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Monday, 28 February 2011

NEW Lady Gaga Video (Born This Way)

Cole mohr.

Check out my tumblr guys, You'll no longer be stressed out like this faggot above.

Vice Update.


The band gave a rare long form interview to The Creators Project, where the two two entities discussed amongst many topics working together for the upcoming Coachella festival and collaboration in the studio.


It may have already finished, but it's still fresh in the mind for many and Vice Style went down to check out Nazir Mazhar's show, the dopest environment to be in.


I went down to this, and it was pretty mad. Free drinks and that.
Check for the consequences...

Esben and the Witch – XOYO, London 09/02/11

“No, sorry, it’s sold out” is a phrase cyclically repeated in the background as I venture to Shoreditch’s XOYO. Completely dark inside, the emergency exit light is the only guide to sanity as people crowd together to see the phenomena that is Esben and the Witch.

The scene was already set out on stage: a Victorian lamp decorates the corner, three glass heads sit on a table at the back and on the floor lies a cloth covered soft-beater splattered in a blood-like substance. Guitarist Daniel Copeman is first onstage – his face obscured by hair, staggering around in a pair of black socks – he begins to modify the ominous sounds to something more magical. Vocalist Rachel Davies then appears, together with Tom Fisher, who stares out into the audience through his dishevelled-professor like glasses. With no introduction, they launch straight into opening song: ‘Argyria’.

Slowly, hoards of hypnotised camera men creep to the front, like a cult would to a dark, gothic warrior claiming to be their leader. People follow, desperately trying to get as close to the stage as possible, as one by one, they become enchanted by the raw electronic powers and dark, gothic laments. For the cult followers and Esben virgins, the very notion of playing an opening track about a medical condition that turns people a silvery-blue, is an abhorrence in itself, but the audience warm to it, driven by the austerity of the different sounds and the individuality of the song’s theme.

Tracks evolve alongside the band’s energy. ‘Lucia, At The Precipe’, definitive of Esben’s tribal-minimalist electro, sees each band member bowing in unison with the beat. As the various pedal-driven guitars grow in volume, the atmosphere on stage was akin to a scene from the darkest chambers of a mental asylum. Copeman topples all over the stage, hair flying outwards in all directions as he conjures more sounds from his instruments. The stage is shrouded in a misty green light while Davies’ beguiling voice captures each person’s thoughts, leaving them in a bedazzled-but-satisfied state of mind. “This is the biggest show we’ve done yet”, quips Davies in her deep comforting voice, before launching straight into the next song.

The band’s occultism isn’t something that ends there. Closing track ‘Eumenides’ prompts the band’s gathering around the drums as they pound at it with bloody rag covered sticks. If anything, this is where their cult-seeking attention is explicit: such a vision recalls Macbeth’s witches around their cauldron.

A final unified hit brings everything to close and Esben abandon the stage one by one. Copeman is the last to leave, rubbing the mic against the main speaker to create a shroud of distorted feedback to accompany his exit.

Like the foreboding Danish fairy tale that gave them their name, Esben’s music is convoluted and misunderstood – yet I’m yearning for more.

(Published on, photos courtesy of Stacey Liu)

Ducktails - Ducktails III: Arcade Dynamics

Real Estate’s guitarist, Matthew Mondanile, is the talent behind one-man side project Ducktails; where different sounds are united from within the aesthetic genres of ‘glo-fi’, ‘shitgaze’, ‘indie’, ‘balearic’, ‘chillwave’, (etc) and music’s textural clichés are spared. His earlier albums were released on cassette, driven by 60s fuzz and distortion and attracted plenty of attention from music blogs. The originality of his dazed guitars and exotic psychedelic sounds meant the recent release of Ducktails III: Arcade Dynamics via Woodsist simply added further fuel to this fire of the media’s anticipation.

Although Ducktail’s lo-fi pedal trickery is at times criticised of being too closely related to Real Estate’s surf pop, the use of synth, guitar and a drum machine are the main differentiating factors, as well as that certain different touch of his. Mondanile’s skills lie with his ability to harmonise the instruments and vocals, creating textures and sounds that appear peculiarly satisfying. Take ‘The Razor’s Edge’ as an example, where synth leads distorted guitar through a calm sea of unfocused psych wobbles. Its execution is brilliant and is usually something that’s very hard to get right. Somehow, Ducktails just make it possible.

Mondanile’s detached vocals certainly aren’t his strong point, appearing flat in places (‘Hamilton Road’) but when weaved together with the song as a whole, prove to be a warming accompaniment. Tracks later in the album fare more justice to the vocals, utilising them to create memorable hooks. ‘Don’t Make Plans’ is honest-sounding, more melodic and less detached with lyrics of “I don’t make plans / I waste them, man.” An image of skipping in an idealistic flower-ridden field comes to mind but as the chorus subtly burrows its way to dominate the guitar and synth; the cheesy melodic vocals begin sounding like something that should be played at the beginning of a toddler’s TV show.

Thankfully the track ‘Art Vandelay’ shortly followed, restoring this album’s ‘hipster-street-cred’ – no one wants to listen to something that could be played to nursery kids… Adopting a verse/chorus/verse structure, the lines between Ducktails and Real Estate are further blurred and it is here where his musical maturity is made evident. ‘Killin the Vibe’ is another prime example of Mondanile’s memorable riffs and detached vocal melody. Animal Collective’s Noah Lennox (better known as Panda Bear) makes an appearance on the track, singing alongside Mondanile. The beat kick of a drum, soft shake of a tambourine and beautiful synthesis of the two styles make this track Arcade Dynamics‘ masterpiece.

The album carries with it a tone of ‘hypnagogic’ breezy summertime pop and mentions of things you’d associate with one’s childhood. It’s clear that the moving of time is a thing that still torments Mondanile’s thoughts and in turn his music takes you on a journey as fading memories coincide with the rise and fall of reverb and vocals. The collaboration with Panda Bear was a wise move and Mondanile’s ability to fuse all different kinds of genres is a rare sight, more so incredible that it’s all done by one single man. Who knows where he is to venture next with Ducktails? Maybe lyrical visions of the future for Ducktails IV, providing he moves on from his childhood memories of tree houses and 90s sitcoms…


Suits You: Paris Suit Yourself (Interview)

Hailing from Bordeaux, Paris Suit Yourself, who are signed to Big Dada, are unique, with the determination of pushing and breaking the boundaries of music. Their music is acknowledged all over the world, most particularly in Berlin where their sound seeps through the walls of illegal warehouses, nightclubs and squats. Marie Boye (the band’s bassist and vocalist) spared some of her time to discuss the talent behind and origins of this aggressive and intriguing, yet disturbing musical phenomenon.

The obvious place to start is your name – what’s the story behind it?
 "There’s not much to say, we found a name because people needed one to promote us when we started playing live shows. If it was just us, we wouldn’t even have a name. You know what they say after all, "What's in a name? That which we call a rose, by any other name would smell as sweet."

How would you describe your music and is there a message you try to convey through your music?
"A screaming orgasm interrupted by the first measure of the philharmonic orchestra of Munich playing the symphony of the new world from Antonin Dvorak, itself mixed with my mum yelling that it’s time for dinner. And no, there’s no message, just feelings."

That’s cool, what would be your ideal collaboration?
"Anyone who’s ready to perform naked - if we ask him or her."

How did you guys meet?
Randomly through the paths of destiny…the meeting is actually way less important than the “recognition", but that’s another subject…

How do you organise yourselves musically? Who comes up with what, how do you work together in rehearsals?
"That’s the secret recipe of our creative process, I can’t give that away."

What do you prefer, live gigs or recording an album in your own time and why?
"Well we only recorded one album, and played dozens of gigs, so a comparison would be inappropriate."

Seeing as you’ve played many gigs, which were your favourite?
"A frozen lake in Sweden, the machine room of an abandoned swimming pool, the ball room of a 5 star a way, we enjoyed them all."

And when you play these gigs, how do you feel?
"Depends on what happened during the day, they seem to mix with the vibes of the sound, so with the same song you can make people feel super happy or deeply suicidal."

 Heard you get up to some pretty weird stuff up at your gigs like ‘Marie leading а crab-walking, hooded Atche on to the stage by a leash, all singing, "You can touch my private parts”’ – what inspires you with these interesting thoughts.
"For those kind of deliriums, most of the time it’s been last minute ideas born with what we had around us a couple minutes before going on stage, like the leash for example."

 What’s your favourite lyric?
"I like to move it, move it."

 If you were to make a music video, and you had an unlimited budget and you lived in a fairytale world where anything in your imagination could happen, what would you do?
"We would take the cash, shoot home-made cheap crap, and then go shopping."

 Who are you watching (band wise this year)?
"No one in particular really, but there seem to be a new generation of hip hop kids who have really fresh ideas and may renew the scene, that's pleasant."

Do you see anyone emerging who’s going to be worse than Justin Beiber?
"Good and bad are things that are completely subjective; I just wish his hair stylist was dead."

What can we expect from you guys in 2011? – Apart from worldwide domination of course.
"If I tell you now, it won't be a surprise anymore, so read the label: "Do not open before Christmas"

Introducing Spaghetti Anywhere

Ubiquitously named ‘Spaghetti Anywhere’ are a relatively new London band with heavy 80s Scottish influence. They are made of Francis Cullen and Valerio Cerini who part themselves from the ‘trendy’ witch-house genre to create a trend of their own: ‘sounding like a Scot’.

Listening to their synth ridden folk is like being immersed underwater amongst a sea of unicorns dressed in tartan kilts. The rolled ‘r’ s carry you further through the range of messianic sounds and visions, at the same time comforting like a mother’s tits are to her newborn.
In short this band look promising, and it must be said, that I’m more than a ‘wee’ bit excited. Bring on the Scottish revolution with the free download of their recent EP –

Summary: Synth ridden indie music for the true Scot.

For fans of: The Pastels, Camera Obscura, Belle and Sebastian
Listen to: Kevin Currie


Introducing PEPEPIANO

New music is constantly evolving, some purposefully and to some extent blindly fitting into a genre – others completely uninspired and some that are just unlistenable and to put it bluntly shit but David Bird’s music (the man behind PEPEPIANO) is neither of those. Forcing together genres that wouldn’t typically fit is the beauty he rightfully masters. Any types of clichés are avoided to create something new to brace your ears.
Experimenting with chillwave, ambient and glitch, PEPEPIANO almost creates an imaginary battlefield within each song as different sounds react with one other, striving to dominate the song’s core. Each featured synth releases emotions of happiness or dizziness, from amidst layers of white noise and choir. “No way” (the track it all started with) creates a lighters-in-the-air mood, and lyrics that certainly aren’t something you’d hear every day: “maniac mechanics boasting false teeth for lepers / They’re hysterically endowed, infectious blue eggs for the oil men.”

Why not hear from the man himself about what you can download below:





Summary: An amalgamation of different genres in a pot of love.
For fans of: Wu Lyf, Sun Ra, Teen Daze
Listen to: Teen Daze – “Together (Pepepiano Remix)”, No way

Introducing Part Time

Part time remain a mystery on the internet, the only things coming up are part time jobs or part time sex etc but after coming across ‘Thunderbolts of Love’ on YouTube, this certainly wasn’t a thing to listen to part time, more the type of thing that has permission to parade your ears, mind and soul full time – because it is so excruciatingly fantastic.

The lyrics are echoed sentiments of lost love, and sound like something that would have been made by Zeus after playing a computer game involving unicorns and an Alice Cooper x Ariel Pink soundtrack. A high pitched 80’s electro beat follows directly behind the lyrics and provide an escape from the gloomy realisation of reality.

Only after all this did I stumble across the fact they had a MySpace profile (yet with only 100 friends) and were signed to Voice academy records. I was hoping they were to be unsigned, but I suppose all bands eventually get driven into some commercial ploy in order to survive.

At least their music’s good; so good in fact it’s making me want to venture out to the middle of the sea only with an Ipod containing this track. I wonder if this song will help me through being stranded and then getting eaten by sharks, touched by electric eels and stung by many deadly jellyfish. In fact it’s so brilliant; I think it may be able to do just that….

Summary: Hazy visions of unattainable love empowered by an 80’s electro beat.

For fans of: The Teenagers, Peter Murphy, New Order
Listen to: Thunderbolts of Love, Lies in the eyes of love


Introducing CUFFS

Although the name ‘Cuffs ’ might not necessarily strike you as one of a band, put the images of S&M and Bondage to the side, and concentrate on listening to the amazing surge of soft vocals, warm indie guitar and resonating lyrics.

They reside in Cambridge MA, next to Harvard University and describe their sound as “post-graduate quarter life crisis, realizing you are no longer in your mid-twenties and day dreaming about living in London circa 1987 – think Monochrome Set with Ira Kaplan on guitar or the Embarrassment trying to write Prefab Sprout songs”.

All the band members are musically pretty well off: two of them having played in an indie-pop band Pants Yell, the bassist in Big Troubles and the guitarist in Reports. It’s time this amalgamation of indie-pop talent got their deserved recognition so they can be well on their way to 2011 indie-pop-world domination.

Watch out for their new 7” single due out in May via Ride the Snake Records. Instead of heading to the sex shop to get another pair of those plastic cuffs with no key, in the false hope you will one day sexually harass someone, head to the record shop and get some real Cuffs.

Listen to a demo of ‘Privilege’ below.

Cuffs - Albert Kroft by gardenparty

Summary: American indie-pop that means something
For fans of: Adam and the Ants, The Vaselines, Two Door Cinema Club
Listen to: Privilege, Albert Kroft


Introducing Wretch 32

Wretch 32 (Jermaine Scott) has finally started getting recognised, and now having signed to Ministry Of Sound, is pretty much guaranteed to make big movements in 2011. He hails from North London’s Tottenham, where he sold 15,000 copies of his single, created his own clothes label ‘Wretchroboys’ and won best hip hop gong at the official mix tape awards.

The infectious track ‘Traktor’ (it isn’t a spelling mistake) opens up with the distinctly known guitar line from Dick Dale’s Misirlou (also featured in Pulp Fiction) and raps about everything (relatively) relevant in today’s society from the royal wedding, to Kerry Katona, to rising VAT – which deserves some recognition in itself.

Just give the track a listen and you’ll learn how to “ride the motherfucking beat like a traktor.”

Summary: Metaphorically trodden lyrics lined with a subsonic bassline.
For fans of: Devlin, Tinie Tempah, Wiley, Giggs
Listen to: ‘Traktor’


HMV's Next Big Thing @ relentless garage London - Gig Review

Escaping the harsh cold outside, and a man offering me £40 for my ticket, I ventured into what was meant to be ‘HMV’s Next Big Thing’.

Banjo or Freakout, emerged from behind a red spotlight, the bassist facing the back wall. Frontman, Alessio Natalizia, drew himself to the mic, launching straight into his set. His awkward feet caressed the stagefloor, eyebrows raised with each lament of ‘ahhh’, and the end of each song was met with a shy offering of thanks.

Halfway through the set, roles were switched; Alessio manned the synth, whilst the bassist guarded the drums. The uninteresting lighting took a turn for the strange and a kaleidoscope of strobe lights fought for the attention of the audience. The drum beat quickened and this collision of sound and vision, twisted the perceptions of everyone in the crowd. This was certainly a powerful image but is was far from engaging as people kept their distance from the stage. Maybe the crowd needed a few more beers in them.

Phoenix Foundation were the next band on, and the stage had been transformed into something close to Jimi Hendrix's guitar wet dream. People were fighting to be close to the stage and to gain the beardy band's attention. They mostly failed.

Compared to Banjo or Freakout before them, they were far more static. However, their impeccably mature pop still had the desired effect without having to resort to on-stage theatrics. Sam Flynn Scott took the time to actually talk to the audience and regaled them of the previous night's show. “Our dressing room was titled ‘the mystical land of cocks’ and as you can guess, the wall was decorated with a range of many dicks.” Still, it was better than just a whispered “Thank you”.

Dutch Uncles didn't need any introductions yet their penetrating guitar melodies heralded their arrival regardless. People nodded in appreciation, more than they did for the other two bands, although there was a slight sense anti-climax about the set. Duncan Wallis encapsulated all that was expected of a front man; genuine heartfelt vocals and eccentric dance moves that couldn't help but hypnotise. The set moved between guitar-based tracks to more melancholic piano tracks, with the band members connected throughout, finishing in an accomplished, reverb-embellished frenzy.

There was evident talent in the Relentless Garage that night and an overall positive vibe, although I would have been reluctant to pay £40 for a scalped ticket.


Friday, 11 February 2011

Giggs - FREE MIXTAPE + uk tour dates

Watch his documentary and download his free mixtape 'Take Your Hats Off’at


13th March 2011 – Pulse (Nottingham Trent Student Union), Nottingham
16th March 2011 – XOYO, London
17th March 2011 – University of Glamorgan Student Union, Pontypridd
18th March 2011 – Sin City, Swansea
21st March 2011 – The White Room, High Wycombe
22nd March 2011 – Rubix, Guildford
24th March 2011 – The Academy, Derby
25th March 2011 – Fusion, Sheffield
28th March 2011 – 53 Degrees, Preston
29th March 2011 – Mine, Leeds
31st March 2011 – John McCarthy Bar, Hull

Tyler The Creator - Yonkers

Tyler from rap gang Odd Future Wolf Gang Kill Em All is releasing his new album 'Goblin' soon .
Check this video out where he eats a cockroach and hangs himself - all to promote his new album...


Thought provoking story mixed with a fashion shoot....Only at Vice Style.




See more at


OK so there may be some sarcastic tones in that title but like most websites in the world Vice have given their thoughts on the new face of some never before heard music genre....

Hi. I am James Blake.

That’s right.



…aaaaaake’s the name, lengthy, inconveniently positioned silences is the game. And what a fun game it is – after all, everybody loves getting Jamie Lidell round theirs to do the hoovering on a Saturday night and then making him croon while he absorbs a volley of sporadic taser blasts to his diaphragm, right? I first became inspired to make music after learning to speak French on an audio cassette. They’d be all like: ‘Ecoutez et repetez.’ Then they’d say a phrase. And there’d be like a three second gap. And so I thought: wouldn’t it be great to make a whole album like this, with massive gaps between all the phrases? I guess what I’m really saying is that when you listen to my eponymous debut album, you’re learning how to speak the language of me

Read more at:

Bloody Beetroots - free download

It's Friday, you're getting ready to party - or to wallow in self-pity...
Either way this will make you feel good.

The whole point of it is to give you an idea of what to expect from Bloody Beetroots new album and a remix of Tiga’s, Mind Dimension is a prime example of their brilliance..

Download Below:

Wednesday, 9 February 2011

What's happening up at Vice?


We introduce Animal Kingdom, an intense crime thriller starring Guy Pearce and the Oscar-nominated Jacki Weaver. The film will be coming to a cinema near you on Sunday 13th February at 11am, check out the list and info below:

Clapham Picturehouse
Regal Picturehouse Henley
Belmont Aberdeen
Edinburgh Cameo
Southampton Harbour Lights
Arts Picturehouse Cambridge


Introducing G-Star's new S/S 2011 campaign, after the hugely successful 1st of 3 'RAW' nights held in London, we have an exclusive interview with Hollywood starlet Gemma Arterton, who's only become the new face of G-Star! Also you can check out some fantastic photography with Anton Corbjin. The 2nd and 3rd videos in the series are being filmed in New York, so be prepared for some more video wonderment...



Adidas Originals and Diesel, two global lifestyle brands that share common values such as authenticity, self-expression and creativity for the fashion forward, have come together again in the spirit of unconstrained exploration and collaboration to introduce a limited edition sneaker series, reigniting their 2008 partnership for their special denim collection.

Dave I.D. – Gangs

(written for

Dave I.D’s recently released EP Gangs is an apocalyptic whirlwind of sounds. Claustrophobic beats are interwoven with darkly brooding doom and vacant snarls swirl amongst a melting pot of genres. Hazy clouds of post punk, electro and pop rise from the depths of South London to drift in and out of your mind, eventually gaining control as you begin to realise that you can’t think about anything else but the potency of Dave I.D’s music.

‘Only Me I Can Save’ is glorified through its range in textured beats, bound together by other-worldly lyrics, both delivered with genuine conviction. “It’s only me I can save” intrudes your thoughts, gnarly beats cascade this ocean of realisation, only to be reassured by echoes of “no” and an XX like guitar. Many things happen between the rallying snares as the words “a river” are repeated, water like drops of beats drowning the echoes of other sounds.

‘Marvel’ is more ominous in its sound, synths that resemble something out of a bloody zombie game, the music accompanying those dark corridors where you’re about to be attacked. It’s almost a mutated dubstep beat, or perhaps just a really stoned one as cries of ‘Don’t Follow’ rightly portray the angst and uncertainty about today’s society. The last 50 seconds of the song are magical, euphoric reflections that provide you with an escape similar to floating in darkness.

‘Memory Loss’ is largely reminiscent of These New Puritans, with its drawn out vocals and wispy pulses. Dave’s feelings become particularly prominent: “They shouldn’t mess with me / They shouldn’t fuck with me”, but his ability to merge these feelings with sounds are breath taking. There’s nothing repetitive about any of his tracks (apart from lyrics at points), and each one is a journey in itself to self realisation that the world we live in is fucked.

The EP turns to adopt more of a robotic- punk-like element with ‘X-F’. The song starts with a solid drum, but then is restricted to electronic beeps and industrial clashes, almost like a battle that leads to the fusing of the two. The combination of different sounds, hums and general Teutonic clatter are enough to make you go deaf if put up to level 11.

The last track, ‘Light’s’ carries with it a climatic end to the EP emitting even more guitar and Teutonic clatter than the previous tracks. The vocals are much less evasive, and keep to the background as the myriad of various beats sit on top.

All in all, this EP is impressive, and proves Dave I.D. is a very talented man, with more good things to head his way. Shame about the name though, although simply calling him Dave wouldn’t be that great either… Either way, keep a watchful eye on him over 2011.

Monday, 7 February 2011

Wu Lyf at Corsica Studios, London - 03/02/11

(written for by me)
Wu Lyf Press SHot

“Wu Lyf is nothing…They are not for sale, they have no cash flow or value. The Lyf is strength in numbers…Lost brothers looking for a place to call home, in return for your hard earned currency our home is yours.”

The clock struck 9:30 pm, where a significant moment in London’s music history was about to take place: Wu Lyf were about to play their first London gig. The room was packed, laden with the smell of stale-tequila, sweat and cigarettes. Music industry snobs and vintage-adorned twenty-somethings silently stood there, sipping on their largely overpriced beers in anticipation of what was to come. A broken disco ball hung from the ceiling, a simple black cross with the word ‘Lyf’ was all that decorated the stage and fragments of their song lyrics were plastered all over the walls. The simplicity and acknowledgement of everything; sight, sounds, smells – it all isolated you in this tightly packed space, as for one hour it felt like this was all that existed…this was your world.

The set began with ‘Lucifer Calling’, Ellery Roberts’ aching odes of disgruntled yearning braced the silence, leaving individuals transfixed, and moving religiously to each drum beat. As people began to move more, temperatures rose and the thought of breaking out in sweat was inevitable. Only a couple songs into their set were you met with three out of the four band members topless. “You don’t usually see this so early on in the set”, Ellery said, only to be met with estranged cries of “Fucking Northerners” from some drunkards in the corner who were dismissed by the avid fans in the crowd: “ Shut up!”

The room went dark and the words shouting “Say 1, 2, 3, 4…quickly” were the only guide one’s senses had. People mumbled distorted rhythms of numbers…Nothing was clear at this point. “Fuck it…! 1, 2, 3, 4,” shouted Ellery as he launched into ‘Such A Sad Puppy Dog’. Smoke blew from the machines fixed to the ceiling and a bright white light explored and intruded the audience, blinding people in its path. The beating of the drums, the straining of the guitar strings and the growl–like vocals were evolving in its melodic and tribal qualities. The song finished with a bang, applause reigned in from the audience, with each band member appreciating each clap of the hand. They all looked at each other – again, silence…

As the applause slowly began to fade out, the band began to clap. This clap merged with the audience’s, somewhat awkward… then, out of nowhere, this clap found itself a rhythm, a rhythm which formed the base for the next song. It was here that one was able to experience the excitement of musical genius, being able to create something, unknowingly, out of nothing. It was time for the much blogged about track ‘Heavy Pop’, and the few teenagers in the audience gathered together to form a mosh pit. Everything was just as it should be, but as the song reached its end, people were hungry for more. “Encore, Encore”, “Play anything, play the same song twice”, the sheer desperation simply proves the greatness of this band to captivate its audience; and boy were we in for a treat. Wu Lyf were about to improvise a cover of Willow Smith’s ‘I Whip My Hair Back and Forth’. Ellery moved to the front of the stage and sat cross-legged, directly facing the audience, from which evolved the drawn out lyrics “I…whip…my…hair…back…and…forth”, the absence of drums and focus on the guitar made it all that more powerful, the song developing a meaning despite the already written image of a 9-year-old smashing her head around. This was the first time when listening to this song that I didn’t feel like whipping my hair back and forth into a wall, and the clarity the song pursued, along with an intrepid guitar solo, was not short of heavenly.

To put it bluntly: they kicked ass.

Sunday, 6 February 2011 - student riot documentary

Anarchists are desperate to galvanise the mood of anger in the disenfranchised young underclass and point them towards a pan-European revolution. Unfortunately for them the disenfranchised young underclass don’t seem to care about revolution, they just want to fight some cops, rob people and play with guns. Will it all end in apocalyptic LA riot-style fights? Worryingly the police seem to think so.

Check me out in the credits.

New Music

Dark0 - God's Bidding (Uncut version) by Dark0

P Diddy sued for $1 trillion and accused of causing 9/11 attacks

(taken off

A woman is suing P Diddy for $1 trillion (£635 billion).

Valerie Joyce Wilson Turks, 31, has filed the suit in Los Angeles Superior Court against the rap mogul, his former girlfriend Kim Porter and Rodney King, the man who was a victim of assault by the Los Angeles Police in 1991.

She also claims that her and Diddy have a son together, Cornelius Wilson, who is now 23.

Turks also alleges that Diddy, real name Sean Combs, caused the 9/11 attacks, put her son in hospital and sold a poker chip belonging to her, which she says was worth "100 zillions of dollars".

According to court papers seen by Turks is asking for $900 billion (£571.5 billion) in child support and $100 billion (£63.5 billion) in lost income.

In papers she has submitted to the court, Turks wrote: "[Diddy] went through Kim Porter and Rodney King and knocked down the World Trade Center and then they all came and knocked my children down. Set me up to be on disability and disabled my baby. He put my baby in a wheelchair."

She added: "I won a lot of money at the casino in Mississippi and Sean P Diddy Combs has my chip to my money. I want my chip please help me. It's well worth over 100 zillions of dollars."

Turks also applied for a restraining order against Diddy, which a judge has denied. Although Turks is not expected to get very far with her lawsuit, the judge has set a court date of January 31 for the case to be heard.

Wednesday, 2 February 2011


How To Dress Well : "Suicide Dream" from Jamie Harley on Vimeo.

BOXCUTTER - TV TROUBLES from Sabrina Ratté on Vimeo.

Patrick Wolf - Damaris from weirder on Vimeo.

Nirvana - Territorial Pissings (LehtMoJoe Remix) from DJ ERIC ILL on Vimeo.

"Capulet" (BRAND NEW!) from Second Head Pictures on Vimeo.

Moth Equals - Damn Fine from Moth Equals on Vimeo.

Blank Dogs - Spinning from Joe Grove on Vimeo.

Chicago Life - Downtown from Simon Oliver Ermisch on Vimeo.

When Dr Laura Had a Mohawk from siren sativa on Vimeo.

When Dr Laura Had a Mohawk from siren sativa on Vimeo.


+ // This guy's pretty mysterious, apparently going by the name Sicko Cell - Oneman and james blake played quite a bit of him in their sets, people are guessing it to be between people like loefah, addison groove, Ramadanman aka Pearson Sound etc

+ // Deadboy (who is actually from South London), remixed - Days, by CREEP ft Romy (from the xx), which got out around December, but is still being blogged about.
+ // Warm Ghost - Open the Wormhole in your heart:

+ // †‡† (Ritualz) - ▲

+ // Mane Mane :
+ // Christian Aids!/item/18cya/Christian+AIDS+-+christian+aids+fever+demo
+ // Keep Shelley in Athens
+ // Mushy - Child of Light Will Burn
+// Rudi Zygaldo
+ // Prizes





SFV Acid


23 Skidoo

Slime ft Vondelpark:

Weak Ends (ANR Mix):

Throbbing Gristle

Lykke Li:

Cabaret Voltaire