I would probably best describe the music my 19 year old brother blasts from his bedroom as, at the risk of sounding very old, “just noise”. Never an ideal supplement for a headache, a hundred times worse in the case of a hangover. Very rarely are there any lyrics – the occasional yell, I suppose, but nothing really ever worth mentioning.
We speak often about our differing musical tastes, what is good, what is not, where the industry is heading and what we can expect to see or hear in the near future. My inability to face facts about the relevancy of albums has been the core of many an argument, and I am reminded on an almost daily basis that my frequent purchasing of said item will inevitably become no longer possible in years to come.
Exams loomed at the start of May but revision came to a brief pause for the return of the city’s biggest music festival City.Sound.Project, which saw the likes of George Ezra, Gorgon City and Blood Red Shoes storm stages all across Canterbury.
Coco and The Butterfields
The weekend was kicked off by “colourful, energetic and crowd-stamping” Coco and the Butterfields at The Jolly Sailor, who describe themselves as “pioneers of a newly found musical genre, ‘Fip Fok’”. The Canterbury act, unique in their blending of folk and hip hop, were truly fantastic in creating a lively and colourful vibe, playing covers of Flo Rida’s ‘Low’ and House of Pain’s ‘Jump’ with their own impressive material, their track ‘Five Bells’ being a particular highlight. Check them out on SoundCloud here: www.soundcloud.com/cocoandthebutterfields
Tonight will see the 36th edition of the BRIT Awards held at the spectacular O2 Arena in London and hosted for the fifth and final time by James Corden. Sadly, this year I will not be watching – the boys are out of the house and my mother & I intend to sit in face masks indulging in tortellini and The Breakfast Club.
In spite of my animosity towards mainstream tosh and airy fairy bubblegum pop I’ve always been very fond of the BRIT Awards. They’re fun; granted, live performances often mixed, winners occasionally outright absurd and to list the multiplicity of controversially chaotic dramas and scandals calculated since 1977 would have me here all afternoon.
A self-proclaimed Caitlin Moran enthusiast, I am therefore almost obligated to admire her husband, ‘Time Lord of Pop’ Pete Paphides who regularly graces my ears with his presence on The Guardian’s Music Weekly podcast. Very rarely do I find myself disagreeing with the views and opinions of my favourite power couple, but on Boxing Day last year I admit I was shamefully forced into doing so.
Mr Paphides wrote a piece in December 2013 which questioned the demise of Top of the Pops and championed the notion that it return to our screens. The music chart show has made annual appearances on Christmas and New Years Day respectively, but was axed from its weekly slot in July 2006 as a result of plummeting viewing figures, an axe undoubtedly executed with a heavy heart by the BBC.