Eight reasons to go to Beacons

BEACONS festival is only a week away and the line-up is crammed with a ton of super cool bands worth seeing.
But the festival curse hits us all hard and between time conflicts, wading through furlongs of mud and hours spent queuing for a sick-free portaloo/warm pint of cider, it’s impossible to see them all.
So to make life easier for you, me, and everyone we know, here’s a few that are worth making the effort to see.

Tom should've gone to Specsavers


The elusive Tom Vek deliberately dropped off the radar five years ago, giving conspiracy theorists half a decade to spread half-baked ideas about his untimely death.

Though I have it on good authority that Vek is very much alive and spent the back end of last year producing an EP for South Londoners, Breton, it wasn’t until April this year that he made a sly return to the airwaves with comeback single, “A Chore”.

Naturally, an explanation for his sabbatical hasn’t been forthcoming, and masterfully, his fans were tortured with a further two month tease, including the whiff of tour dates and eventually, the release of sophomore album, Leisure Seizure – giving music journalists everywhere permission to gush forth with superlatives.

Vek’s geek-chic reputation as the coolest one-man-band around has the weight of expectation to contend with, but no doubt his handful of summer performances will make up for the extended silence.

Don't ask me, I don't know what that dial does either...


Even more synonymous with The XX’s rocket rise to fame is Jamie Smith’s flourishing reputation as a first class remix artist.

Pushing the haunting heartbreak of the band’s debut album to one side, Jamie XX  is filling in between albums by carving out a niche as a dub-step DJ, deft at blurring genre boundaries.

Most notable is his rumbling rework of “New York Is Killing Me” by the late Gil Scott-Heron,  though some would argue that his biggest achievement is vastly improving Adele’s “Rolling in the Deep”,  a feat for any producer, no matter how talented.

Elizabeth was plotting when to throw out Jeremy's jumper


A healthy dose of happiness comes on the side as standard when you order Summer Camp  – what with all those lush sunshine vibes and chill wave glitchiness.

The virtually unknown duo of Jeremy Warmsley and Elizabeth Sankey spread their rose-tinted nostalgia thickly onto slabs of warm and fuzzy tunes worthy of being filed alongside Best Coast.

Think hazy Polaroids, knitted tank tops and the first flush of love and you’re halfway to indie-shmindie heaven. And why the fuck not, summer camp always looked fun in the movies.

Can you adjust the arial?


The industrial stylings of Factory Floor are an acquired taste, much like gherkin or The Daily Mail.

But their four track mini-album certainly piqued the critics’ interest when it pulverised eardrums last year.

The untitled release harbours a fundamentally bleak nature harking back to the low budget production of early Joy Division – heavy on emotionless soundscapes and a deadening loop of blunt percussion.

It’s the musical equivalent of Tarkovskiy’s Solaris – an unrelenting, dystopic mission devoid of any hope – and on the whole, its grim ambience is a bit depressing.

 But it’s a feat of musical structure that shouldn’t be missed live.

From left: Granny Smith, Pink Lady, Gala, Cox...


Israeli nine piece The Apples are a modern jazz-funk outfit expertly flirting with vintage brass and bass.  

Their un-ironic cover of Rage Against The Machine’s “Killing in the Name Of” is known to slay crowds from the outset and no wonder, what with the combination of a double bass, turntablists, and two saxophonists to sex it up.

Their debut album Kings – a work that fuses elements of dub, fusion and middle-eastern rhythms – is a testament to the rich strands of culture that bind the group, taking traditional jazz and wrapping it up in tape delays and scratchy dub samples.  


Louis never went anywhere without his Factor 50


Leeds soloist Louis Jones, aka, Spectrals wouldn’t have been out of place on Sun Records back in the 60s, nipping at the heels of California’s golden boys.

Squeaky clean guitar licks conjure up whimsical images of old-fashioned ice cream parlours and coke floats, laced with romance and endearing glockenspiel chimes.

The only thing to shatter the Americana ambience is Jones’ obvious aversion to tanning, but we can’t hold that against him. His natural talent for producing a slew of happy-go-lucky love tokens is hypnotically delightful for lazy afternoons, sunless or otherwise.

Is it hot in here?


Look “ethereal” up in the dictionary and any of the synonyms could apply to goth-poppers, Paper Crows. It’s a lazily obvious comparison, but vocalist Emma Panas clearly spent her youth listening to Kate Bush in the dark.

Single “Follow the Leader” has the production of Madonna’s “Frozen” to thank for its haunting atmosphere, while “Stand Alight” channels the likes of Bat For Lashes’ Natasha Khan pumped up on dub-step steroids.

For guaranteed chills, Paper Crows are best enjoyed in the drizzle at dusk.

Anika was bummed to receive her electric bill


“A German journalist joins a band” sounds like the start of a piss-poor joke, especially when it’s backed up with an album largely comprised of covers.

But in the case of Anika and her self-titled collaboration with Beak – the brainchild of Portishead’s producer Geoff Barrow – a Nico-like presence is unleashed upon us.

While a rendition of Yoko Ono’s “Yang Yang” borrows the disco-funk accessibility of early 80s sister-troupe, ESG, the deadpan delivery of “Masters of War” quivers with a Dylan-meets-dub momentum.

The album owes a huge debt to minimalist Kraut-rockers as its vocalist flatly warbles through a mix of tuneless oratory and detached melodies.

She stays so low in the mix it could be mistaken for the whispered wailings of a mad woman, which makes for a distracting self-awareness.

It’s unapologetic in its crass era-stealing style, uncomfortably ghostly and somewhat unsettling. But somehow it carries it off with Teutonic panache.

And finally, a few more that are worth a look in….

The Horn The Hunt… Echo Lake… D/R/U/G/S… Mazes… Dutch Uncles…

Visit www.greetingsfrombeacons.com for the full line up.


Interview: Breton // Live at Leeds // April 2011

 TYPE ‘Breton’ into Google and you’ll be hard pushed to find much more than a reference to 60s surrealist poet, Andre.

And believe it or not, that’s about as close as you’ll get to pinning down the South East London musicians of the same name.

Search engine elusiveness aside, Breton is less pretentious than the sum of its parts, and given they hail from rough and ready New Cross, it’s safe to say the genre-bending four piece are at least aware of the connotations.

Like all good surrealists, they work against the popular grain and run in the opposite direction of “generic”.

In cherry-picking their hip-hop influences and weaving them into their own curious style of dub-step laced beats, the band have earned themselves a recent signing to Fat Cat Records and an upcoming stint in Sigur Ros’ Icelandic studios to record their long-awaited album.

Lead singer, Roman Rappak, tries to explain the very complicated process of how Breton came to be.

“Our music is a combination of all these disparate elements that when they’re put  together, your brain will pick up on it,” he says. “Like when you get a bass line and put it into a new context… it’s like the basis of all art.

“It really excites me when you take something and jumble it all up until it looks like something else.”

He pauses for a second.

“I’m sorry,” he says. “I promise not to get any more pretentious than that. These are the ramblings of someone who’s been in a van for six hours drinking Lucozade.”

That, and a self-confessed childhood case of attention deficit disorder, seem to be at the root of Breton’s eclectic musical background. 

Roman – a former film and sound design student – insists they’re not your run of the mill indie kids toting a Casio under each arm – this is brooding electronica borne of misspent youth at New Cross’ finest illegal raves.

 “When I was 14, 15, it was really difficult to go see bands,” says Roman, 27. “We couldn’t get in anywhere, so there were a lot of raves and parties around South London that were illegal, where no one gave a shit how old you were, and that’s where the hip hop influence came from.

“When Breton got together, Adam [Ainger, 26] and I had been playing for a couple of years together in New Cross. We were coming from a very poor part of London where we didn’t have that opportunity to be the indie kids.

“It’s a luxury to say “I’m in this scene or that scene”, but in South London it’s really scrambled. There’s awful punk and dub-step bands and always someone else verging on the same level of shitness, so you can get away with murder there.

“That’s the wonder of New Cross, there’s no structure.”

The band formed a couple of years ago, recruiting Ian Patterson, 26, who according to Roman, bought in a much-needed ‘boot camp’ work ethic, and Daniel Mcilvenny, 21, who Roman describes as both a “ray of sunshine” and a “genius”.

They found themselves providing music to a well known, but unmentionable, sports brand, putting out some remixes and recording costly EP, Counter Balance, in the most obtuse way a band could ever find to put their name on plastic.

“We put that out as a joke,” reflects Roman. “It was like, how do you put a record out? I was a complete novice at it. I only started really getting into the music when I could download everything – you can download someone’s whole back catalogue, 25 years of someone’s history, in a second.

“But there’s a massive romance to vinyl so Ian found this guy in a shack in New Zealand who makes vinyl by hand – you have to send him a CD, and this guy will listen to it and he etches it into the vinyl.

“It was a really swift turn around…of four months. Just as we were giving up, 20 limited run copies of this vinyl turned up. We put them in Rough Trade and it sold out thankfully… it seemed like a good idea at the time.”

Breton seem to like making things exquisitely difficult for themselves so it feels like a good moment to bring up their astonishing lack of online presence –  a strange marketing strategy for any fledgling band.

“There’s two schools of thought on that,” says Roman. “It’s the end of the MySpace generation, now it’s about Tweeting which sandwiches you like and what you’re doing in the studio.

“I find it really dull, it suggests that people can’t Google that shit themselves.  If people are into what we’re doing, they’ll find out.

“But on the other hand, our record label is like, “where the fuck is your Facebook page”, so there are arguments about it. What you find out on the internet, some of it’s true and some of it’s just made up. People should just work it out.”

In retrospect, turning into social media whores would be a strange move for the DIY band, whose raison d’être is to be as different to their contemporaries as possible.

Their schedule is hectic, with their diary filling up with yet more obscure antics such as going to the Czech Republic for the sole purpose of recording some violins.

“I’m going to do the strings for the album, then I’m going to beat box the orchestra so I’ve got loads of samples that never sound good when I try to play them,” Roman tells me on the sly.

“Then we’re going to play a massive set to launch the album which will probably bankrupt us because we going to get this production company to do projection mapping and get a live orchestra.”

Big plans for Breton – that’s if you can keep tabs on their whereabouts – but after seeing them live, it’s worth tracking them down.

Onstage, they resemble hooligans about to rob the nearest Maccie D’s –  a hoods-up affair compounded by playing in complete darkness.

But they’re far more accessible than one imagines, bringing together visuals and vibrant sounds in an innovatively kinaesthetic manner.

Unexpectedly, the guitar licks bear more than a passing resemblance to the staccato work of The Foals, but it’s a passing flirtation with a popular sound as their material descends into a dark fusion of ambient noise.

Stand out tracks come in the form of Governing Correctly and December, though those with more appreciation for 90s hip-hop production will probably prefer the edgier sounds of The Well.

Catch them live while you can.

Insider tip: Googling BretonLABS will get you further than any other search term.