folk infused rock harks away to the serenity of a more pastoral landscape.

Dry the River may sound rather familiar on paper as they draw on the intricate vocal harmonies of Fleet Foxes, and mix those with the harsh drive of Mumford and Sons, yet when all melds together they forge a distinctive and memorable sound. They forge hooks that The Beatles would be proud of, but with songs that break free of the verse-chorus structure so to create an exciting and unpredictable listening experience. Moreover, their more generous utilization of distorted guitar and lashing drums undoubtedly separates them from similar minded indie-folk acts. However, it is former medicine student and front man Peter Liddle’s delicate voice, saturated with emotion, that truly marks Dry the River as a band to watch.

In ‘New Ceremony’, the bands debut single on Transgressive Records, Liddle croons in a half falsetto along to the rich sounds of celestial strings and carefully plucked acoustic guitar, before growing into passionate full voice as an envelope of rhythm and harmony surrounds him. Similarly, the band’s upcoming single ‘No Rest’ evokes a sense of melancholy as Liddle sadly reminisces ‘I used to be a king’, before growing into the anger ridden screams of ‘I loved you in the best way possible’. All this is offset by the band’s perfect harmonies and driving rhythm that propels the song forward.

Recent shows at Glastonbury and Hop Farm Festival prove that Dry the River also hold their own live. The technicalities are perfect and the band burst with emotion and energy to make for a captivating live show. Their ferocious set closer at Hop Farm had the audience staggering in the face of the band’s sheer passion and desire to get lost amongst the ethereal cocoon of sound they have spun around the tent.

Dry the River is a band who clearly cares deeply about the music they make, and craft it with meticulous detail. As they now embark on a UK tour you can expect to be wholly consumed by their effortlessly captivating and moving sound in the near future.

British born artist Sarah Maple’s work is an exploration of cultural conflict, and, specifically, the conflict between Western and Islamic ideals. As a result of having grown up with both Christian and Muslim influences, Maple attempts to engage with the complexities of identity that she finds so prominent due to her involvement with two distinct cultures. This manifests most notably in her navigation of the convergences and clashes between Western and Islamic forms of sexuality, and between a liberal and conservative approach to sex.

As a fine art graduate Maple’s primary method of artistic expression is found in painting, and she utilizes her skills for both thought provoking and comic effect. One painting entitled ‘Bananarama’ depicts a woman fully clad in a hijab, seductively sucking on an ever so phallic banana, and aims to symbolize the way Muslim women, behind their religion, are also sexual human beings. Within the painting the relative sexual openness of the West is merged with the more rigid conservatism of traditional Islamic culture as Maple explores the question of whether these two opposed attitudes can co-exist in the individual. The fact that Maple deems this painting to be a self portrait suggests that it is an attempt to reconcile her own conflict of identity: how can she be both a good Muslim and in touch with her sexuality?

Not only does Maple strive to find reconciliation between her Western and Muslims selves, but she addresses the larger issue of female sexuality in general and the way in which it is manipulated and distorted through the media. In another of her paintings, Maple depicts herself naked with the words ‘using my intelligence’ scrawled across her body. Here, Maple, as a self-proclaimed feminist, is commenting on the objectification of the female body and the way it is used as both a commodity and marketing tool. Perhaps, then, the words ‘using my intelligence’ are indicative of the distorted message that Maple perceives this reification of femininity to spread.

Maple’s work, despite dealing with complex issue’s of sexuality, does present itself in rather humorous fashion, and this is a way, Maple often says, to allow identification and engagement with themes that may appear rather more dark without her comedic touch. Overall, Maple is both an artist of the political and personal worlds, and attempts to reconcile individual sexual identity with the larger narratives of sexuality that are ever conflicting within the spheres of culture and religion.

drownedinsound:

World Unite Lucifer Youth Foundation. What does it actually mean? It’s all part of the mystique surrounding WU LYF, a band it seems everyone has an opinion on even if the majority haven’t…

hautetropique:

Enlarge the picture…trust me.

drownedinsound:

Presented without comment.

Taken from the From The Basement session that will air later this year.

nprfreshair:

Music For Your Morning: NPR Music is streaming Bon Iver’s self-titled album in it’s entirety until June 21. Enjoy!

oddfuture:

Finally. The SHE Video By Tyler Creator And Frank Ocean From Tylers GOBLIN Album. Directed By Wolf Haley. OF Cameos Threw Out The Whole Thing.