The Rock n Roll Saviour Complex

Total Wanker

If you were to judge the current state of music just by reading any issue of NME from the last two years, you'd have a couple of deep rooted and strong misconceptions: the Arctic Monkeys are the only band in the world; Oasis should headline every festival and Alex Turner is not a wanker.

However, the most important mistaken principle that NME and others rely on these days is the idea that rock music is dead and constantly needs to be saved. This crazy, over-exaggerated hype has reached a climax recently with Royal Blood's debut LP getting to number one in the UK charts. The most recent issue of NME has Royal Blood on the cover, being described as being the band "giving British music a kick up the arse". Throughout their feature NME hype them up, calling them a "genuine rock phenomenon", mentioning "amazing results for rock in recent weeks" at Radio 1 and implying that Royal Blood are going to kick off a huge new wave of guitar music.

Slightly Moronic

It all sounds very familiar. Just take a look at Alex Turner's douchey speech at the Brit awards. The whole premise of that stunt was based on creating an image that the Arctic Monkeys are the saviours of the genre. Just read this stupid as fuck article by Sergio Pizzorno from Kasabian: http://www.nme.com/blogs/nme-blogs/kasabians-sergio-pizzorno-british-rock-n-roll-needs-to-up-its-game. What's happening here is a capitalisation of the apparent lack of any "rock band" leading the music scene and using it to sell records. This is what I like to call the Rock n Roll Saviour Complex.

This is a confusing ploy used by the likes of NME to sell their magazines to an increasingly middle-aged readership. The reason NME constantly declares rock to be dead is partly because their definition of it is stuck in 1996. In 1996, Britpop arguably turned the clocks back for the rock n roll guitar group in quite a detrimental way. A focus shifted entirely away from creating something new and fresh and straight onto creating something that harked back to a bygone era. This was cool whilst it lasted but when a generation of guitarists grow up thinking that Noel Gallagher is the best role-model they have, the future begins to look bleak...

The truth is though that despite Britpop, decent guitar music never died and has always been around. It's just that it's changed and looks different now. The same rock n roll spirit of punkish rebellion with a youthful focus is alive and has never been better. This is the same spirit that was once owned by bands like the Rolling Stones and the Who. Punk came along and the Sex Pistols and the Clash took it. The Smiths had it, the Stone Roses had it, Nirvana had it, even Oasis and the Arctic Monkeys once had it. The counter-cultural rock n roll spirit never went away, it just changed shape. Saying it did is just lazy.

Fat White Family are awesome

So which guitar acts have this kind of spirit today? Like everything else good, they're in the process of breaking out of the underground as we speak. Until you see Fat White Family live, it's impossible for you to fully understand just how good a state rock n roll is in today. Their pure punk spirit, dressed in scuzzy fuzzy guitars and their sleep deprived appearance means that this Peckham collective are probably the best young band on the planet. Unlike almost every other band today, Fat White Family's music has a point to it. Everything from the cynical band name to frontman Lias Saoudi's frequent comments about how shit something is, Fat White Family scream rebellion. They play by their own rules and abide by no-one else's. Their shows are filled to the brim with raucous energy (and even nudity). They are the embodiment of the rock n roll spirit in 2014.

Mac Demarco with bros

On the other end of the spectrum, but still in the same category is Mac Demarco. Some of the best guitar work of the last few years has come from this Canadian singer. He's written some of the twangiest riffs in recent memory but it's his attitude and personality that separates him from the crowd. Utterly unpretentious and genuine, Mac is a totally unique package. Like the Fat Whites, he is best when live. He's got a reputation for being wild and drunk live but more recently he's toned it down slightly, being able to rely more on the strength of his songwriting. His carefree, footloose aura that doesn't give a crap is much more aligned with the spirit of rock n roll than anything that's declared itself to be this year. Like all good music, Mac speaks for a generation. A generation who really can't be bothered with the bullshit and would rather just wear ironic baseball caps and chill their own way. Judging by the growing cult of Mac Demarco around the world, it's clearly resonating with plenty of people.

Sleaford Mods probably embodies the spirit far better than any guitar group today. They're a rap/shouted word act but there's a ton of rebellion in Jason Williamson's lyrics. They've captured the voice of pissed off, austerity Britain and deserve every bit of praise they get. Divide and Exit has to be a contender for best British album of the year.

This is perhaps the greatest flaw with the Rock n Roll Saviour Complex: it distracts from the acts that embody this timeless, youthful spirit in modern times. The same spirit that bursted out of the hacked off and frustrated solo of You Really Got Me by the Kinks. The spirit that still exists in the screams of Lias Saoudi and Mario Cuomo of The Orwells. In its place, the commercial, soulless "indie" stands in the limelight. Bands who are rock only in name.

Royal Blood's new album is decent, don't get me wrong. Those songs are well crafted with some really good riffs. The sound Mike Kerr gets from his bass guitar is incredible as well. It's decent music, but there's no way it's giving anything a kick up the arse. It's basically really high-quality pub rock, which is good but it just doesn't capture the right vibe. Definitely Maybe caused such a riot when it first came out because Oasis wrote songs about escaping the shit and making it. Liam Gallagher's voice encapsulated that rock n roll spirit perfectly. That's what it's meant to be like. Constantly declaring it dead in order to resurrect it isn't going to do anything other than appeal to stupid people.

Everyone will work it out in time. No-one will be talking about AM or Royal Blood in a few years, but there might be a few decent discussions about Salad Days and Champagne Holocaust. The smoke and mirrors don't last...

I mean, they're pretty good for what they are

Who should win the Mercury Prize?

Well it's this time of year again when 12 more British albums from the last year get picked out and a group of people choose which one is the best. Of course, they aren't the big albums you'd expect, they're more "left-field" choices that you wouldn't have thought of. Previous winners such as Primal Scream and the Arctic Monkeys went on to achieve greater things after winning. Others like Speech Debelle and Gomez have...well...not. It's questionable what exactly winning this prize offers...but nevertheless it still inspires some decent thought and discussion.

So who's going to win?

Damon Albarn is the biggest name in the shortlist. The Blur and Gorrilaz man put out his first solo album this year in what was a decent offering with a couple of niceish moments. However, personally speaking I think this album should never have received a nomination. Whilst it's quite nice, it's far from Damon's best or most interesting music. To justify such a big name for this prize, the music has to be even better, simply due to reputation. In this case it isn't justified. Sorry Damon, I really like your stuff but I don't think this is your year...anyway don't
you object to the Mercury prize? The word albatross springs to mind...can't remember why...

Bombay Bicycle Club are the second biggest name in the shortlist and their album So Long, See You Tomorrow essentially just sounds like classic Bombay Bicycle Club: kinda nice, kinda boring middle of the road music that fails to interest or excite...but nice enough to hear on the radio. Like Damon Albarn, I don't think this should have ever been nominated but this time it's because it's not actually that great an album...I don't think it has any real chance of winning anyway.

I don't particularly think that much of Nick Mulvey either. Similarly to BBC, his music is perfectly pleasant but doesn't particularly excite or move me in any way. I personally wouldn't have nominated him but his presence doesn't really irk me too much.

Two jazz albums have been nominated for the prize, which don't have any chance of winning but it's important to have them in the list for diversity's sake. Gogo Penguin's album v2.0 is a very relaxing, chilled out listen with some really nice rhythms and grooves. Polar Bear's In Each and Every One contains plenty of space within, and is well arranged. Both albums should be given a chance by everyone and hopefully the exposure that comes with being nominated will help both groups. There's no way they'll win though...

Young Fathers put out a pretty alternative hip-hop record out with some really good production on it. The lo-fi R&B sound that they have going on is well worth a listen. A pretty solid nomination that should hopefully get this group more exposure.

Anna Calvi is no stranger to the Mercury shortlist, having been nominated in 2011. Her album One Breath is one of the stronger nominations, with it being a deeply personal affair, filled with interesting arrangements. Sound-wise, Calvi is one the more stand-out nominations. Image-wise, Calvi is easily one of the coolest on this list. A lot of passion and feeling comes across in One Breath, making this album a deserved candidate for the prize. This isn't my personal choice to win it but if it did, I certainly wouldn't object.

East India Youth put out one of the buzziest albums of the last year, causing a bit of a storm amongst the indie music internet community. Total Strife Forever makes an unsurprising appearance in this list and is bound to appear on more "best of year" lists. This is some of the more exciting electronic music from 2014, catching the attention of the likes of Brian Eno. This album contains one of the most exciting listens from Britain, being experimental and with each track sounding new and fresh. This album should be receiving serious consideration for the prize, though William Doyle finds himself amongst fierce competition...

This is who will win

If FKA Twigs doesn't win this I will be very very surprised. Her album LP1 has received rave review upon rave review upon rave review, and frankly, it deserves all of them. LP1 has an incredibly unique sound, resembling no-one else but FKA Twigs. Filled with intricate, layered production, perfectly complimenting her hushed voice, creating a remarkably complete vision. LP1 is eTwo Weeks create their own worlds which you get lost in. Weird, sexy and undeniably futuristic, FKA Twigs is who I predict to win the Mercury prize 2014.
asily the sexiest record on the list. Songs such as

That being said, it isn't impossible that the panel will instead opt for Jungle's self-titled debut. Most of the music press seemed to focus on the whole "mystery" aspect of Jungle when this album came out, failing to fully address just how fresh it sounds. Jungle is a cracking album, jam-packed with grooves. Like FKA Twigs, Jungle have carved out quite a unique sound. Unlike FKA Twigs, Jungle's stuff is really fun to dance to. For this reason, Jungle have become one of the best live bands in Britain today. I thoroughly recommend witnessing their 7-piece live band in the flesh. Any album which can produce a song like Drops should always be regarded as notable.

Royal Blood are probably the most commercially successful group on this list this year, selling 66,000 albums in the first week of its release. It's one of two albums on the shortlist to get to number one (Bombay Bicycle Club being the other). Their year has been very big for the heavy rock duo from Brighton, with their Reading set being one of the most exciting of the weekend. What was intriguing from that set was how large the crowd was and how into their songs everyone got. Considering they had only released three singles at the time, this kind of pulling power is worth noting. Sound-wise, it's pretty trad. heavy rock. One of them bangs the drums really loud whilst the other plays big riffs and sings lyrics that don't really mean anything. There are some really tight songs on this album and considering Mike Kerr gets that sound from a bass guitar, it's definitely worth a mention on any "best of 2014" list. That being said, due to the lack of innovation or freshness, Royal Blood shouldn't win.

This is who should win

My personal favourite on the list has to be Kate Tempest. Everyone Down has the best lyrics on the shortlist by a country mile. Tempest is a really impressive poet and Dan Carey's excellent production compliments perfectly. The contrast between her Reading set and Royal Blood's was huge. Royal Blood filled the NME/Radio One tent, the second biggest stage. Tempest played to a half-empty Alternative stage. Despite this, there was no doubt in mind whose music was the most appropriate for Britain in 2014. It is key to remember that this award is for the best British music, especially when considering someone like Kate Tempest. She isn't someone who plays up her nationality but her record is distinctly British. On the shortlist, nothing is as relevant or as thought-provoking as Everyone Down. I don't think it'll win but in my mind it should.

The best British album this year

One notable omission from the shortlist this year has to be Sleaford Mods and their album Divide and Exit. To quote one YouTube comment, Sleaford Mods have "blown a new arsehole in British music". Divide and Exit is the essential soundtrack to Coalition Britain. The brilliant rant-raps really tell it as it is. This album has a definite conscience and soul. Nothing is a relevant as Sleaford Mods are today. That being said, there is a sense that they're better off without the pressure of winning this award. The duo have expressed on Facebook and Twitter that they feel like they've dodged a bullet too so I'm not too upset at their omission. That being said, if this award is supposed to be for the best British album of the year, they've messed it up by not nominating the best British album of the year.

This year's shortlist is a strong one as Mercury Prize shortlists go. I'm fairly certain FKA Twigs will win but I would love it to be Kate Tempest. If LP1 does win though, it'll be thoroughly deserved.

Your new favourite band: Tonstartssbandht

In a musical world full of pretenders and imitators, true mavericks are hard to come by. However all this really means is that when you find a couple, they stand out from the crowd like no others. Ladies and gentlemen I present to you: Tonstartssbandht.

To some people these guys may be familiar as the fellas who live and sometimes play with Mac Demarco. Guitarist and singer Andy White has even plays in Mac's band occasionally. Always showing great personality in their Mac-related moments (like this brilliant q&a) , it's often far too easy to forget their own music...and what a crime that would be...

Originally hailing from Orlando, Florida, these two brothers (Andy and Edwin) play a kind of music that can frankly only be described as Tonstartssbandht "boogie rock". There's no real other way to do it. Their 2009 album contains a fair amount of lo-fi synth work with highlights being 5ft7 and the incredible Black Country.

However more recently the instrumentation has tended to be Andy on a 12-string guitar with Ed on drums, both singing vocals soaking in reverb. It is with this set-up in a live setting where Tonstartssbandht are best. This year's release Overseas (available for whatever you want on their bandcamp page http://tonstartssbandht.bandcamp.com/album/overseas) is an album that shows this to be the case. Made up entirely of various live recordings from gigs (you guessed it) overseas. In some sense this is a live album but rather than being one concert, it's more of a collage. The opening Alright Medley showcases Andy and Edwin's brilliant musicianship to great effect but also their ability to create such a large expansive sound with just two instruments and voices.

This song has a glorious jig to it. This song is also a great exploration of sound, making it one of the most interesting songs to be released this year. Other tracks show other sides to Tonstartssbandht, for example First Taape, a fantastically gritty lo-fi guitar anthem. Black Country also makes a welcome appearance.

Tonstartssbandht's sound is an exciting melding together of a number of different sounds without sounding like any of them. At times they're atmospheric, at times they shred. They're metal, they're country, they're synth-pop, they're lo-fi garage rock, psychedelic rock and definitely blues but all they really are is boogie rock.

Rather like their contemporary Mac Demarco, Tonstartssbandht have a sound that is difficult to define. Like Mac has "jizz jazz", these guys have whatever they want to call it. Unlike Mac, their music is for creation of new sounds rather the personality and fun. The plethora of styles and variations on show in an album like Overseas is fantastic and makes them even harder to pin down, thus making them more of a maverick group.

For all the experimentation and awesome sounds, Tonstartssbandht are in essence two excellent and unbelievably admirable musicians who work together in a truly exciting way. This is the reason their live recordings are the best. The chemistry in their performances is breathtaking. For any aspiring guitar/drum duos, the video below is a must-watch. Watching musicians creating sparks in such a way is one of the most captivating sights in the world. For some reason there isn't that much of it in today's music, making Tonstartssbandht even more exciting.