For Øyafestivalen, this is a year of change. The Norwegian festival is set to wave farewell to its current site, Middeladerparken, and move to a new home, one that will allow it to expand and attempt new possibilities.

All that is in the future, though. Arriving fashionably late on Thursday, Clash’s first sight is Cat Power (pictured) preening onstage. After Chan Marshall’s well-documented health and financial issues, simply putting on any show whatsoever is a miracle in itself. What really impresses, though, is her confidence, the way in which experience lends an authority to her delivery. Ending the set by tossing white flowers out into the crowd, Marshall is on truly effervescent form.

Grimes, though, fails to impress. On record, Claire Boucher is worthy of all the praise that comes her way – a succinct, continually imaginative producer whose dreamy house impressionism has gone global. Live, though, she’s a slight bore. Backed by two dancers the Canadian attempts to inject some visual stimuli into the show, but a problem remains: this simply doesn’t have the life or vitality which streams through her recordings.

Which is where Godspeed You! Black Emperor come in. The seminal post-rock group treat this with the reverence they would a headline show: lining up in traditional circular format, the band focuses on intensity, sonic perfection as a means of driving the message home. Sure, at a festival you’ll lose a fraction of the crowd in doing so, but staring out across the Norwegian skyline to such apocalyptic fervour is a rare, rare experience.

Friday opens with sunshine, plenty of fish-based sustenance and Parquet Courts. The brattish Noo Yoikers have produced one of 2012’s (hell, 2013’s too) sleeper hits with their album ‘Light Up Gold’, and their live show enjoys the signs of countless weeks on the road. Tight but loose, their sound owes much to Sonic Youth, but those hella catchy, smart-but-dumb chorus lines are sheer Ramones bravado.

Angel Haze is one of the most provocative, inspiring talents to emerge from stateside hip-hop over the past 12 months. A performer who retains a genuine magnetism, her set draws everyone from hardcore fans to curious onlookers. Seizing her change, she plunges into the crowd for finale ‘New York’, retaining her ferocious flow as she laps the entire audience. A neat trick, but there’s substance here, too.

An intensely personal listening experience, James Blake sometimes fails to find his footing in a live setting. Of course, if that setting is beside the babbling waters of a Norwegian stream, then all the better. Polite to a letter, the post-dubstep troubadour completes a loose-knit set, gelatinous bass sounds reverberating across a city in reconstruction.

Kraftwerk’s much-vaunted stint at the Tate Modern seemed to underline their legacy in a profound manner. More of a conceptual art project that produced hit records than a mere band, their current incarnation reinvigorates the human side of the Man Machines. This is, simply, a wonderful show – the 3D aspect is perhaps rendered slightly redundant in a wider festival environment, but the sheer spectacle of witnessing this back catalogue brought to life against the Oslo skyline is breath-taking.

Haim are a slightly curious phenomenon, in that for all their industry hype the trio seems to fall flat. Perhaps this isn’t the show to judge them – with one member ill, the sisters are forced to re-jig their parts, to hurriedly improvise new arrangements. A cover of Fleetwood Mac’s Peter Green-era classic ‘Oh Well’ is a fun nod to their roots, but it seems to inadvertently show up just how darned their music is. Haim seem to want to ‘rock out’, but can’t quite break free of the punctuation.

The Knife’s stage show is a continually evolving process, one that fuses a near relentless questioning of their surroundings with an undaunted bravery in their delivery. Yet on the final night of Øya, something special is needed. So it’s to Slayer that Clash turns, the metal act proving a physical assault, a near-unrelenting barrage of frenetic, hardcore punk tempo and all-out Sabbath-style sludge.

Gary Holt steps in to replace Jeff Hanneman, adding his own style whilst remaining respectful of the role the late guitarist played in the evolution of thrash. Naturally, it’s classics from the ‘Reign In Blood’ era that leave the biggest impression, but the band’s humble approach enthrals mainly due to the complete dichotomy it enjoys with their music. Ending by unfurling a banner dedicated to their fallen comrade, Slayer post-Hanneman remain an untamed beast.

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Words: Robin Murray

Photo taken from the official Øya website

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Haiku Salut are a charming trio from Derbyshire who played their way into Clash's collective heart when they won the Green Man Rising competition earlier this year – read about their success right here

The reward for coming top amongst an array of splendid talent, as judged by a bunch of experts (including one of us Clash types, no less), was opening the main stage at Green Man 2013. And that's exactly what Haiku Salut did, playing songs from their wonderful debut album 'Tricolore' – which earns itself a re-release on November 18th, so pick it up then if you've not already – before one of their biggest audiences to date. Nice work, there.

While on site, the band also performed a special session version of one of their most instantly appealing songs, 'Los Elefantes'. A little bit romantic, yet decidely haunting too, it's the sort of song that one could imagine easily fitting into a Jean-Pierre Jeunet movie. Okay, maybe not Alien Resurrection.

Watch the performance above, and if you like what you hear – and why wouldn't you? – click here to read our Ones To Watch interview with the band from earlier this year.

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A tiny island in the Caribbean, Jamaica's influence can be felt around the world.

So when Jamaica decides to celebrate its Independence Day, there are plenty of friends and admirers wishing to gain entrance to the party.

This summer, Wray & Nephew decided to honour Jamaican Independence with #jamaicarumtings – a series of unique, boutique events with a Caribbean flavour. Clash helped get the party started, co-hosting a day and night event at East London hotspot the Britannia.

With Notting Hill Carnival rolling round, Wray & Nephew and Reggae Roast took control of London Fields Brewery for a one off warm up event. Shy FX stopped by, with the jungle pioneer spinning a special reggae set.

Notting Hill icons Channel One brought their sound system all the way to East London, with Vibration Lab, Adam Prescott and Ramon Judah.

Couldn't make it? Don't worry. Wray & Nephew have supplied Clash with these images to give you a flavour of the event.

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The problem with so much of the so-called 'nu folk' scene is that it uses the pastoral simplicity of traditional music but refuses to accept its intensity, its latent rage.

Killing Fields Of Ontario though, have no such issue. From their name alone, it's clear that this is a group who accept life in all its shades, who are capable of writing both a lullaby and a lament.

Cult favourites for some time, new album 'How The World Ends' could see the collective reach wider attention. Rooted in folk instrumentation but with a deeply literary feel, it's a mature work – one which is confident, without losing sight of their essential energy.

Lead single 'Cloud' drops on September 23rd, and it's an intense, urgent piece which is unrelenting in its drive. Matched to this, Killing Fields On Ontario have pieced together a new video with director Craig Heathcote.

A suburban scene with a difference, it follows a young man who seems to be psychologically trapped. Caring for his mother, he is full of resentment at being unable to leave his home yet unwilling to express his feelings.

Watch it now.

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Director of Photography – MATTHEW WICKS
Production Designer – GWYNETH BINYON
Make-Up & Hair Designer – CHRIS O’TOOLE
Make-Up & Hair Assistant – DOMINGO NEVADO
Costume Designer – MOLLIE BARR
Casting Director – ANDREW FAWN
Colourist – DANIEL GILL

'Cloud' is set to be released on September 23rd, while new album 'How The World Ends' drops on October 28th.

You go abroad, find the shop of your dreams and then are forced to return home with the knowledge that it’ll take some time ‘til you can afford another trip, allowing you to step through those doors and smell those smells again.

Not quite a life or death situation but a sad reality akin to a kid leaving Disneyland. Fear not, if your store was V-Files or Machine-A, London and New York have the problem in hand.

Co-insiding with the launch of New York Fashion Week, Machine-A (who count stylist Anna Trevelayn as Co-Director) will host a window and in-store area at V-Files while the latter will do the same over here.

Playing swapsies with their designer stock, V-Files bring with them Hood By Air, NASA + VFILES and V-Files vintage while fleeing our shores will be Ashley Williams, Dr Noki and Kyle Hopkins.

A collaborative collection of branded jersey tops and shorts and toweling pieces in black, white and other flag flying colours complete the one off concept store swap shop, which closes its doors alongside London Fashion Week on 17th September.


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Record shops thrive on categorisation.

Shoppers need to know where to find certain cuts, with some genre names evolving simply of a need to shelve the latest 12 inch in the right place. But God help the person who defines Torqux.

Chopping up genres like a chef rampaging through some herbs, the production duo has that loose, skippy feel which is currently running through the house scene. Yet there's a directness, a percussive playfulness which could only come from hip hop, while that love of bass is straight out of the UK's own system culture.

It's a heady brew, for sure, even if we're not entirely sure where to slot the pairing.

New EP 'So Divine' is set be released on September 23rd, with MTA Records stepping in to support the producer. Tiffani Juno steps in on vocals, adding a soulful touch to the duo's complex machinery. 

The video for the track continually plays with perspective, as the camera loops around and models fly through the air.

Echoing the breakneck rhythmic approach of Torqux, the visual directness seems only apt.

Watch it now.

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'So Divine' is set to be released on September 23rd.

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We’re pretty sure that the summer used to be a quiet time for new albums of substantial quality. But August 2013 has categorically gone against that grain, assuming it was there to begin with, by witnessing the release of several records that might well duke it out for year-end honours come December.

So, here are 10 recommended albums from the last few weeks, each worth every second of its run time.

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MONEY – ‘The Shadow Of Heaven’
(Bella Union, released August 26th)

“Expect to be challenged, provoked, and amazed by this near-heavenly debut.” (Read the full Clash review)

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Julianna Barwick – ‘Nepenthe’
(Dead Oceans, released August 19th)

“A special album from a special artist, ‘Nepenthe’ is, indeed, an album that leaves thoughts of others absent as it plays out its otherworldly dance.” (Read the full Clash review)

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Earl Sweatshirt – ‘Doris’
(Columbia/Odd Future, released August 19th)

“Unlike his debut mixtape, Earl Sweatshirt is telling truths rather than forging fantasy, and ‘Doris’ is a disturbed and penetrating journey into the mind of the boy that came back from Samoa.” (Read the full Clash review)

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Julia Holter – ‘Loud City Song’
(Domino, released August 19th)

“Although it takes more than a couple of listens for ‘Loud City Song’ to feel like a cohesive album, the reward once you do is well worth the outlay.” (Read the full Clash review)

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King Krule – ‘6 Feet Beneath The Moon’
(XL, released August 24th)

“British music fans should gaze upon King Krule with great pride. Under immense expectation, he has managed to become the product of his far-flung influences, rather than a pastiche of any.” (Read the full Clash review)

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Moderat – ‘II’
(Monkeytown, released August 5th)

“They’ve proved to be immune to the curse of the “difficult second album”. ‘II’ is an absolute masterpiece of dancefloor work.” (Read the full Clash review)

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Pinkunoizu – ‘The Drop’
(Full Time Hobby, released August 5th)

“This album may sound mental – and it is – but its makers guys succeed at what so many contemporary bands fail at: making something that actually sounds modern.” (Read the full Clash review)

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Forest Swords – ‘Engravings’
(Tri Angle, released August 26th)

“This is mood-manifesting music of exceptional quality, experimental electronic fare of substance and, crucially, heart.” (Read the full Clash review)

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Crocodiles – ‘Crimes Of Passion’
(Zoo Music, released August 19th)

“It’s an album bursting with tales of joyous heartbreak. The sound of the summer.” (Read the full Clash review)

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Outfit – ‘Performance’

(Double Denim, released August 12th)

“Numbers like the hypnotic ‘House On Fire’ and the decaffeinated anthemics of ‘Elephant Days’ and ‘Thank God I Was Dreaming’ confirm Outfit as some of the most refreshingly formidable songwriters in the country.” (Read the full Clash review)

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Read Clash’s most recent album reviews here

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In these most modern of times, the sheer quantity of music available to us at the click of a mouse or swipe of a finger can sometimes be a bit overwhelming. For Clash, it’s our prerogative to provide you with an unending stream of great music that we feel best suits, well, you. It is this shared attitude that has lead to us partnering with the music-streaming service Deezer.

Despite still being in it’s relative infancy in terms of potential reach, streaming is becoming a mainstay of the modern music fan; the vast catalogues on offer and the ever-improving methods for helping one discover and share new music have to date already attracted ten million monthly users across 182 countries to Deezer. Just over 4 million of these are subscribers to the service, meaning they spend around a tenner a month and get access to the entire 25 million track catalogue on their laptop, PC, tablet or mobile.

By our calculations it would take you about 168 years to get through all that – which is why Deezer are so adamant to stress their role as a service that goes the extra mile in helping their customers discover music that they will love. Their team of music consultants and editors provide a human touch to this usually algorithim-driven process, adding a dash of personality to one’s experience. Furthermore, they also have a specific remit for unearthing a wide selection of new talent that would suit the tastes of the audience.

Amongst all this, Clash has launched our own application within Deezer (also available through all devices in all Deezer territories), which will feature all our album reviews, a section dedicated to Next Wave artists, the monthly Spotlight feature, additional one-off features taken from the magazine and of course a plethora of playlists curated both by our editorial staff and artists featured in Clash. You’ll also notice that Deezer widgets have been placed on the website and visitors will be able to listen to our most recent lists, sample our radio channel and listen to albums whilst reading our reviews.  

To find out more, visit

Clash app link –

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The French Bakers Association have issued a remarkable statement after Kanye West criticised the length of time it takes to get a croissant in France.

One of the year's most dissected albums, 'Yeezus' found Kanye West in confrontational form. Feminist groups lashed out over his treatment of women, while repeated use of the n-word found the rapper in hot water with African American activists.

However this next row is… remarkable.

At one point on 'Yeezus' the rapper states: "In a French-ass restaurant / Hurry up with my damn croissants". Bizarrely, this has prompted a lengthy reply from the French Bakers Association. In it, the organisation take issue with Kanye West's statement 'I am a God' before suggesting that he uses his omnipotence to make his own damn croissants.

"We could easily let this water pass under the bridge, as they say, but we take your lyrics very seriously" the statement reads. "From the other lines in the song, we have come to understand that you may in fact be a 'God'. Yet if this were the case — and we, of course, take you at your word — we wonder why you do not more frequently employ your omnipotence to change time and space to better suit your own personal whims".

"For us mere mortals, we must wait the time required for the croissant to come to perfect fruition, but as a deity, you can surely alter the bread’s molecular structure faster than the speed of light, no? And with your omniscience, perhaps you have something to teach us about the perfect croissant. We await your guidance and insights."

Find the full statement HERE. (via FACT)

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Foals have sold out historic London venue Alexandra Palace – in just ten minutes.

Clash met with Foals early last year, ostensibly to discuss their third album 'Holy Fire'. The band were clearly confident in their creation, freely dropping references such as Led Zeppelin or Black Sabbath to drive the point home.

Since then, things have gone stratospheric for the Oxford group. A stunning performance at Glastonbury was followed by a headline set at Latitude, with each show finding the band gaining a higher and higher profile.

Announcing a headline tour, Foals decided to play London's Alexandra Palace. An enormous, imposing venue, tickets for the show went on sale this morning – and sold out in ten minutes.

A triumphant marker for the band, the rest of the tour followed suit. Foals are due to play Manchester Apollo on February 7th and it, too, sold out in only ten minutes with the rest of the days following within an hour.

Who says British guitar music is dead, eh?

Check out an archive feature with Foals on the making of 'Holy Fire' HERE.

Foals are set to play the following shows:

Dublin Olympia
Manchester Apollo
Glasgow Barrowlands
11 Birmingham O2 Academy
12 Newcastle O2 Academy
14 London Alexandra Palace

Click here to buy tickets for Foals!

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