For the next instalment of our live series in collaboration with Metropolis Studios, we're putting on another blistering showcase – this time with To Kill A King and Misfires.

It's happening on Thursday 10th August, and you can attend for free (tickets are available from Skiddle here).

Taking to the stage in the West London powerhouse's Studio A, the state-of-the-art recording studio that's been frequented by the likes of Adele and Liam Gallagher, To Kill A King will deliver their storming indie sonics, having just taken a year off to write new material. The band's Grant McNeil recently picked out some of his key influences for us – ranging from QOTSA to Crosby, Stills & Nash, it's a pretty diverse set.

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While Swindon quartet and hotly-tipped indie band (who've been described as the lovechild of Catfish & The Bottlemen and The Libertines) Misfires complete the line-up, delivering one of their much-lauded live showcases.

Doors are at 7pm, with no admittance after 7:45pm (the shows are recorded so please arrive early to guarantee entry). The performance starts at 7:45pm, and finishes at 10pm.

You can find tickets via Skiddle HERE

Long, long ago in a field in Hampshire there lived a magical couple and their marvellous offspring. This mystical couple decreed that once each year, sometime in the haze of the seventh month, the rains would cease and a blazing fireball would appear in skies of cobalt. They invited the townspeople from all surrounding nations to flock to their fields, gather under canvas tepees and sup sweet honey wine and fermented juice of apple. The blissful couple provided the finest jesters, travelling musicians, divine dining, and an abundance of all kinds of entertainment and merrymaking. And so it was that Blissfields was created, or something along those lines.

Seventeen years have passed and Blissfields continues to raise the bar and give all sorts of unexpected delights year after year. 2017 promised to be bigger, better and more Blissfields than ever. My second visit (after last year's House Party themed shenanigans) to this glorious setting, where the sun truly shines for at least ten hours a day, looked like it was going to exceed expectations.

With a theme of The Bizarre, I was anticipating all kinds of weird and wonderful, and the team didn't disappoint in the slightest. Blissfields (and the dedicated gang that put all the prep in for months beforehand), know that true design is all about the tiniest details that entice your eye and pull you closer. A 'hug tree' with its trunk smothered in bright cushions and squishy plush toys; dotted underneath its branches, the outstretched arms of strangers soon to be friends. A relocated beach area with specially imported grains of pink sand to sink dancing toes into, alongside a boat, a shark and DJ lifeguard tower. And the Hidden Hedge deep within Area 51, with a mile-high cockpit dj booth, the fabled Dome, and all of the creepiness mixed in with the bizarre.

It was inside Area 51 that I stumbled upon ‘Doris Dodo’s Olbitchuary Office’ a ramshackle room in the woods, with three definitely dead-looking characters wanting to read me my own obituary. After a short interview and a chance for them to scrutinise my life so far, they pronounced me immortal and were therefore unable to complete the task of writing my obituary. That was a relief given that I had used up at least seven of my nine lives the night before with a little light anaerobic exercise during Subgiant’s set.

Subgiant are a group I’ve always heard good about but never got round to seeing live, but after their sixty minutes of energetic electro dance/dub/bass I can only hope our paths cross again. With a beast of a beat-keeper in Tushar Joshi, a man so calm and mild mannered outside of band life, it’s hard to believe the fury he unleashed upon that kit. This was an unadulterated ground-shaking performance and for me this was the moment that Blissfields 2017 indisputably ignited.

Prior to that ‘push the button’ moment, over at the main stage, The Cinematic Orchestra had captivated the crowd with their hypnotic and jazz-fuelled musical perambulations. They had a cavernous sound, a sound of intensity and musicianship that cloaked the air, and enfolded all around. The profound whole body reverberation felt astounding, although for me personally it was not a sound for a Friday night main stage headliner. But this was The Bizarre, and with that in mind I bowed to the theme and let myself wander in and out of soundscapes and sights and allowed my senses to adapt.

On my arrival at the fields of Bliss on Thursday afternoon, I had quite rigidly pre-planned my agenda of must-sees, one being the festival premier of DJ Yoda’s Stranger Things set, with searing visuals and dialogue from the television series spliced and mixed with the very best and highly nostalgic tunes of the eighties. However after The Cinematic Orchestra messed with my internal scheduling and forced me to accept the unexpected on the Friday night, and after the ghostly reckonings of my obituary reading, I decided to abandon the to-do list and experience ‘The Bizarre’ with more of an open mind.

So on Saturday at Blissfields, I took a journey through main stage opener Beans on Toast, with his whimsical folksy take on modern life, followed by a ska-a-thon to raise the undead with One Step Too Late, and then the sheer raw power of Brighton indie rock quartet Black Honey. I’ve seen Black Honey at a few festivals over the last couple of years, and with each appearance they seem to grow in significance. Izzy Baxter is a frontwoman of meaning with sultry unruliness and the air of one who knows her own destiny. This is a group that easily commands the space of the main stage, and can only continue to thrive.

Meanwhile, over in another section of the field, past the fairground rides and the sock wrestling (truly bizarre!), a hot air balloon was tethered, with the offer of a free trial rise and fall for any festival goer wanting to catch a bird’s eye view of events. From this vantage point it was evident that much thought had gone into broadening out the site and re-designing the layout to allow a feeling of space and freedom to flow from one area to the next with ease.

And while the sun continued to shine, I carried on my newfound nonconformity to flow into ‘Juicy Steve’s Acid Lounge’, and upon discovering it wasn’t a juice bar, I gave myself permission to stay and experience a new kind of body painting using the age-old marbling technique that I fondly remember from my school-days. Droplets of bright coloured ink went into a deep filled water tray, my arms were dunked in and the marbled effect stained my hands and arms in beautiful swirls.

Returning to the music I found Dub Pistols in maximum pistolero mode, whipping the hot afternoon crowd up into a frenzy. For a group that have just completed their 20th Anniversary Tour, and with some of the members slowly creeping towards retirement age, this crew could definitely teach some lessons on wild escapades and damn hard non-stop ‘life-on-the-road’ work to some of the younger musicians of today. Their energy on the main stage in the heat of the afternoon was boundless and again my spirits were lifted higher.

As Saturday afternoon rolled around into evening, The Bizarre started to take on a whole new element of mass audience participation. Costumes that appeared to have taken months to design came out to play – all based around peculiar levels of weirdness. Lady Leshurr ramped things up, not caring that she was delivering her grime soaked set to a gaggle of identically dressed Oompah-Loompahs, herds of crazed be-wilder-beasts and masses of original and eccentrically dressed revellers.

For me, it was time to get back to my schedule and the band I’d been looking forward most to seeing – Metronomy headlining the main stage. (On a personal note Metronomy’s fourth album pretty much sound-tracked the cracks in the beginning of the break-up of my marriage and as such I was eager to hear some of those tracks in the flesh.) Metronomy stormed their headline slot, and I was moved to tears of bliss during some of their stunningly choreographed and synchronised set.

Finally it was time to head to the Hedge for a finale to end all festival finales in the Dome. Mok, a young crew from the Brighton area, and firm Hedge favourites, returned for a triumphant set of new wave rap and mammoth beats. And it was about to get a lot sweatier and totally warped with the drum and bass witchcraft of Inside Info. At this point the Dome was heaving with a throng of late night party people, and I didn’t think there was anything more that could be squeezed out of this celebration of strangeness. But Coalescence Collective, the genius team behind the wonders of the Hidden Hedge, crushed every last drop from the juiciest of drum and bass fruits with a late night set from The Upbeats. I was ready. They said go. It went off.

And that was it from the phenomenon of Blissfields for another year. For me, and I’m sure many others, festivals are a place for escapism, for leaving the mundane by the wayside, embracing our differences and switching off the schedule! Blissfields The Bizarre, you helped me do this in all kinds of ways. As one of the crew neatly summed up in his closing speech “We’re all from different places, but at Blissfields we’re the same” I truly understood that the bizarre is there to be celebrated.

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Words: Mary Long
Photography: Tony Jupp

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Moullinex is part of Lisbon's intense, multi-faceted creative community.

A deft selector, his disco vibes have become a staunch part of the city's clubbing scene, adding a Portuguese flavour to those epochal cuts.

Continually looking ahead, Moullinex crafts connections between disparate scenes, joining the dots to create a frisky stew all of his own.

New single 'Work It Out' finds the producer clashing with Fritz Helder (of Azari & III), and to celebrate he's crafted this special Clash mix.

It's an upfront selection, packed with club fare and hands-aloft moments of disco grandeur.

Get involved.

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'HYPERSEX' is the new Moullinex album and it's out October 6th on Discotexas/K7

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Frightened Rabbit have recorded a version of 'The Hearts Song' for a new documentary.

The short clip depicts the fall and subsequent rise of Heart Of Midlothian, as the historic Edinburgh club endured monetary difficulties only to emerge triumphant thanks to the aid of the community.

It's a nice, well shot clip, but what really attracts our attention is some new music from Frightened Rabbit.

As it turns out, the band are huge Jambos – the colloquial term for Hearts supporters – and have recorded their version of 'The Hearts Song'.

A grand, old fashioned number that is played before every home game, it speaks of "The boys in maroon" who are "the talk o' the toon".

Given a fragile, tender, sincere rendering, it's oddly affecting. Unless you're a Hibee, that is…

Watch the clip now.

For tickets to the latest Frightened Rabbit shows click HERE.

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Standon Calling has used its base in the Hertfordshire countryside to transform itself into one of the country's best-loved events.

Returning for another bout of music and mirth in England's green pastures, the event is set to welcome a typically vast variety of live acts.

The Clash team are currently scuttling across the country on public transport, arms weighed down with camping gear and the odd bottle of buckfast.

Ahead of this, we've picked out a few tips from the line up of this year's Standon Calling.

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Kero Kero Bonito

Pour a mixture of shoe gaze and 80’s synth into a bag of Pic n Mix sweets, shake it up and discard the contents over the streets of Harajuku and you’ll have a brief idea of what London trio Kero Kero Bonito are all about. Sickly sweet sounds with crystal clear vocals and a carefree attitude, likely to induce a cavity. (Words – Laura Copley)

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With track titles such as ‘Terrorist Sympathiser’ and ‘Uber Capitalist Death Trade’ don't expect anything less than rowdy moshpits in the name of socialism conducted by these irreverent Manchunians. Their loud and proud riffs and brutally clever lyrics will blow you to the left – only to then leave you questioning your existence. (Words – Laura Copley)

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Plastic Mermaids

These whimsical sea creatures make it easy to imagine what life would be like if Lana Del Ray was in fact The Little Mermaid. Trickling bells tinkle together over the crackling sounds of electro mayhem, taking you deep, deep under the sea, left only to be captured in their beautiful nightmare. (Words – Laura Copley)

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Dutch Uncles

Wanting to witness the best dance moves you'll see all weekend? Then look no further than Dutch Uncles. Wonderfully colourful indie art-pop, frontman Duncan Wallis' infectious moves will have you bopping in ways you didn't even know were possible. You'll even put Future Islands' Samuel Herring to shame. (Words – Liam Egan)

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After the release of their visceral debut record 'Brutalism' earlier this year, the lyrical wit of Bristol post-punk outfit IDLES is the perfect antidote for your Saturday hangover. Ferocious, unrelenting and bursting with pent-up zeal, IDLES' uncompromising live show is unmissable. Oh, and they sing about Mary Berry too. (Words – Liam Egan)

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After the release of their single ‘Kinetic 2017’ earlier in the year, the reunion of Orbital came as a complete surprise. With a new album reportedly in the works, this headline slot is the ideal opportunity for fans to hear fresh and upcoming material from the electronic music visionaries. (Words – Liam Egan)

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Perfected over a number of years, Editors’ live show of inevitably powerful and poignant indie rock will no doubt be one of the weekend’s highlights. Also, just between us, we’ve heard whispers that Tom Smith & Co. have been playing a handful of new and unreleased tracks at their recent live shows. Who’s ready for some Sunday evening exclusives? (Words – Liam Egan)

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Grace Jones

Model, Bond girl, disco icon, and all-round iconoclast – Grace Jones is a living legend, a superb performer whose ability to defy the years puts her up there with Dorian Gray. An incredible stage presence, she dips into her catalogue while continually peering into the future. (Words – Robin Murray)

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British Sea Power

Seasons come and seasons go, but British Sea Power remain exactly as we found them – brewing their own beer, crafting their own tea bags, and releasing sterling albums packed with indie gems. Acerbic, off piste, and deeply indebted to these isles, British Sea Power are perpetually charming. (Words – Robin Murray)

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Nadia Rose

London talent Nadia Rose is irrepressible – winning a MOBO Award for her bona fide banger ‘Skwod’, she dips into grime, dancehall, rap and more to fuel her own defiant sound. Still remarkably young, Nadia’s live show is built around blistering energy and her own indefatigable persona. One to watch. (Words – Robin Murray)

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Standon Calling runs between July 28th – 30th.

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Spreading bad omens around a world already reeking of toxicity, International Deejay Gigolo, Euro electro/techno galactico and all round mix lord DJ Hell leads a death waltz with all the bug eyed alienation/alien nation of classic '80s new wave/post punk. All future primitivism and synths taking over the world, the haunting, hunting for emotion gets mown down by heavily processed vocals speaking from the side of a freshly gored neck.

‘Car Car Car’, the soft focus nucleus of the man-machine continuum, has eyes only for German engineering, even if some of the commentary is a bit like Baldrick introducing the automobile of the next dimension. But whereas a digital teardrop forms on ‘Anything Anytime’ from the deepest crypts of Castlevaynia, the explicitly experimental (and downright explicit for that matter) ‘High Priests of Hell’ and ‘Wir Reiten Durch Die Nacht’ crumple the album’s sheen like the confiscation of contraband in an 8-Bit prison of nightmares.

For the dancefloor which he fiendishly skirts around for the majority, ‘Guede’ will have you stepping cautiously and perilously, squalling horns sounding the death knell in a twisted mix of analogue dipping into the digitised, while atmospheric synth lines preside.

These horns return on ‘2 Die 2 Sleep’, wheezing in a rare moment of downtime, batting away interference until ‘I Want U’ makes a run for it. It’s the least subtle electro-house – even by Hell’s standards that brought in Diddy last time round on ‘Teufelswerk’ – but it does add to the album’s timeline. ‘Wild at Art’, with some greatly dramatic/OTT pianos, continues to turn the album into a performance powerplay, and a surprising appearance on ‘With You’ from the Stereo MCs brings the curtain down with authority.

‘Zukunftsmusik’ maintains a level of theatre showing that dystopia is still an engaging concept within touching distance, despite Hell’s splintering and spanner throwing. It may be too simple in its devilment and obvious in referencing Kraftwerk/Numan etc for some, but will serve as a shining light of synth work going beyond mere music for others.


Words: Matt Oliver

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Beach Riot make everything look easy.

Loping riffs, DIY production, and searing vocals, the four-piece has that innate sense of cool that runs through Stephen Malkmus, or Josh Homme, even.

New single 'Slackers' tumbled out in a few minutes, a perfectly piece of barbed wire guitar pop with a ridiculously catchy chorus.

Splitting their time between London and Brighton, Beach Riot have managed to find the time to lay down 'Slackers' in the studio – and it's a real joy.

Beach Riot explain: "'Slackers' is all about when you are young and start seeing someone, it gets heavy way too quickly, and you start to freak out… half about them and half about you. It was also written on the fly whilst walking to a gig in like, five minutes…"

Tune in now.

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Denis Horvat hits up AEON for his new EP 'LODI' and Clash has first dibs on the title track…

The EP drops in just a few moments, with the producer delivering some of those frisky twilight vibes.

All hypnotic synths and tumbling percussive energy, 'LODI' matches three different tracks, three different perspectives.

We're airing the title cut, and it's a blazing return – dark bass line and fragmented electronics, 'LODI' has that pared down after hours feel.

Tune in now.

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Simply put: Jehst is one of the best in the game.

An underground MC who continually challenges both himself and those around him, the rapper took time out before returning with a new full length.

'Billy Green Is Dead' is an astonishing return, with the beats set against some of Jehst's most intense performances to date.

Clash reviewer Matt Oliver labelled the album "epic" and pointed out "you’re never quite sure if Jehst is method acting…"

'So Far To Go' takes this method acting one step further, a gritty black and white clip that is astonishingly creative.

A riveting, intense watch, Clash is lucky enough to be able to premiere the clip. Tune in now.

Catch Jehst at the following shows:

4 Kingston Banquet Records (free, in-store performance)
5 Brighton Rarekind Records (free, in-store performance)

5 Brighton Patterns
6 Southampton The Loft
7 London The Garage
12 Birmingham Academy 3
13 Manchester Sound Control
14 Nottingham Rescue Rooms
15 Leeds Wardrobe
19 Bristol Marble Factory
20 Cardiff Clwb Ifor Bach
21 Glasgow ABC 2

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Victors hail from Leeds, but the four-piece have their sights set internationally.

The band's material has spread across the web, with their frisky electro-pop gaining more than one million streams on Spotify.

Stalwarts on BBC Introducing, Victors are now ready to unveil new EP 'Turn Out The Lights'.

Glamorous production allied to punk energy and some remarkably personal lyricism, it's a broad yet also succinct introduction.

Three tracks and one remix, it's a punchy statement of intent from a group who can't remain still for long. Tune in now.

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