And The Nominees Are: Best Newcomer Award

In the increasingly fickle world of popular music, the role of the newcomer is one to be treated with the utmost caution. One minute you’re topping the NME’s painfully irrelevant ‘Cool List’ and being championed as the voice of a generation. The next minute your sophomore album is being panned and you’re venturing into the wilderness to join Razorlight and The Kaiser Chiefs. Grim times indeed.

That the ‘Best Newcomer’ category only contains four nominees isn’t a pretentious damning of modern music, but rather a digression from the outrageous hyperbole so often thrust upon debutants as they spring forth into the limelight.

The four nominees here are simply the ones we’ve enjoyed the most over the past 12 months. Mercury Prize nominees in the ilk of James Blake and Ghostpoet they may not be, nor are there any indie poster boys ala The Vaccines to be found here. However, the amount of time these artists have occupied on our speakers this year at the expense of the aforementioned darlings of the musical media is testament enough to their talents and also a reassuring sign that their best is yet to come.

Ready?

Miles Kane

Not a newcomer Per sae, but riding solo has finally brought the best out of young Mr. Kane. No longer meandering in The Rascals or playing understudy to Alex Turner in the Last Shadow Puppets, Kane peacock strutted his way into singledom with the release of Colour of The Trap in May. His evolution into a lone wolf has undoubtedly been aided by friends in high places (Turner co-wrote half of Colour of The Trap while Noel Gallagher and actress Clemence Poesy also make guest appearances) but one glimpse of Kane in a live surrounding and it’s plain to see that he’s a born rock ‘n’ roll entertainer.

Not content with having an already impressive catalogue of catchy psych pop nuggets in his repertoire, Kane screams, leaps, bounds and high kicks around the stage looking like Paul McCartney’s immaculately cool long lost lovechild. The real acid test for Kane will come when he has a little less help from his friends.

The Carpels

This Midlands quintet first sprung to The Kitchen’s attention back in July in the basement of The Queen of Hoxton during a This Feeling club night. Their fresh faced innocence was offset by their splicing of post punk with ominous electro synths. Ian Curtis-a-like frontman Dylan Williams and towering lead guitarist Michael Darby make for a fine double act who perform beyond their years despite retaining a frenetic youth in their music. Charlatan Jon Brookes wasted no time in making his interest known when he signed them up to his One Beat record label. If handled correctly, The Carpels should be able to take the current synth laden indie scene by the balls and not let go until they say so.

The Black Belles

Imagine if The Munsters had an all-female house band that was managed by Jack White. Configured that image in your brain? Chances are its The Black Belles. Fusing scuzzy 60’s garage with more than a touch of Tim Burton’s Corpse Bride, The Belles are 40 years behind their time while still feeling strangely refreshing and original. Their debut self titled LP was produced by the multi-band troubadour White himself on his Third Man Records label and saw the light of day last month to a whirlwind of acclaim and even an unlikely collaboration with US satire extraordinaire Stephen Colbert. In typically Gothic fashion, their debut LP was also released on limited edition absinthe vinyl that glows in the dark. Perfect if you’re thinking of inviting Syd Barrett and Roky Erickson round for a knees up.

The Sand Band

Arriving in February with All Through The Night, Liverpool’s The Sand Band brought with them the melancholic Merseyside pop that has served The Coral so well over the past decade. Whereas Skelly and co tend to channel Jim Morrison in their tunes, David McDonnell’s gang tug at the heartstrings in a way much akin to Richard Hawley. Lead single ‘Set Me Free’ is as delightful a song as you’ll hear this year, with its touching folk simplicity and yearning vocals. So not quite the ‘Psychedelic Alt Folk Space Rock Ballads’ that their Facebook page suggests. Still, space ballads or not, yet another outfit that proves Liverpool’s uncanny knack for churning out fantastic guitar bands.

Stay tuned this week as the nominees for Best Film, Best Album and Best Compilation are also revealed!

Until then,

Keep on Keepin’ on,

Baia

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Back To The Future

What: This Feeling Clubnight

Where: Queen Of Hoxton, Shoreditch, London

When: 9th July, 2011

With a Charlatan behind the decks and a Britpop/British Invasion heavy playlist, one could be forgiven for believing that This Feeling is nothing more than a nostalgic wet dream for Mad Fer It mop tops. Delve a little deeper however, and you soon realise that it’s more than just a trip down memory lane.

Granted, being greeted by Kula Shaker and Ocean Colour Scene is hardly the most convincing way to dispel these beliefs, yet a trip into the Queen of Hoxton’s basement is enough to turn any pre - conceptions on their head.

For tonight isn’t just Jon Brookes showcasing his record collection, but rather showcasing the finest talent from his burgeoning One Beat record label. Following Tantrums’ Brummie blend of Punk Dub Step, their Birmingham counterparts, The Carpels, quickly take to the stage, originally peaking interest due to the fact their combined age looks to be roughly 14. Their relentless set however, belies their fresh faced innocence.

The Midlands quintet soon have The Queen’s basement in the palm of their hands. Front man and synth maestro Dylan Williams hollers and howls while his body bounds with the energy of Ian Curtis. Lead guitarist Michael Darby towers to his right, supplying a “where did that come from?” drone that’s as ominous as Williams’ is hyperactive. The set races along at breakneck speed, with the group’s pulsating post punk attitude offset by some colossally deep rumbling electro. The only relent in the energy is for Williams to, almost Oliver Twist like, ask ever so politely for a bit more volume on the bass and drums.

Culminating with single ‘Sand’, The Carpels give headline act Deadbeat Echoes some act to follow, while making it easy to forget there’s actually a club night to enjoy just up the stairs.

Back above ground, Primal Scream’s Screamadelica classic ‘Loaded’ gives way to ‘Brown Sugar’ by the Stones which in turn leads into Oasis’ ‘Acquiese’. It’s part Madchester, part Swingin’ London and all without a shred of the Gallagher wannabe posturing or 60’s muso pretention that can so often hinder this type of night.

It must also be said that the venue lends itself perfectly to the night. Shoreditch’s The Queen of Hoxton, while sadly reduced to two floors for the evening (it’s stunning rooftop bar/terrace/cinema is unfortunately out of bounds tonight), caters both subterranean concert and dance floor filling club night with ease. Thankfully devoid of airs and graces, the comfy seating and table football on offer add a subtle humbleness to proceedings that allows one to impersonate Bez after several too many Negra Modelo’s and feel completely comfortable with the fact that no one’s chosen to join you to ‘Step On’.

In an age where every warehouse and disused car park are being transformed into the ‘next big thing’ in club land, it’s refreshing for a simple night to be done so well, with an eye cocked to the future at the same time.

Keep on Keepin’ On,

Baia

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