MacGyver Knife - Sewing Legend: Well crafted garage rock

An indie rock outfit from Cape Town, MacGyver Knife makes my happy place that much happier. Less pop and more garage rock, MacGyver Knife has not fallen prey to the horrifying electro trend that seems to be creeping into supposed rock bands' tracks. This glorious denial of trend following spells one thing to me: sustainability.

MacGyver Knife is true to their own vision, and are quick to reject tracks that are too familiar, according to the band. This is clear. Their debut album, Sewing Legend, is well crafted, original and gritty.

MacGyver Knife has deftly built a bridge between 90s garage rock and a more modern sound that reminds me of Float On stage Modest Mouse. While we're on that topic, MacGyver Knife could easily share a stage with Modest Mouse and the Shins and hold their own. I do not doubt this for a second.

Sewing Legend, released on 25 May 2011, is a well-balanced mix of swaying melodies, deft guitar work, and catchy beats. Now We're Even is easily one of my favourites, and Wake Up the Morning actually caused me to sit back, close my eyes and listen. A feat not many SA bands have managed.

I can't wait until this band gets gigging in Gauteng. A live show simply has to be in my future. With an MK Awards nomination already under the belt, MacGyver Knife most certainly is in yours. 

For more info visit: www.macgyverknife.com

Death Cab For Cutie - Codes and Keys: Ethereal, Adventurous, Charming, Bittersweet

Like everyone else in South Africa I really only took notice of Death Cab for Cutie when their 5th album, Plans, was released in 2005. The super EMO I Will Follow You Into the Dark rocketed them briefly into the SA limelight. Watery and badly aimed as it is.

To this day, Plans remains one of my favourite albums to chill to, and Death Cab's masterpiece.

Codes and Keys, released today, comes very close to dethroning Plans from its place in my heart. It is well crafted, bittersweet and searching. The boys have always been philosophical in their approach to lyrics and Codes and Keys is no different.

As always, each track is well structured and the harmonies are effortless. The drama and the steady swell as each track builds to a crescendo will draw anyone in. Codes and Keys, while not quite up to the standards of Plans, is remarkable nonetheless. It has a quirkiness and an adventurous nature that we haven't seen before. They have even managed to do what many bands have not in this age of electro-invasion – incorporate a bit of 80s keyboard without losing their own vision.

The title track is a joyful ditty that puts me in mind of a stereotypical American 60s school dance. You Are a Tourist is catchy with a bounce you can't help but tap your feet to. The guitar riff gets into your head and has you bopping all day (or week). Monday Monday demonstrates the weird uncertain optimism that is evident in many a Death Cab track. Stay Young, Go Dancing - the final track on the album - is also the biggest surprise. It is boundlessly cheerful. And simply so. No strings attached.

Codes and Keys tells a fantastic story and draws you in. Great company for the cold winter months. So hop onto Amazon or iTunes and get it. Get it now.

You can preview the album here: http://n.pr/kuNLl0

Visit www.deathcabforcutie.com for more on the band.

The Kills - Blood Pressures: Be still, my beating heart

On first listen Blood Pressures by The Kills was f*cking my mind, man. Good and proper.

With my somewhat limited knowledge of the Atlantic-spanning band that was doing what the Ting Tings do long before they were and that much better, the solid, sexy, raw rockness of Blood Pressures took me a while to wrap my head around. And just as I thought I understood what was happening, along comes The Last Goodbye, straight from a Chicago blues club. Eish, mara wena. It is sultry, it is classy, it is velvety and delicious.

But no, that was not the last surprise. Straight after that comes Damned If She Do - a track that would have been just as comfortable on 2005's No Wow. Having had a brief love affair with The Good Ones – an enthralling single off that album – this was more along the lines of what I was expecting. 

Like any girl that has been thoroughly messed around and left exhausted and confused, I am in love. This time it's for keeps.

The Kills have always been worth a listen, and the rock edge has always been there. It's just that much stronger now than ever before. Their choons are carefully crafted and fit together like Inca brickwork. No gaps here, gazi. Vocalist Alison Mosshart's voice is deep and strong, and is clearly comfortable doing anything. There's a rougher edge to it, a touch of husk, that draws you in. There's something of interest to every song, from a visit to melancholy with Wild Charms, to the aggression of Nail In My Coffin. The album would work just as well accompanying your drive to work as it would during a workout.

Now, if you'll excuse me, I need to be alone with my album.

For more on The Kills visit www.thekills.tv

The Black Keys - Brothers: A glass of crisp wine soothing down a Myprodol

Picture yourself in a smoky lounge. Large, comfortable couches are scattered haphazardly around the darkened room. A raised dais stands against a wall, lit by a single spotlight – the only bright light in the room. You are only dimly aware of the other patrons, all as focused on the band on stage as you are. There is barely a rustle from the room. Glasses are refilled, unnoticed, as the band plays.

This, my friends, is the picture that Grammy winning sixth album, Brothers, by the Black Keys paints in your mind. The unbridled cool of this band is simply undeniable. It makes you want to start talking in beatnik slang.

From beginning to end, Brothers is a work of art. It glides smoothly from one track to another, taking you on a blissful journey through your own passive mind. The first track, Everlasting Light, gets you in the perfect mood for what's to come – relaxed, at peace, the knowledge of good things in the future settling comfortably in your mind.

I know I'm pushing it a bit here, but Brothers really is like a crisp glass of wine soothing down a Myprodol or two. The happy is all-encompassing.

Tracks like Ten Cent Pistol and Unknown Brother drag you out of your happy stupor into a more Claptonesque area. Still undoubtedly cool, but of a darker kind. The joy, the joy.

The Black Keys are by far not a new thing, having put out six albums since 2002. Brothers, however, is the only album to make much of a stir. That isn't stopping me from plotting a retrospective purchase of everything this blues-rock duo has ever done. Bring on the blues.

For more on the Black Keys visit: www.theblackkeys.com or visit their myspace page at www.myspace.com/theblackkeys

Travis Barker - Give the Drummer Some: No no no

Why in the name of Zeus' butthole would anyone let Travis Barker do ANYTHING unsupervised? Never mind brush his teeth or put his trousers on the right way around. Now he's made a (supposed) Hip Hop album? What is wrong with the world?

Blink 182 is not exactly the most hardcore of bands. Hell, they're not even the most hardcore of little-boy-punk-wannabe bands. They're a joke. At least when they started out they knew this. Now they want to be taken seriously and are off on their own missions, so we're stuck with the drummer in some sort of dream world where he's gangsta. Tattoos do not make you a gangsta. I have plenty, and I'm a lady.

Barker's tragic attempt (entitled Give the Drummer Some) is only marginally better than K-Fed's train wreck. It's embarrassing for everyone involved, since the man has managed to lure some pretty big names in Hip Hop to deliver lyrics for the tracks. 

Perhaps most tragic of all is the fact that he can't seem to shake the fact that he's a drummer, bringing it into lyrics, song titles and the title of the album. A departure this is not. It should be ignored, hidden, burned. But certainly not mar one's iPod playlist.

Rise Against - Engame: Teeny angst and rockin' choons

Rise Against has hit album six and is going strong. Endgame, released on 15 March 2011, holds everything we have learned to expect from Rise Against. Heartfelt, angsty lyrics, heavy guitars and a lot to jump up and down to.

I've personally always felt that it's only Tim McIlrith's softer voice that has prevented Rise Against from entering the Hard Rock arena and left them relegated to Punk. Not that Punk is a problem.

True their Punk label, Rise Against is not afraid to show their political leanings, making a stand against homophobia in Make It Stop (September's Children) – a song written specifically in memory of the tragic suicides of homosexual teenagers in the US last year. Being a big supporter of the LGBT community myself, I can only respect this move. Especially considering that Rise Against is categorised in a genre of music that is not often lauded for its tolerance.

Politics aside, Endgame is a cracking album. It's a difficult task to pick out shining tracks, because they all shine. It's one long list of glittering nzimaness. Of course Make It Stop (September's Children) is close to my heart. Disparity by Design and This is Letting Go really get your blood pumping and your moshing feet jumping.

Endgame is another fantastic offering in a long line of genius, and one can only hope that there will be more of the same in the future.

For more on Rise Against, visit www.riseagainst.com.

What Did You Expect From the Vaccines? - Joyous, fun, Ra Ra Ra!

I just can't get What Did You Expect From the Vaccines? out of my head. And this is a good thing.

The Vaccines are an old school Indie Britpop outfit that rather missed their period – having only formed in 2010. They would've fit right in with The Clash and The Ramones.

The debut album, What Did You Expect From the Vaccines? channels the post-colonial “WTF now?” mentality that is such a strong part of modern UK culture and makes me ache to get back to Reading for some dirty-rocker festival going.

Even though their sound is strongly derivative, it is still fresh and even soothing in spots.

The Vaccines have been through the wringer in the UK press, first lauded as the new coming, then hit with a massive backlash against their “priveleged” background, even before the album's release on 14 March 2011. Happily, here in SA, we missed the hype and can experience the album with fresh ears. I can't help but love it.

If You Wanna is a cheerful, energetic and cocky come-on; Wetsuit carries an element of nostalgia and hope and builds on itself well; while Norgaard speaks of rejection in an offhand, “next-please” kind of way. Even the 1 minute and 21 second first single Wreckin' Ball (Ra Ra Ra) tickles me to death.

If UK culture and Britpop is your thing (and it should be) you have to add this album to your collection.

For more on the Vaccines visit http://www.thevaccines.co.uk/za/home/

A new The View review: Yayness!

I still reach for The View's debut album, Hats off to the Buskers, when I need a bit of cheering up. Their special brand of pep and oddity never fails to lift my spirits. And they have brought it quite successfully to their third album, Bread and Circuses. (We do not speak of their second album, Which Bitch, which made almost no impact on the music scene at all.)

The band has matured a little since their first album, and this brings a new air of restraint to their choons, but the same old quirky joy is still there, as the energetic track Tragic Magic makes apparent. Blondie displays that quirk of lyric that comes so easily to The View. Who else would write, “I bring the tea to the table, but my cooking's always slow”?

Bread and Circuses doesn't veer much from the Hats off to the Buskers, formula, but I have no problem with that since the formula works so well.

Despite sticking to tried and tested principles, this album sounds more Americana than Britpop, as is most effectively demonstrated by Sunday – an oddly triumphant tune that would do nicely in the closing scene of a teen movie.

Bread and Circuses is more melodic, calmer and a little more melodramatic than The View's previous offerings, but it is executed perfectly. While Hats off to the Buskers was steeped in situations unique to British culture, Bread and Circuses deals with more universal issues.

I have to admit that I still prefer the exuberance of Hats off to the Buskers, but Bread and Circuses is an encouraging return to good old The View awesomeness.

The Strokes - Angles: A random electric mishmash of kakness

I can describe the new Strokes album, Angles, in one word: Waaaaaaah!

Man, was I happy that a new album is out. So excited. Really. And then I'm hit with some random electric mishmash of severe kakness. WTF? And, surprisingly considering the sudden high regard for electro choons, the vocal distortion that made The Strokes The Strokes, and Julian Casablancas one sexy bugger comes and goes like someone was accidentally leaning on the button and they couldn't be bothered to fix it. It must be said, that without the distortion, Casablancas kinda sounds like a 16-year-old. NOT hot.

I feel like I'm in some sort of 80s time trap. The depressing drivel on this album could come straight out of some coke-driven, psychedelic lycra-wearing, big-haired producer's wet dream. Bleh, I tell you. Bleh!

I'm all for band development and growth. Artists should try new things. But falling into Boy George's basement is not the way.

There are a few moments of sanity on Angles, where some of the band's previous genius filters through. Under Cover of Darkness – the first single – while nowhere near an accurate representation of the rest of the album, contains the usual seamless drum and guitar agreement, the energetic beats and the deep satisfaction that comes with it. You just wanna sing along. Taken For a Fool is more melancholic, and melodic. It takes a gentle walk down your spine. Gratisfaction seems to be channeling Abbey Road, to great success.

I can't, however, in good conscience recommend buying this album. Download singles as and when they become available. But Angles cannot be described as anything other than a write-off. 

If you desperately wish to assault your ears visit http://new.thestrokes.com/ where, thankfully, the album is streaming. No one has to waste precious cents on this tripe. 

The City is The Desert (In Disguise): Balls to the wall!

You can't help but admire the balls of The City is the Desert. It's one thing for Radiohead to stick an album up on the Interwebs for download 'by donation' – it hardly matters to them if people stiff them and don't pay. But for a virtually unknown band to do the same takes a serious amount of guts and integrity.

The City is the Desert (In Disguise) was self-recorded and is now being self-released. It's an interesting mix-match of genres, which makes it rather disjointed and downright weird (in a nzima way). There are definitely tracks I skipped over after a minute or so of deliberation. There are also tracks that hit my sweet spot dead centre.

The awesome thing about this album, is that there's something to appeal to everyone. At least everyone with taste. If your favourite artist is Lady Gaga, you'll probably be disappointed. But you don't have to download the whole thing. Listen through it, download what you like and make a donation accordingly. But make a donation. Bands like this, that veer from the norm and stand behind their principles, need our support.

My personal favourites are WinterCone (which reminds me of Nancy Boy era Placebo) and The Compass Factory (an energetic 'rip it up' type choon). There are plenty of other interesting moments, ranging from spacey electro weirdness to balls out nihilistic roars.

Check it out at http://bribe.desertdisguise.com/album/in-disguise.

Alan! Let's Move On - We Now Dream In Colour: A fascinating journey of electro rock (?!)

We at BlindBlimp have been keeping an eye on Alan! Let's Move On since they opened for Lucky Fonz III at Tings an Times in August 2010. Impressed by their energy and skill, and tickled by their name, we knew tabs had to be kept.

To be perfectly honest I was fully prepared to be horribly disappointed by the album, as SA bands often fall flat when recorded, no matter how good live.

I am overjoyed to report my trepidation was for nothing. We Now Dream In Colour, released on 2 March, is a fantastic, cohesive album. It flows effortlessly from track to track, drawing along a fascinating journey growing in strength and power as you travel along. Hell, Woods (track no 9) is downright hardcore. The band has a clear perspective and a crisp, finished sound. I absolutely love it.

The vocals of Louis and Daniel Knoetz harmonise beautifully, and their husky buttery voices are wonderfully juxtaposed with the electro pep that brings that extra oomph to the band. The lyrics are interestingly introspective, seeming to seek a little redemption.

Choons to look out for are Witchita (available for free download at http://alanletsmoveon.bandcamp.com/album/we-now-dream-in-colour and a great ambassador of what's to come), Albratross (less electro, more rock, could be quite moshy live), and Letters to Anna (which reminds me of a cleaner version of the Bloodhound Gang).

The only low moment, really, is Hatchett, which gets a little too electric and is stripped of all integrity as a result.

I really can't emphasise how much I digg this album, and how firmly I believe you would too. But hey, you don't have to take my word for it. The whole thing is available for streaming at http://alanletsmoveon.bandcamp.com/album/we-now-dream-in-colour. Give it a listen and decide for yourself.

RAMfest Jo’burg: Good times on a “grassy fucking knoll”

If you felt like moshing last Saturday night RAMfest was the place to be! With pitiful support for the local acts the mosh pit started off slowly with a few scrawny boys pushing each other around during Not My Dog and ended with Funeral for a Friend demanding a Wall of Death on the “grassy fucking knoll”.

Sadly missing the always-awesome Desmond and the Tutus, and luckily just missing Knave which seems to think copying Jared Leto’s tragic swearing tirades on stage is a good idea ("fuck yeah!" would be their reply), the first band I caught following arrival, beer-getting and cursing the heat was Isochronous. A good, chilled start to the day, the band showed their immense talent with a spectacular set of accessible electronic rock overlaid with choir-singer sounding lead Richard‘s enchanting vocals.

Next, I stumbled upon Dance You’re on Fire on a second teeny tiny stage behind the beer tent on hearing their stellar track Boxes of Tigers being belted out. Upbeat and rocking all the way, the band had the couple of people there going mental.

Following a forgettable set by Zebra & Giraffe, Not My Dog reignited my excitement in a big way. The first gig the band has played in years and they were as awesome as I remember them. Hitting the stage hard and playing classics like Ek is verslaaf and Safari Music, Not My Dog were my personal highlight of the day.

Not being a fan, I gave Van Coke Kartel a skip, but made sure I was right up front for Alkaline Trio and Funeral for a Friend. Both bands meant business, bringing it hard and heavy from track one. The sound was a bit dodgy in places but finally a decent-sized crowd had formed – the first of the day. Alkaline Trio warmed the crowd up with their punk rock punchiness but it was Funeral for a Friend that really brought it. Orchestrating a massive mosh pit circle in front of the stage, the band attacked the crowd with colossal energy and huge sounds.

Aching legs and a sudden onslaught of a bad cough are sure signs of an awesome festival and I woke up with both the morning after RAMfest Jo’burg 2011.

J Mascis - Several Shades of Why: A Bubble of Contentment

Being South African, you'll be forgiven for not knowing who J. Mascis is. But only by other South Africans, and only if you grew up in Tweebuffelsmeteenskootmorsdoodgeskietfontein.

OK, how about Dinosaur (Jr.)? Caught up now? Fantastic.

Having worked on various projects, including Dinosaur (Jr.), Velvet Monkeys and the Fog, this much-lauded, talented fellow has abandoned (temporarily) the band concept and stands on the verge of releasing a solo album, entitled Several Shades of Why. “Huzzah!” the townsfolk sing.

A gentle acoustic album of thoughtful lyrics and soothing melodies, J. Mascis plays host to various equally lauded talents, such as Ben Bridwell of Band of Horses and Suzanne Thorpe of Wounded Knees. Well, maybe 'solo' is a strong word considering the long line of fantastic collaborations on this deeply moving album.

Several Shades of why is melancholic and heartfelt, and something of a departure from Mascis' previous more, um, ear-bleeding offerings. It's the perfect album to wind down to after a long and hectic week. Listening to it, I can picture myself on the beach sipping something deceptively pink and soaking up the rays (melanoma be damned!). I can only wish everyone in the whole world can feel this happy at some point in their lives.

Oh wait! You can. Just rush out and buy Several Shades of Why! Or, more likely get it from iTunes.

The album is set for release on 15 May, but you can give it a streaing listen here: http://www.spin.com/articles/full-album-stream-dinosaur-jrs-j-mascis

Adele - 21: Initially nothing special, but with growing-on potential

I can't say I'm the biggest Adele fan. The UK seems to be nuts about her (as a triple platinum certification on her debut album, 19, will testify), but I never quite understood it. Chasing Pavements – the big single off the 2008 album – failed to impress and I don't really remember the rest of the album making any headway in SA.

Her follow up to 19 (21 – surprised?) isn't much more impressive. There isn't any obvious growth or development, and honestly Adele herself is a lot more entertaining than her music. 

21 is rather whiny and self-pitying. An excellent album if you're 16 and have just had your heart broken for the first time, but overly sentimental for us calloused grown ups. Like so many female musicians the target market is pretty clearly girls and boys who like boys.

There are, however, a few universally appealing high points on the album. Rolling in the Deep – the current single – is quite catchy, and angry enough not to be soppy. Rumour Has It is a vindictive little ditty and it's gone straight onto my 'favourites' playlist. And then there's the glorious cover of The Cure's Lovesong. Stripped of all the quirk and pep, it makes for a deeply heartfelt song that plucks at the heartsrings.

I hate to say it, but with these songs to keep you listening, the others have the potential to grow on you and this could even become a favourite album – if you're sufficiently heartbroken or sentimental. If your palette longs for something a little more meaty, I'd give this one a skip.

Yoav - A Foolproof Escape Plan: A captivating 40 minutes worth of imaginative, hypnotising tracks

If you just listened to the dance version of We Are Dancing steadily climbing up 5FM’s chart, you would be forgiven for not giving Yoav a second thought. However, if you were to delve a little deeper and listen to his 2010 release, A Foolproof Escape Plan, in its entirety you would soon be singing his praises. If you were to take it one step further and attend one of his gigs you would be transformed into a bona fide fan, donning a Yoav t-shirt, frothing at the mouth waiting to get his autograph and fainting at seeing him in person.

In all honesty I think We Are Dancing is the worst song on the album, with the rest being streets ahead in terms of beat-induced toe tapping and soulful inspiration. The opening track, Greed, transports you to a dank, dark, dodgy bar in a side street where a man sitting on a rusted paint tin is jamming on his guitar, unaware of the stunned audience he is so intent on his song and so connected to his music. His sound is raw, natural and inviting, his lyrics full of feeling.

As the album progresses, you move from the bar into the streets and join a crowd of supporters following the man as his awe-inspiring, mesmerising beats lead you past those involved in conventional society and out into the sun where you all sit cross-legged on the grass and stare at him as he plays on, swaying to the subtle guitar tweaks flittering over the beat and his honey-like voice. Yoav and his music are one and any listener is soon pulled in by the big beats and delicate additions, hypnotised by it, forgetting the world and escaping to a happier place. A foolproof escape plan indeed.

Tumi and the Volume - Pick a Dream: Hip hop with joie de vivre

OK, what I know about hip hop is somewhat limited. I know I prefer it in a club to electro dance dance BS. My ear, shall we say, is relatively undeveloped. But my ear is backed up by reliable sources, so I can confidently say that Tumi and the Volume is 100% nzima.

The new(ish) album Pick a Dream is French-produced and comes complete with a more refined sound. The good ol' Tumi perspective is still solid and speaks clearly to a South African audience.

Tumi and the Volume caught their international break when playing a festival on Reunion – an island off the coast of Madagascar. They were picked up by the organiser Gerome Galbert and paraded around Europe for all to see. The French got the first listen as Pick a Dream was released there early in 2010. We in Saffaland were graced with the album much later - during the Christmas rush - and it was denied the attention it deserved.

TATV's second studio album, and third album in total, Pick a Dream carries the attitude and voice of Tumi and the Volume and the expertise of international production. A vast array of interesting instruments make an appearance, and TATV do a fantastic job of incorporating these into their own unique sound. It's hard not to be proud of our boys with a stellar offering such as this. 

If I have one critique it's that they had to go overseas to do it.The SA music industry really needs to start taking note of acts such as these, rather than sending them off to foreign climes.

Catch Tumi in action at the AGH Soweto sessions and RAMfest, and TATV at venues around SA. 

Visit their MySpace page for more info or a preview of the album: http://www.myspace.com/tatv

U2 360˚ Tour – An experience beyond words

We love contributors! The awesome Andrea Vermaak had this to say about U2’s recent appearance. Personally blindblimp is against Bono's self-righteous interfering personality, but we can’t refute U2’s legendaryness. Over to Andrea…

 

The phrase “epic proportions” does not cut it when it comes to the surreal U2 360˚ Tour experience. On Sunday 13 February 2011 not only did the band put on a show that stops all shows in the electrifying atmosphere of FNB Stadium in Soweto, but the monstrous, futuristic, 360˚ stage which seemed to take up half the field could have performed a show on its own and people would have paid to watch it.

The show in its entirety gives “mind-blowing” new meaning. Everyone watch in complete awe and jaws dropped to knees as colourful light and crystal clear sound was dispersed from all corners of the stage. This world record holding concert stage includes a four-legged supporting rig – nicknamed The Claw – a cylindrical video screen which expands, contracts, and moves up and down; rotating bridges between the stage; and a circular ramp which surrounded the stage. Even the drum platform rotates! It truly is a spectacular work of design genius that no one has seen the likes of before.

But, enough about the special effects. Everyone knows that U2 are social activists, promoting equality and peace. Bono delivered strong messages about the state of our world without the cheese that one would expect from a celeb. His drive for universal unity is genuine and sincere, and there is no better tool, in my opinion, than to deliver a message of hope through the power of shared emotions that one experiences through music. Carefully chosen images, maps, flags and words littered the 360˚ screen to bring the message home, including an especially filmed video message from Archbishop Desmond Tutu.

If you were there, I am sure that you will agree that there really are no adjectives yet in existence to describe the experience. Unless you were there, you really have no idea of exactly how jealous you should be of those who were.

No doubt is left in my mind that all other shows that I watch in the future will pale in comparison. No other show will stimulate as many of my senses again and leave me with the feeling of complete, fuzzy happiness and wanting more – unless U2 performs again. You must admit that it would be right of me to wonder: “What will U2 pull out next?”

Copy and photography by Andrea Vermaak

Rammstein – A performance of Explosive proportions

Here it is as promised. The first contribution from our new contributor, Tanith. Rammstein review to boot.

An idea of the eyebrow-removal technique
employed by Rammstein fans

German Industrial Metallers forced themselves on a very willing Joburg audience on 11 Feb 2011.

The air oozed with Goth Rocker excitement. The lights go out and the madness begins. No MC. No opening act. All because of the amount of pyrotechnics on and around the stage. But singeing the audience's eyebrows and nose hairs was of little concern. The stage was intimidating enough without knowing that it might explode at any minute.

True to their international reputation the show was one colossal explosion of heat, awesome and flames. Being quite a distance from the stage didn’t mean I was left out of feeling the heat from the flame thrower. I’m pretty sure those who were lucky enough to be right up front are still blowing ash from various orifices.

My only crit of the whole event is that if a Goth Rocker giant stood in front of you, you were buggered for a decent view. This proved a problem as most of the crowd were freakishly tall.

Explosions, flame throwers, extreme loudness and a near intimidating stage presence. Haven’t moshed that hard and that long since the good ol’ Zeplins days in the middle of Pretoria.

New Politics: Cathartic racket, with sparkle

Don't dirty rockers just make your heart sing?

Accidental Danish band New Politics embodies the nihilistic spirit of grunge, the exuberance of Brit Rock (pop just don't work here) and the kind of teen angst that expresses itself in hidden scars and labial piercings instead of really sleek hairstyles and dark eyeliner. And somehow manages to wrap it up all pretty and presentable. Their choons smack of early Bloc Party and Hard-Fi, with a little Seattle thrown in for good measure.

Made up of David Boyd, Søren Hansen, and Louis Vecchio, New Politics offers an interesting mix of alternative, punk and whiteboy rap a la Chilli Peppers. Alas, the whiteboy rap can get a bit much, and there's just a little too much electro gratuitously thrown in (a tragic sign of the times), but overall the raw, grainy vocals, tinny distortions and catchy rhythms make for some excellent moshy choons, such as the single Yeah Yeah Yeah and the angry Burn.

There are some lighter, more melodic high points on the self-titled début album too. My Love and (the other single) Dignity are two of my favourites; they epitomise a yearning desperation that speaks to the moody teen in each of us. And if you're just looking for something to get yourself going in the morning, Give Me Hope and Die For You will hit the spot.

Diverse, intelligent and oodles of fun, New Politics have made quite a splash internationally since their album dropped in June 2010, playing a few festivals to great responses and playing warm up for 30 Seconds to Mars in September and October of last year. There's little doubt that 2011 will see them rise that much closer to the stars.

New Politics is a name you should start getting used to – it will be uttered in tones of awe and admiration for years to come.

Imogen Heap – Emperor’s Palace, 29 January 2011: Mind-blowing, mesmerising and truly unforgettable

A ball of energy, known widely as Imogen Heap, pops onto the stage, announcing the opening act: Yoav. Out comes Yoav, with his guitar and recording machine and begins what – from start to finish – is an amazingly innovative, mind-blowing and mesmerising set from him and Heap.

Yoav signing autographs

Yoav, born in Israel and raised in South Africa, has caused a furore across the international musical scene over the past few years, achieving milestones such as appearing on the Jools Holland show. Quietly unassuming, he effortlessly records his backing track on the spot by tapping a beat on his guitar and occasionally adding his voice. He then begins strumming over it and finally adds his soulful voice. Funky beats you can’t help tapping your toes to and insightful lyrics characterise Yoav’s songs. He is a musical force to be reckoned with.

Following a raucous standing ovation, Heap returns to the stage, clearly psyched to start her set. A musical fairyland scene ensues – she skips around on stage under her white shining dead tree surrounded by sparkling fairy lights playing her see-through piano, then picking up bells, then lightly brushing a gong, all the while dancing happily and singing out in her clear, distinct voice. You feel as if you are privy to the creation of music, the show is so flowing and dynamic. Various bizarre instruments and household items, such as wine glasses, a saw and even the audience themselves, are recorded right before each song and used to create the backing tracks. One backing track consisted of her family silently standing around a crackling fire at her England home (pre-recorded of course). These unique sounds are effortlessly mingled to form magical melodies right in front of your eyes. It is truly mesmerising, as is Heap’s voice.

Heap is extremely comfortable on stage, and talkative, chatting openly to the audience as if old friends, making for an intimate gig which leaves the audience feeling like they know her a bit better and were privy to a private once-off show. She tells the stories behind some of the songs and randomly murmurs things like “I love my dead tree” in-between songs. She really did love her dead tree.

The beloved dead tree

Between Sheets she described as a song about her lying on a bed here and a man lying there and they had just done something rather amazing. She noted that she wrote it to encourage more in-the-moment moments like that in her life and more men in her bed. While Aha! details a dinner with a friend which involved her cooking a wheat-less, meatless – the list goes on – meal per his request. Following dinner she helped herself to some chocolate chip cookies he could not have as per his strict eating regime, however it did not take him long to sneak a biscuit out of the tin. She apparently found this very hypocritical, noting she could have just cooked steak and sent him on his way. She added that the chorus is actually about a serial killer, which her visitor wasn’t to her knowledge. Little antidotes and quirky insights like these make her exceptionally likeable and accessible – you can’t help but fall in love with her.

It is such a treat to go to a show where both acts, the opening and the main, are evidently excited to be performing and are clearly passionate about their music and enjoy every second of their shows. They both love what they are doing and are deeply proud of their music, putting their all into every single song. And neither has an ounce of pretension or ego. The effort which goes into creating as well as performing each song leaves one deeply grateful and creates an everlasting connection between these singers and their spectators. Truly unforgettable.