Andrew Lloyd's Recent Postings

Last weekend’s White Noise Festival at Leicester’s Firebug venue highlighted an overlooked music scene. In recent years the city has been known for Kasabian and little else. Perhaps only My Awesome Compilation and Maybeshewill have garnered a small buzz since something like 2003. Its other bands have generally stayed under the radar of the mainstream. Indeed the scene as a whole has had a distinct lack of coverage and with the recent closure of The Charlotte, you might be forgiven for thinking that Leicester’s music scene was severely flagging. White Noise was Leicester’s way of showing to people that it has more and better bands than you might think. Perhaps equally importantly that it has a network of promoters and fans that are passionate about live music. With a weekend wristband costing as little as £4, bands performing for free and profits donated to LOROS Hospice, this was every inch a local community event.

The Friday of the festival was kicked off in fine style by Buenos Aires whose shimmied post-hardcore sat on the rockier side of Minus the Bear. However it was the night’s touring partners that took all of the plaudits. And So I Watch You From Afar are quite simply the best live band in Britain right now and after a month on the road with them, Maybeshewill seemed in a particularly buoyant mood. Both bands produced blistering instrumental sets which culminated with end of tour party scenes (think mass-druming and stage-dives).

The Saturday started with an appropriate wave of white noise. Cunt Rag’s doom laden wrestling masks and phallic imagery erupted into the louder than everything else Diet Pills. After the rest of a muted afternoon Autohype were next to impress with indie-rock melodies that stood in stark contrast to the opening acts. Given the task of headlining the evening were Minnaars, a band that split opinion more than any other in Leicester. They are known to there detractors as ‘Middle Class and Agitated’ and are accused at every turn of aping Foals. Undeniably there are similarities between the bands but unquestionably the quality of Minnaars’ songs stand on there own, their angular melodies capable of competing with their luminaries. What’s more the large audience that greeted the set is testament to their enduring popularity.

Sunday found room for some of the region’s more left-field acts. Peter Wyeth’s penchant for looping sounds did little but mask a fantastic talent for plain acoustic balladry but Theo’s effects pedals were different propositions entirely. His method of looping guitar sounds before accompanying on drums was a mesmerising live experience, as thick and full as most bands. All Idols Fall were similarly engrossing and proved that Leicester still has something to offer the punk-rock circle. This left the always reliable Death of London to bring the curtain down. Blending the more abrasive elements of Fugazi with the punky hardcore of Trapdoor Fucking Exit, theirs was a fittingly bombastic way to draw things to a close.

The weekend was a real triumph for a tight-knit community and made clear that Leicester has a number of bands that are well worth a mention, indeed I must also namedrop Her Name is Calla after their welcome return to the live arena. White Noise has set a new marker for the Leicester music scene, long may it continue to grow.

A-Town down. x I can’t think of any better way to get to know a person than by snooping through their record collection. The records I put forward here are not a list of my personal favourites but rather represent my musical lineage. These are the records that have shaped me and my musical tastes, they are ordered autobiographically. My name is Andrew and I’m very pleased to meet you.

Kylie Minogue – Enjoy Yourself (1989)
Jason Donovan – Ten Good Reasons (1989)
These were my first two records. Admittedly they have little bearing on my current musical taste, aside from still being a sucker for a catchy pop-song.

Eric Clapton – Journeyman (1989)
The soundtrack to my dad’s Ford Capri, I once bemused holiday makers at an American theme park by belting out a chorus of ‘Bad Love’.

Michael Jackson – Dangerous (1991)
The name that was on everyone’s lips, Michael Jackson was the biggest star of my childhood (aside from Leyton Orient midfield maestro Ian Bogie).

Oasis – (What’s the Story) Morning Glory? (1995)
The first rock act that I discovered for myself; it wasn’t difficult, ‘Don’t Look Back In Anger’ was absolutely everywhere.

Def Leppard – Vault: Greatest Hits (1995)
A tape that struggled in the Capri’s stereo, ‘Love and Hate Collide’ will always be that bit slower for me.

Blink 182 – Enema of the State (1999)
A record that came passed down through friend’s older brothers. This was the album that turned me on to pop-punk, a genre at its peak throughout my adolescence.

Iron Maiden – Brave New World (2000)
My first live concert was Iron Maiden supported by Slayer and Entombed and this was the album Maiden was supporting.

Limp Bizkit – Chocolate Starfish and the Hotdog Flavored Water (2000)
The first band that I went to see with my friends, Limp Bizkit was top of the singles charts and I turned up in the ubiquitous red Yankees hat.

AC/DC – Who Made Who (1986)
By now it was me recommending bands to my dad (he’d previously ignored DC). A friend had given me a copy of this compilation and they were the new car stereo revelation.

Black Flag – Damaged (1981)
For me the definitive article of punk rock, Damaged was the record that opened doors for me. Their signature four bars emblem is now tattooed on my ankle.

Jimmy Eat World – Clarity (1999)
Forever referenced by pop-punk bands Clarity led me to discover emo. Through Clarity I unearthed the likes of Texas is the Reason and Rites of Spring.

Captain Everything! – Learning To Play With… (2000)
It was a toss up between this and the first No Comply EP. This signifies a time of my life where I would make weekly trips to the Garage and the Underworld.

Bad Religion – The Process of Belief (2002)
This kick-started my adoration for the poppy So-Cal punk sound, during my late teens it was untouchable.

Against Me! – Reinventing Axl Rose (2002)
The record that turned me on to gruff punk and alt-country, so began my obsession with every band on the No Idea roster.

Sage Francis – Personal Journals (2002)
A totally shocking discovery, it was the record that opened up hip-hop for me. An avant-garde rapper that didn’t focus on ‘bitches and hoes’, Sage was the ‘emo’ rapper.

V/A - Three Chords and the Truth (2004)
A compilation that was to come free with an issue of my ‘zine, featuring what I believe is the first Enter Shikari release.

The Mountain Goats – Tallahassee (2002)
This was the soundtrack to my first love. ‘No Children’ is the perfect [anti] love song, as bleak and oppressive as it is uplifting.

Frank Turner – Demos (2005)
This represents the first show I ever promoted. Held at the F-Bar in Leicester, the night was a triumph and ended with a mass conga to ‘Dancing Queen’.

Deadbeat Cavalier – S/T (2007)
The first of my friends bands to produce something that I enjoyed listening to. Gruff vocals inspired by the likes of Against Me! and Rancid.

Right, I’m off to see Acca Dacca. x