The Super Furry Animals singer closed the Jagerhaus live bill on Saturday May 25
‘Thus Spoke Zarathustra’ strikes up, but not the bombastic orchestralSpace Odyssey version. This version sounds like it’s been recorded on just a cardboard box and toy trumpet. It’s the perfect intro music for Gruff Rhys, solo Super Furry Animal and purveyor of an understated grandeur with an undercurrent of great import.
Onto the roadhouse-style Jagerhaus stage he wombles, dishing out shots of Jagermeister from his backstage stash to the grasping throng and settling in with an acoustic guitar to tell tales of despots, wars and romance like a campfire singalong designed to give you the worst possible nightmares.
Here’s ‘Frontier Man’, a gentle Eagles pony trek of a tune about the rise of Trump and his fellow frontier fascists. Here’s what Gruff introduces as “a feel-good number” – a motorik easy listening twinkler called ‘Cycle Of Violence’ that traces the link between western warmongering and terrorism and builds to a chilling, febrile scream.
Running the gamut of ear-caressing sounds from Bacharach to Morricone and even as far, on ‘Candylion’ as a stroll down Sesame Street, Gruff delivers his apocalyptic visions with an unruffled, deadpan charm; “you and I can conquer all the negative vibes,” he coos on ‘Negative Vibes’ and he’s talking to his listeners as much as his lover.
Gruff Rhys - Frontier Man (Official Video) - YouTube
There are moments of mania – ‘Sensations In The Dark’ comes on like a rock’n’roll hula rampage and ‘Gyrru Gyrru Gyrru’ grows from a repetitive country groove, via some funk organ and a spot of hip-hop back-and-forth between Gruff and a backing vocalist in Welsh, into an all-out sonic pile-up as Gruff wanders the stage giving out more Jager shots and holding up signs saying “APE SHIT” and “TAX TAX THE RICH” and drawings of a vampire (okay, a puppet of explorer John Evans).
Giving way to a finale of ‘If We Were Words (We Would Rhyme)’, it draws us, slightly bruised, back to the camp-fire to sway us into the sunset. Turns out we needed those shots after all.
"What would 'Peep Show' have been like with women as the two leads?"
Peep Show: Talking of Peep Show, Mitchell and Webb started shooting the ninth and apparently final series in July and it's expected to air on Channel 4 later this year. Fans who don't want to say goodbye shouldn't be totally disheartened, though – the show's creators have said, "We don't plan to kill them off so the opportunity to do more would be there if we chose to."
Hit comedy series Peep Show is set to make a return with a U.S. adaptation in development, complete with gender reversed lead roles.
Shot through the point of view of the first-person, Peep Show ran for nine seasons in the UK on Channel 4 between 2003 and 2015, making it the station’s longest ever running comedy. Starring David Mitchell as Mark Corrigan, a socially awkward loan manager, and Robert Webb as Jeremy Usborne, a juvenile slacker and unemployed musician, it also starred Oscar-winning actress Olivia Colman, Isy Suttie and Matt King.
According to the show’s co-creator, Sam Bain, the cult British TV series is in development at FX in the U.S. and is getting a gender role reversal with the two leads set to be played by women. In a self-penned article for The Guardian, Bain, who created Peep Show with Jesse Armstrong (Succession), revealed the news about the show’s developments while talking about diversity.
Peep Show | Mega Paedo | Channel 4 - YouTube
“People sometimes ask if I look at my earlier work differently now – whether my shows would have been better if they had been more diverse,” he wrote. “What would Peep Show have been like with women as the two leads? It’s a great question – and it’s one I’ll shortly have the answer to, because there is a script in development for a U.S. Peep Show with two female leads. It’s at FX Networks and it will be written by top comedy brain Karey Dornetto.”
Karen Dornetto is responsible for writing and co-exec producing Portlandia and Superstore. She is also responsible for a selection of Community episodes.
This isn’t the first time a US adaptation of Peep Show has been attempted. In 2016, Starz tried to remake the popular series, while Fox took a run at a pilot, starring The Big Bang Theory’s Johnny Galecki, in 2005. Spike TV also gave it a shot in 2008.
Walcott turning 30 references an episode in the show where the character Jez, going through another existential crisis, burns all his old band memorabilia before explaining how he has a financial plan to survive the future.
Backed by pyro to set the spectacle for one of the biggest headline performances of her career so far, Christine and the Queens introduced a gangway to APE’s main East Stage so that her dance troupe could get up close and intimate with the enraptured crowd.
Her set included usual suspects ‘Comme si’, ‘5 dollars’, ‘Girlfriend’, and of course ‘Tilted’, but most notable moments came when she covered David Bowie’s iconic ‘Heroes’, as well as Janet Jackson’s ‘Nasty’. Watch her performance of ‘Heroes’ below.
A post shared by Andrew Trendell (@andrewtrendell) on May 26, 2019 at 3:07pm PDT
Chris later expressed how much she enjoyed the performance, also revealing that her latest album, ‘Chris’, has been certified Silver in the UK.
Sharing the news on Twitter, she wrote: “Yesterday night was incandescent. London, you’re always unforgettable, I mean it. Also, Chris is silver in the UK – I’m grateful for the fantastic team that embarked with me on that crazy gesture of vitality, and for you, who keep on believing. Lots of love, your very devoted.”
See the post below:
Yesterday night was incandescent. London, you’re always unforgettable, I mean it. Also, Chris is silver in the UK – I’m grateful for the fantastic team that embarked with me on that crazy gesture of vitality, and for you, who keep on believing. Lots of love, your very devoted pic.twitter.com/VcUfLchu9d
Titled ‘Florence + Chris: High As Hope Tour playlist’, the collection draws inspiration from other female musicians. “More than excited to join Florence on her tour, starting from tonight!” tweeted Chris. “We collaborated on a playlist celebrating strong, inspiring women.”
Faye Webster is fiddling with her yo-yos when we sit down at her table at a London hotel. She’s brought her collection with her to Europe for this run of press, alongside her Nintendo Switch, camera and trusted baseball glove. Wherever the Atlanta native go, her life follows with.
It’s fitting then that her new album ‘Atlanta Millionaire’s Club’, out now on Secretly Canadian, is a patchwork of her life thus far – the relationships, the people and places that make her who she is. The results are gorgeous. It’s part folk, part country and a little bit R&B.
She’s had co-signs from some of Atlanta’s most important hip-hop figures, too. She worked with Father and his label Awful Records on early material, and that DIY spirit is something that she’s carried with her in her music.
Once her yo-yos have been safely put away, Faye takes us through her hometown, her failed Nashville experiment and her mate Stella Donnelly.
What is it about Atlanta that makes you love it so much?
“It’s beautiful. I tried to live in Nashville but I hated it and what I missed about Atlanta the most was just the people. I mean, New York is really diverse also, but everybody in Atlanta is so different. Everybody’s so friendly and creative.”
The Atlanta Braves are a big part of your life. Why?
“Growing up in Atlanta, baseball is just part of the routine and watching a game at 2pm outside; it’s the best feeling in the world. I go to the batting cages a lot to play by myself and I bring my batting gloves on tour. I try to go to the batting cages on my days off. It’s just so therapeutic.”
Faye Webster - Room Temperature - YouTube
You left to study music in Nashville a few years back. Was that a tough time?
“It was the only college I applied to. Leaving high school with all that pressure of like, ‘what do you wanna do for a living?’ It was ‘music, music, music’. Nashville’s cool and I like to visit it, but I think I just hated living there. I felt like I was in Black Mirror. Everybody looks the same and everybody’s doing the same thing – it’s so competitive.”
Your self-titled album came out a couple years back – so you look back on it fondly?
“It was very western swing, but that’s just what I listened to growing up. So I was like, ‘well, that’s who I am’. So that’s all I had going there. My self-titled is my first real representation of me, so at that point I played it very safe.”
Is there a big difference between that and your new album?
“I don’t think there is a big difference. I think they’re both very obviously Faye Webster and songs from this new album could have been on that, songs from that could have been on this. I think they’re really, really similar. On this new one, I tried to be less vague and more detailed and honest. But I think they complement each other really well. I could put them in the same box. I think being more honest is something I had always tried to. It was honestly just a thing of me getting older. When I put out my first record I was 15, I had nothing to even write about.”
What’s the song you’re most proud of on the new record?
“I really love ‘Jonny’. It’s probably the one I’m proudest of. I also like ‘Hurts Me Too’, but the label tried to make that the first single I said no, ‘cause I didn’t like it, but it was a relief writing that song. I think the whole thing is very different. If you were to listen to a single song from the album, there’s no way it links together to any other random song. But then when you listen to the record in a whole it makes way more sense.”
What was it like touring with Stella Donnelly earlier this year?
“It was awesome. I think that tour was special because – people came to that tour because it was e and Stella. It’s rare as an opening act for people to be there to see you. She’s like my sister.”
Faye Webster’s new album ‘Atlanta Millionaires Club’ is out now
The Scottish singer/songwriter was seen working in one of Middlesborough’s Greggs outlets while he was in the area performing at BBC Radio 1’s Big Weekend. Decked out in the full Greggs uniform, including hairnet, he told customers that he was on work experience and served up breakfasts, coffees, sandwiches and bakes.
Posting a video to social media detailing his experience at Greggs, Capaldi said that “all those school mornings stuffing steak bakes into my face turned out to be worth it.”
The 22-year-old will head out on a string of arena dates in March 2020, with dates confirmed in Glasgow, Manchester, Cardiff and Dublin before he concludes with a massive show at London’s SSE Arena Wembley.
Every week, we’re going to be introducing you to a brand new artist we’re going mad for here at NME Towers via our ego-busting new Q&A, What’s Your Band Called, Mate? This week, Weird Milk on being bang average, The Rock and shopping in Milton Keynes.
“We are…Weird Milk”
What do you sound like?
Are you any good (honestly)?
“You’re never the best but never the worst.”
What’s your best song?
What’s been your most memorable gig?
“It’s hard to pick one, any gig where the room is full of people enjoying themselves is a memorable one.”
Weird Milk - Anything You Want (Official Video) - YouTube
Tell us something really interesting about you, that isn’t to do with music.
“I can run faster backwards I can forwards.”
We said really interesting…
“3 out of 5 band members are lactose intolerant”
What’s your karaoke song?
“Foreigner – ‘I Want To Know What Love Is'”
Scenario: We’ve given you a shit load of money to make a big budget video – what do you do with it?
“Go to Milton Keynes shopping centre and make a kind of ‘shopping day out’ music video. We’d have so much money left over.”
What do you want to achieve with your music?
“To make someone feel something.”
If your tour bus was hanging over the edge of a cliff and you needed to throw out one band member as ballast, which member would it be and why?
“Me (Zach), because I believe the others have got this.”
Fill in the blanks: “When you listen to our music, it feels like The Rock is coming to your party.
If your band had ‘stans’ (superfans, like Katy Perry’s Kitty Cats or Lady Gaga’s Little Monsters), what would the name for them be?
“The Gigantic Milk People”
Where can we see you next?
“On 6th June at Battersea Arts Centre with Trudy and the Romance!”
What do you want to happen at your last ever show?
Any final words?
“Thank you for the questions NME and for your support.”
One of the most memorable moments in Alien will always be when an embryonic xenomorph bursts out of John Hurt’s character Kane’s chest. However, Ridley Scott recently revealed that filming that particular scene almost went sideways.
Scott told The Hollywood Reporter that they had to shoot the scene in one take but a technical error almost ruined the spine-chilling sequence. “I knew once [the chest burst effect] happens, the white set will be decimated and will take probably two weeks to clean up. So there was no second take,” he said.
“So I positioned everything the way I felt is going to happen, where it was going to come out. And poor John Hurt was lying strapped down on the table under an artificial chest. And we shot and I honestly had to cross my fingers.”
Alien | Iconic Chestburster Scene | ALIEN ANTHOLOGY - YouTube
Just as the alien was ready to explode out of Hurt’s chest, Scott realised that the actor’s T-shirt was preventing the miniature xenomorph from emerging properly.
“All there is, is this bump in the T-shirt that flashes out and then it goes away,” he explained. “So I scream, ‘Cut! Cut! Cut! Cut! Cut!’ And all the actors start laughing, but they’re kind of nervous because they haven’t seen it. I go back and say, ‘Clear the set!’
“I crawl in on top of John Hurt — poor bugger lying there — and I’m razor-blading the T-shirt so it will pop when the alien hits the back of the T-shirt. We went again. And it was perfect.”
The 1979 movie – set in 2122 – saw a seven-member crew of a commercial space tug, Nostromo, attacked by aliens during their return trip to Earth. Three sequels followed, along with a prequel series made up of 2012’s Prometheus and 2017’s Alien: Covenant.
Now, a US high school’s drama department has taken inspiration from the original film and pulled out all the stops to produce an epic stage version.
“It sets the tone for that first record in certain ways,” Philippakis told NME in January. “It feels like the centre-piece of that album. We thought it was a fresh take, and we always like to come back with a song that slightly curveballs.
“Lyrically, it feels pertinent to what’s going on. It will resonate culturally in a way that certain other songs that feel more introverted wouldn’t.”
Now revealing an alternative version of the single, Philippakis took to Twitter this afternoon (May 26) to share an early draft of the lyrics to ‘Exits’, which are different to the ones on the retail version.
Posting a note with the caption: “Early Exits draft,” Philippakis’ lyrics read: “I said I’m sor sorry/ That the world you once knew/ Is no longer to be found/ There is nothinh above ground/ Just no longer around/ Its a world upside down.”
They continued: “You spent summers back then/ Throwing stones at the trees with/ The cicadas & the bees in our yard/ But the weather has/ it changed us/ With houses underground, where we wont be found we hide out/ & the sky come down crushing, flowers upside down, & no life above the ground for but/ I hoped to see you again, to pass you on the stairs, to see you everywhere in my dreams/ But yet still they watch us, they watch us while sleep, which language do we speak/ what secreta dk we speak in our dreams.”
“Will share more of the cooking from the kitchen as we go on,” Philippakis said in a follow-up tweet. Adding in another tweet: “I always go back to the bits that didn’t make it…words & must. its probably a bad idea. so better to share & move on Into the fyuture.”
Will share more of the cooking from the kitchen as we go on
On ‘Dream’, Cyrus introduces a moody rock ballad with a twist of Wu-Tang Clan for good measure, featuring the lyrics: “Drugs rule everything around me,” a nod to the legendary rap group’s ‘C.R.E.A.M.’ record.
She also shared the dark pop anthem ‘Mother’s Daughter’, on which she sings: “Hallelujah, I’m a witch/ I’m a witch, hallelujah/ Swish Swish, I’m a three point shooter. Hallelujah, I’m a freak/ I’m a freak, hallelujah/ Every day of the week I’ma do ya.”
Teasing that a studio version of ‘Mother’s Daughter’ could be landing soon, Cyrus posted a video on Twitter containing the words: “She Is Coming,” followed by the date May 30.
“This is the story of females in the music industry. I understand everyone’s gone through this but I do think for females in the industry… it’s hard to be taken seriously. People assume that if you’re not wearing a body suit and singing pop music, why would anyone want to see you,” she said.
We Are FSTVL is being held in East London this weekend (May 25-26). Its Saturday lineup included Chase and Status, Bugzy Malone and CamelPhat. But various videos and photos shared via social media appear to show it wasn’t as fun a day as it was supposed to be when a ruckus broke out at the gates of the Upminster-based festival involving a huge queue of people.
According to eyewitnesses speaking to Newsbeat, a lack of wristbands meant that people had to queue in hot temperatures – which led to people charging past staff and into the event.
“They’d run out of wristbands at the door so they didn’t have drink token wristbands when they were letting people through,” one witness said. “They weren’t handing out water so everyone in the queue for three hours didn’t have a drink.”
Standing near people vomiting in a fenced off area, the same witness claimed that nearby staff didn’t offer any help before the rush at the gates took place. “A barrier got thrown into the crowds, the woman next to me got hit by it and it sliced a massive chunk out of her leg,” she said.
“She’s passed out on the floor, security ran over to her and people were just charging through. They took out the barriers, pushed through security, punching security, just taking everyone out in their way.”
Another festival-goer claimed he was standing near people who had passed out due to the heat. “We were in the queue, four people had collapsed around us, people were throwing up and shouting for medics, all the staff were doing was throwing water bottles into the crowd of people,” he explained.
Involved in the ruckus at the site entrance, he added: “Everyone at the back of us was just pushing towards us. I turned around to see my friends getting crushed by other people. People were coming out of there crawling and crying because they’d been trampled on. It was ridiculous and all the security was doing was trying to push people back.”
According to Newsbeat, the Metropolitan Police told them: “Officers are at the location and working alongside organisers and London Ambulance Service. We are not aware of any serious injury.”
Organisers have apologised for the problems, offering “sincere apologies” for anyone who experienced delays. They also stated that they’d be adding additional staff and “infrastructure” to try and speed up the ticket checking process for today’s (May 25) programme.