News The Month That Was: March 2014

March 2014 began with the grand unveiling of DIY issue #27, with St. Vincent on the cover. Exciting stuff, but nothing out of the ordinary. We have a new issue out every month, you see. What followed however was a series of oddly linked events from completely different sides of the musical spectrum. Oddest of all was the return of The Kooks. Luke Kook in particular. Or was this a new Luke Kook? It was hard to tell. Bouncing off the walls, he was keen to let you know that he’d been getting “down down diggidy” round town and that he’d been listening to Another Level. Someone on DIY was keen to point out that ‘Down’ sounded like The Dirty Projectors. Perhaps April will witness that long-awaited Luke Kook x Dave Longstreth meeting of minds. This ‘Down’ incident occurred midway through the month. Around that, there was also the surreal but painfully over-the-top hurrah about an alleged riot incited by Tyler, the Creator at SXSW Festival. Footage that eventually emerged seemed to mimic the inaugural opening of a My Little Pony convention. If this was a riot, why aren’t Primark being put in custody for marking down their chelsea boots every couple of times a year and inciting Black Friday rage?

Back on planet earth - or maybe not - Peace came back with their first new material since debut ‘In Love’, and they were rapping. And it sounded good. There was a collective cotton-bud-in-ear response from most; an ‘Am I actually hearing this?’ rush of attention. Yes, that’s Harry from Peace sounding a bit like Robbie Williams on ‘Rock DJ’. Yes, those are your limbs wildly flailing in excitement. The Horrors sounded less extreme in their expression of new ideas, but second new track ‘So Now You Know’ practically cordoned off festival headline stages and prevented other bands from getting a look in. Saying that, chosen 2014 bill-toppers The Black Keys gave credence to their rising stock with the returning ‘Fever’. Someone who’s probably no longer being considered for anything at all really is Azealia Banks. She continued to cancel gigs, delay her album, and when she came out this month suggesting that we’d witness her leaking her own album in April, she made one tragic, consistent mistake: She set a date. Reports have emerged suggesting that Azealia’s calendar has actually been upside-down this entire time.

But that was only the half of it. Lots of exciting things happened. Things like one of the world’s most loved musicians returning from near-complete obscurity. Things like a relatively small, charming band metamorphosing into the biggest deal in the world.

I’ve Been Waiting On You

Not a single ‘I told you so’ could be heard ringing round when all of a sudden, Future Islands became massive. Nobody expected it. Guttural growls and cheesy synth pop solos - this was niche. Even the most foolhardy of snobs could admit it.

And yet it’s been staring us in the face this entire time. Future Islands actually make relatively simple music, albeit with odd ingredients. They’re the kind of guys who’d make a victoria sponge cake and fill it with chilli powder. Their songs are fairly universally acceptable. They’re simple things. And the passion that frontman Samuel T. Herring gives off on stage is a regular, brilliant thing that everyone should embrace and re-enact. Except they don’t. When it came the band’s turn, then, to make their worldwide television debut, they reminded people of what it meant to be in a band and to express things on a big platform. No heads were bowed - plenty of fucks were given. It was a novelty to see a band caring this much and showing this much character, that the whole thing went viral. Herring was given a memefication. A couple of introverted jerks’ favourite band became everybody’s favourite. Shows sold out, covers were printed. And the weirdest thing about it all was that nobody really complained. Future Islands deserved it and loyal fans were happy to accept that. Instead of latching on and declaring ‘No, they’re mine!’ everyone seemed to collectively stand up and give credit where it was due. Especially Letterman. That guy really set off a firework in his head after seeing ‘Seasons (Waiting On You)’.

I’ve Been Waiting On You Even Bloody Longer

Either the bucks stops at 80,000 tickets or this is early days in the Great Kate Bush Comeback. Regardless, the return of a performer who’d shied away from the stage for 35 years was anticipated by absolutely nobody. The hysteria - albeit one restricted to London-based twitter-heads - was like nothing witnessed before. Anyone butting in to hush hush the whole hurrah was promptly told ‘Bugger off - this is Kate Bush we’re talking about.’ The news emerged that yes, Kate was running up that hill, then round the street corner, then up the road to Hammersmith Apollo a few times this summer. This was the return not only of a prized star, but also the meeting ground where Bush last performed. It was too good to be true. Too good for too few, as well. The whole thing sold out late last week in minutes. Perhaps this run will extend. Maybe we’ll be seeing the legend finally tackling something like Glastonbury, something way out of her comfort zone. It’s a nice thought - albeit an unpleasant one for those that missed out - however to imagine that this is it. She’s just playing a few shows with big-budget concepts, huge stage pyrotechnics, a great spectacle. There’s going to be no selling short or making compromises. We discussed this briefly in the ‘Kate Bush And The Art Of A Comeback’ piece, excitedly typed up on the day of her return. But so many stars arrive back on a scene only to stamp all over everything they previously laid out so neatly. Kate Bush isn’t the type to do that.

Filling A Void

A Julian Casablancas comeback was on the cards ever since he confirmed himself for the New York Governor’s Ball. Not much of that was made at the time, but the news of a second solo album was inevitable. The extra stuff though; the Voidz, the new chapter, the bold claims and the secret SXSW shows - this was less anticipated. Although it’s essentially one ten-minute film showing Julian being given a ride in a respectable looking car, recent footage that introduces ‘Julian Casablancas + The Voidz’sheds a lot of details. Most interesting of all is the ever-modest Strokes frontman claiming that the project exists to fill a void in music, to reach out for previously untapped ideas that daft sods have just completely ignored over the past few decades. Bold statements are Julian’s game, but above anything else and beyond the bravado, it’s good to see such swagger enter its way back into his conscience.



Prize For The Best…

‘Don’t Leak This’ initiative: Wu-Tang Clan.

Use of sunglasses: George Ezra.

‘School Is Cool’ promotion: Iggy Azalea & Charli XCX

Reaction to being interviewed by Narduwar: Wolf Alice.

‘We Made It’ Instagram: Thumpers.