The Guardian Indie

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The Guardian
  1. (Polydor)
    The fast-rising British indie band may be completely unoriginal, but big melodies and easy charm shine through songs about the wistful end of adolescence

    Of all the teenage rites of passage the pandemic has put a stop to (spontaneous snogging, hanging round shopping centres unmasked, going to school), the sweat-sodden, full-body experience of the moshpit seems the most likely to be among adolescence’s permanent losses. Rowdy crowds are a fixture of teen-heavy gigs, from rap to EDM to hyper-polished pop. For a band like Sea Girls, the impact would be especially acute. Having constructed a reputation from years of energetic live shows, the four-piece now make the kind of instantly familiar, big-chorused, gnarly-guitared indie designed to facilitate catharsis and connection on a mass scale. In other words, their music is machine-tooled to get the pit pumping.

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  2. Independent Music awards for artists outside major label system also honour Moses Boyd, Arlo Parks, Yaeji and AJ Tracey

    Flying Lotus, FKA twigs and Sarathy Korwar are among the winners at this year’s Independent Music awards, an event recognising artists working outside the major label system and run by the UK-based Association of Independent Music (AIM).

    British-Indian artist Korwar, whose music encompasses jazz, hip-hop and spoken word, won best independent album for More Arriving, beating better established artists including Nick Cave and the Bad Seeds and Laura Marling.

    Related:Anglo-Indian musician Sarathy Korwar: 'There's no singular brown voice'

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  3. The Dublin five-piece launch their brilliant second album with an intense, pre-recorded livestream event and bonus commentary

    Last week, Spotify founder Daniel Ek enraged musicians by stating that they would have to keep the content mills turning (“continuous engagement with their fans” in Ekspeak) because “you can’t record music once every three to four years and think that’s going to be enough”. Of course one reason why the likes of David Bowie and the Smiths were so prolific was that record sales paid well so they didn’t have to spend most of their time touring. There was more opportunity to create.

    Ek would presumably approve of Dublin quintet Fontaines DC, whose creative velocity, as well as their sound, is reminiscent of the post-punk 1980s. Last April, their debut album, Dogrel, wasn’t so much released as unleashed: a fierce, hot blast of youth, wit, ambition, anxiety and romance. No gradual ascent for them. Next year, at least in theory, they will headlineLondon’s Alexandra Palace.

    There is something of Ian Curtis’s dagger-eyed intensity and introvert’s charisma in Chatten’s performance

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  4. An internal review could not find evidence of a sexual assault backstage at a 2009 show but acknowledged a misogynist atmosphere on the tour

    Lawyers for rock band the Killers have said they were “unable to find any corroboration whatsoever” of a report of serious sexual misconduct by the Las Vegas group’s 2009 touring crew.

    On 28 July, sound engineer Chez Cherrie shared allegations that during a concert in Milwaukee, a front-of-house engineer told the crew that there was “a girl set up in dressing room A” and that crew members could put their name on a list to be called “when it’s [their]” turn”. She alleged that crew members made crude remarks about their experiences with the woman, and said that venue security expressed concern about the woman being left naked and unconscious in the dressing room.

    Related:Sign up for the Sleeve Notes email: music news, bold reviews and unexpected extras

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  5. The Dublin band deliver a difficult but powerful second album full of songwriting that stares life in the face

    Do bands have a “difficult second album” or a “difficult third album”? The myth seems to vary. You could argue it’s the fourth or fifth you’ve got to worry about in our attention-deficit culture. Maybe they’re all difficult right now: impossible to tour, marketed in disappearing magazines, played to a world deafened by anger.

    Whatever way you look at it, the second album from Dublin band Fontaines DC is full of difficulties. This may be surprising. The songs on their 2019 debut Dogrelwere populated by characters as vivid as those on the Arctic Monkeys’ debut, and were so good that they reset the bar for mainstream indie-rock bands. The quintet ran up the stairs of a career two at a time, quickly playing pubs, clubs then theatres; London’s vast Alexandra Palace awaits them in 2021. Dogrel was nominated for the Mercury prize, and its songs were improbably added to Radio 1’s poppy playlist. They recorded A Hero’s Death in LA.

    Related:Fontaines DC: ‘It's a lie that rock stars don’t care what people think’

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