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Articles by Will Snelling
The Enduring Influence of John Fahey's Transfiguration of Blind Joe Death, 60 Years On
On The Transfiguration Of Blind Joe Death, the ‘American Primitive’ guitarist John Fahey’s ability to create something so memorable from so few ingredients remains striking even 60 years on. Nearly every track is a few minutes of solo acoustic guitar, save for two accompanied by the banjo player L. Mayne Smith, but each seems to be suffused with an unusual, haunting atmosphere that is wholly its own.
Blockbuster Bombers Snatch Dreamtime at the 'G Win
by Troy Thompson, reporting for AFANA from the MCG in Melbourne After the prematch activities celebrated indigenous Australian culture through ceremony and dance, the Tigers won the toss and play was underway. A big crowd was in, and the atmosphere was electric. Rhyan Mansell, one of those in the game with indigenous heritage, appropriately kicked the first goal of the night as he was taken over the shoulder by Redman and he kicked the resulting goal.
50 Best Albums of 2019: 20 to 11
By Epigram Music Epigram Music give the next instalment of their top albums of this year, featuring the likes of Tyler, The Creator, Lizzo and Nilüfer Yanya. 20.
Live review/ Aldous Harding at the O2
FULL ARTICLE The convention is for musicians to open their set with an attention-grabbing, high-energy song to get the audience immediately on side. Aldous Harding is obviously not bothered about that. Instead she opened with two somber slow ones, ‘I’m So Sorry’ and ‘Living the Classics’, both played on solo acoustic guitar, with Aldous seated low and partly obscured. Opening with a whisper was somehow more effective that opening with a bang, however.
Live review/ Sorry @ The Louisiana
FULL ARTICLE Sorry bring their twitchy post-punk to The Louisiana. It was getting dark earlier; icy rain glazed the bus window on the way down to the Louisiana. The right sort of night to be seeing Sorry, then, an idiosyncratic new indie project from London whose name tells you what you need to know about their doubt-ridden and ironic brand of post-punk. Though regret and pain are their métier, Sorry’s music is filled with the kind of venom and snark that’s an antidote to the gloom.
The Bristol music venues you might not have heard of
By Will Snelling, Deputy Digital Editor Bristol has a rich and various selection of music venues and gigs. The joys of going to see an 8 minute version of Valerie by the Zutons at Mr Wolfs, or surrendering your body to pounding techno somewhere in Stokes Croft are pretty well-known. Sometimes, however, you need to break out of your old habits.
In conversation with Honeyblood
By Will Snelling, Deputy Digital Music Editor Deputy Digital Music Editor Will Snelling talks with rock-duo Honeyblood. Honeyblood have been an understated but potent presence in the British indie scene since 2013. Their appeal is all in the name; the unusual combination of sweet, indelible melodies with a subtle sense of threat lurking under the surface.
Review/ Maribou State @ Bristol O2 Academy
By Will Snelling, Second year English Literature 'A major virtue of Maribou State is their unusual talent for translating their music to the live stage', Will Snelling reviews. Maribou State have chiselled away at their brand of epic-yet-tasteful electronic pop over the years, and their show at the O2 in Bristol was the resultant glossy gemstone on full display, its light refracting in dazzling colours and dancing shapes over an impressive set.
Interview/ In conversation with Queen Zee
By Will Snelling, Second year English Will Snelling recently spoke to pop-punk band Queen Zee for a conversation on influences, punk-politics and Lady Gaga. Queen Zee are not your typical macho rock band, nor are they purveyors of sanitised, commercial pop-punk; instead, they just do what feels good. That’s why their new album veers from squalid, depressive grunge to hand-clapping verses that reference Steely Dan without missing a beat.
Review / GoGo Penguin @ SWX
By Will Snelling, Second Year, English Will Snelling reviews GoGo Penguin at their sold out show at SWX Intensity channeled effectively in music is hard to find. It often ends up flattened out of alternative music that finds itself reaching the mainstream. Extreme adequate-ness rises to the top (I’m looking at you, Tom Misch, the Mumford and Sons of jazz), while more interesting acts are left to languish in obscurity.
In conversation with GoGo Penguin
By Will Snelling, Second Year English 'We’ve never consciously done anything to set ourselves apart, but you tend to be a product of your environment,' Will Snelling chats to GoGo Penguin ahed of their Bristol gig In 2018, lyrics have lost their lustre. Genre-splicing instrumental music is having its moment, with acts such as BadBadNotGood, Khruangbin and the thriving crop of new jazz artists from South London finding their popularity in a state of exponential growth.
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