Video: Weaves share the personal indie rock of “Shithole”

ShitholeToronto indie rock quartet Weaves have unveiled a new video for their song, "Shithole".

The Trevor Blumas directed film was made in Toronto during a brief touring break - they've covered Europe and the US with the likes of Sunflower Bean, Beach Slang, Dilly Dally and Cayetana this year. Comprised entirely of close shots of vocalist Jasmyn Burke in a variety of increasingly elaborate guises, the video provides a fitting accompaniment to one of the band's most personal songs.

"We shot this video on a hot summer day with no AC in the Coffin Factory Lofts in Toronto. Sweaty and intimate," says Burke. "It depicts the build up and break down of myself through the different looks. I wrote the song when I was living in a shitty place and was feeling kind of down, but the mysterious thing is I have no recollection of writing it. I found it on my computer one day and had thought I must have sent it to Morgan but I hadn't. So we essentially did the demo the day after I re-discovered the track and were playing it live soon after."

"Shithole" is taken from the band's self titled debut album, out now on Memphis Industries.

Find out more about Weaves on their website and watch "Shithole"below:

Stream: Weaves release sombre cover of The Beatles’ “Help!”

HelpWonky indie rock four-piece Weaves have been busy recently, spending the summer on the road in support of their debut self titled album. In their brief moments of downtime however, the band have found time to put together a cover of The Beatles' "Help!"

The band take "Help!", slow it down and replace the desperate jauntiness with something a lot more openly vulnerable and sombre. It’s an interesting interpretation of the original and one that brings out new meaning in a song that’s almost over saturated to the point of familiarity.

"We recorded this when I was feeling a little bit of heartbreak and just stuck in a slump and the song really spoke to me," says Weaves' vocalist Jasmyn Burke. "I asked Morgan if he'd be into trying to cover it so we spent a couple hours one day recording it in his little spare room studio. Like most people we love the Beatles, and I felt like those lyrics were living inside of me at the time so I wanted to try and personalise it. It was a really fun experience and an interesting experiment."

Weaves also return to the UK this Autumn, for a full UK tour alongside fellow Toronto band Dilly Dally. See tour dates below.

September - 2nd @ End of the Road Festival, Salisbury w/t Dilly Dally // 17th @ Bodega, Nottingham w/t Dilly Dally // 18th @ Hare & Hounds, Birmingham w/t Dilly Dally // 19th @ The Soup Kitchen, Manchester w/t Dilly Dally // 20th @ The Globe, Cardiff w/t Dilly Dally // 21st @ The Exchange, Bristol w/t Dilly Dally // 22nd @ Scala, London w/t Dilly Dally

Weaves is out now on Memphis Industries. Find out more about Weaves on Facebook and listen to "Help" below:

Sound City 2016 @ Liverpool, 28/05/2016

Sound City 2016Sound City has become a staple of the music industry in the North West of England, yet despite several connections to the area – not least of all that DrunkenWerewolf was founded in Liverpool – this is the first year we’ve attended the festival. Its history of central domination and move to South Bramley Moore dock is lost on us, but hushed whispers of the event’s development over the years are pronounced across the corresponding conference, Sound City+. It’s doing well, and people are beginning to pay attention on an international scale.

But wait, board talk alert: unfortunately the company does not capitalise on this business opportunity. The industry focused leg of Sound City is sterile and corporate in comparison to the far more community orientated and therefore better Live at Leeds, leading Sound City+ to draw comparison to larger scale events such as The Great Escape. The difference between Sound City+ and its competitive southern brethren however is that scheduled hangouts and industry prattle does not continue across the weekend, leading to a very rushed one day, a contrived atmosphere, and the sense that you only have one chance (if that) to make an impression.

There’s an even bigger problem than soul-related claustrophobia with this mode of operation. While on paper Sound City+ presents a great networking opportunity thanks to lauded critics and business persons from across the world committing to attend – it’s the northernmost city of Leeds that again prevails courtesy of its far more laid back and communicative approach to ‘getting together’. We do not meet Charlotte, the faceless lady who’s organised our own appearance. We're also not introduced to the other professionals in the room we occupy, despite being in there for two hours. The whistle stop tour orchestrated by Sound City+ volunteers means there’s no chance to get up and go to the loo, least of all introduce yourself to your peers, and no one knows who we are as we’ve not been included on the roster (but we're definitely supposed to be here). We're also the only member of press in the room. Some of the people who've signed up to speak to us work in promotion and want to know how to launch a marketing campaign/social media/crowdfund/generally do our job, which makes it seem like we've been asked to work for free for absolutely no gain on our part. When the session ends, we’re quickly moved from the room to make way for the following round of 1-2-1 meetings – and everyone disperses without saying a word. We’re probably all feeling the same isolation and misdirection that shrouds the event. In summary, the volunteers know what they’re doing, but nobody else does.

Rejected – quite literally – and with other talks largely filled due to the hour at which we're released from our speed dating chat, we leave the venue to prepare for the following day.

* * *

While it’s disappointing we do not get the chance to meet a future DrunkenWerewolf stakeholder at Sound City+, we’re ultimately here for the music at Sound City 2016. The festival offers a plethora of talent from artists we’ve heard of and artists we’ve never encountered before; a perfect balance of exposing and exposed. It’s refreshing to be presented with an honest snapshot of local, national and international scenes, but it’s a disappointment to find the Sunday bill is better by a country mile – especially as we and many other press persons are not able to attend the second day. (This means among others no Shura, no The Dandy Warhols, no The Big Moon, no Dilly Dally, and worst of all no Foxtrott, which is extremely disappointing.)

Determined to make the most out of the experience we resolve to watch as many new and unheard acts as we’re able, and carefully plot out a strategy in our hotel room. This is immediately destroyed when we arrive at the venue to realise the crowds at Sound City’s self-governed space are moving very slowly, and that some of the stages are quite far apart despite occupying the same spit of land. Inevitably this results in us missing several of the acts we wanted to see: Violet Skies suffers thanks to a long (very long) queue to the toilets and the bar queue also interrupts sets from Oh Pep! and Fizzy Blood. In fact problems with Sound City 2016 are well documented on social media from start to finish: the lack of toilets, the aggressive looking security men, that press can’t access artists backstage for arranged interviews, and the highly priced alcohol do not go unnoticed by attendees. We have to admit though, we enjoy Sound City in situ, and this is largely because of the bands we get to see.

Starting our evening proper, following a decent warm up set from Kyko and a strange, audio-only tribute to Viola Beach from the main stage, is the ferocious Band of Skulls. An act due to grace many festivals this summer, the Southampton trio show off their spots with a loud, grizzly and growling hour-long set of rock’n’roll that embraces both the past and the future, namely their fourth studio album By Default. Having spoken to the band backstage at the event (interview soon) it’s a pleasure to find them on top form and providing a festival highlight for many, including ourselves.

Following a close encounter with a group of people who seem to think having benches at a festival is “dead posh”, we unwittingly make our way towards Violet Skies via the toilet. This is the one totally avoidable disappointment of the night, as despite sensibly heading to the VIP area to use the facilities, we’re still confronted with an hour long queue. We speak to a nice Scouse lady about how our Auntie lives in Manchester (poor us, she says, clearly aware of the stereotype but doing her best not show real mirth) but how we live in Bristol (good for us, she says, apparently Scousers associate with Bristolians, something for which we are very glad) before we finally get to relieve ourselves.

By the time we're back at Violet Skies’ stage, not only have we annoyingly missed her entire set, but the following band are half way through their own, plus Fizzy Blood are dangerously close to availing me too. The scuzzy indie pop band’s set is justifiably chaotic, not literally (though they are on a boat) but audibly. They successfully blast out the cobwebs that have formed over the course of my toilet excursion and returning to me to festival mode.

Although we were was initially concerned by the site’s layout, and there are sound bleeding issues from one stage to the next, one good thing is that wherever you are, you can hear music. Because of this we manage to catch several unexpected artists, including rhythmic electronic artist The Hearing, whom we did not intend to see. The Helsinki based solo project of Ringa Manner, she uses a swirling, pulsing vocal loop and rampant percussion to build a wall of sound you can’t help but stop and gawp at. Likewise on another toilet trip we stumble upon Koala Voice, a 90s basement rock hybrid fronted by the iconic sounding Manca Trampus. We highly doubt we would have been introduced to either of these artists had we not attended Sound City 2016.

Overall then a success, and with sets from Feral Love and The Spook School to round off a pop meets punk night, Sound City 2016 has impressed. Whether it’s impressed enough to drag us away from the easily accessible Dot to Dot in 2017, we have to say, we’re not sure. But if you’re based in the North and can’t be bothered to make the trip South, Sound City is more of a lover than a friend.

Ones to Watch at Liverpool Sound City 2016

Sound City 2016Let 2016 be known as the year that DrunkenWerewolf was invited to attend events - not least of all Sound City 2016, which will take place in Liverpool between 27th and 29th May of this year.

Not only have we been invited to attend the three day festival, but yours truly has been asked to speak at the business to business event on Friday. Quite what this entails I do not know, but at least I can rest safe in the knowledge that a ton of decent music will present itself to me and many others the following day, as Sound City 2016 takes over its own stadium on the Merseyside dock front, nearby the Titanic Hotel.

With no further ado, let’s take a look at 10 of the best acts performance at music showcase Sound City 2016.

Band of Skulls

Headliners at many events elsewhere this summer, at Sound City Band of Skulls take a back seat to enjoy mid-to-top placing. Needless to say this won’t present an opportunity to get up close and personal with the band – they’ll more than likely draw a large crowd despite their placing on the bill – but it will offer a chance to see the Southampton three piece perform music from their brand spanking new album, By Default.



Alt pop darling Shura has wowed the underground with her swish, uber cool take on synth music while also gaining favour from the BBC towards the beginning of the year, when she was nominated on the Sound of 2016 long list. The fashionista of the music industry will no doubt turn up for the London star’s set on Saturday despite her commercial misdemeanour.


Dilly Dally

Canada’s loudest contemporary band return to the UK for a guaranteed set of ferocious noise. Having toured the country earlier in the year Dilly Dally already have a strong following, and it’s sure to get stronger once everyone at Sound City 2016 realises quite how loudly front woman Katie Monks can scream.

The Big Moon

Touched with twee, The Big Moon have been making a scene since heads turned in their direction last year – and their charming indie pop is well deserving. DrunkenWerewolf also reported a frantic energy exuding from the four-piece last month at Start the Bus, which we hope will be replicated at the festival this May.

The Anchoress

The Anchoress, aka smart feminist singer songwriter Catherine A.D. bolsters her position on the bill with songs from her long awaited debut album Confessions of a Romance Novelist – a full length that documents an almighty struggle with life, loss, love and a car crash. We expect her live performance to be equally as dramatic.

Feral Love

Having recently introduced the band on the website, it would be a crying shame to miss out on local Liverpool band Feral Love, whose single “Like the Wind” is enough of a reason to attend. Sleek synth pop, just the way we like it.



This is reason enough to travel to the North West, and rest assured we’ll be at the front banging an imaginary drum along to Foxtrott’s explosive, cathartic, hypnotic alt pop. Take the genre constraint lightly – this lady is experimental to a tee and positively unmissable.


The Spook School

As long term fans of The Spook School, the Edinburgh band are an equally exciting prospect at Sound City 2016. Head over to their stage for LGBTQ related fun, lots of laughter and probably a shit ton of glitter (provided by me, at this point I’ll be on motor mark 100).


Oh, The Guilt

If and when I need to calm down (if) a cold shower won’t do it – neither will a chilled pint of whatever cider the North caters up these days. Instead I’ll head over to Bristol band Oh, The Guilt’s set – a sombre and undeniably dark set from an act so loud all the cobwebs will be flung to the rafters upon the first beat.


Oh Pep!

…And then back to pop fun times, courtesy of Melbourne band Oh Pep! Indicative of how international Sound City 2016 has become, the Australian duo present a booming music scene on the other side of the world. Let’s hope they do their fellow Aussies proud!


Writers’ Poll: Albums of 2015

Albums of 2015The Best Albums of 2015, according to a poll conducted by participating DrunkenWerewolf writers.

The same thing happens every year. Our writers have such a broad and varied taste in music; it’s unavoidable polls such as this will boast mainstream hip hop artists alongside alt pop DIY princesses, doom laden electronica, and ethereal bedroom folk from Totnes. Our Albums of 2015 Writers' Poll is no different.

What is perhaps interesting is that once again an artist from a genre DrunkenWerewolf doesn’t usually cover takes precedent. Previously, this position was held by Kanye West in 2013, with the admittedly more coherent Warpaint taking the title in 2014 - but that says more about the state of chart music in the year previous than it does changing tastes, in my opinion. There was simply not a blatant spoken word-based artist to champion in 2014.

Perhaps when such an artist does take the reigns, our writers rebel from their indie constraints. Perhaps hip hop and rap artists are simply more appealing to the masses, and therefore liable to top any polled vote - while guitar loving votes are spread thin(ner) across multiple genres. Perhaps hip hop artists are awarded bigger PR campaigns, and are therefore more accessible to the majority of our writers. Perhaps we just have the wrong people writing for us (sorry, you guys). Honestly, I don't really know enough about hip hop or rap (I'm not even sure I know the difference between the two) to make an informed judgement.

Whatever the case, I’m not one to bend the truth to suit my own agenda. The releases included below appear in the order they were voted for. In some cases, artists have received the same amount of votes – when that’s happened, I’ve prioritised releases that were voted for by more than one writer. Fortunately no album within our top 20 received the same amount of votes from the same amount of writers, or else I would have been stuck.

Here’s our Top 20 Albums of 2015 according to DrunkenWerewolf’s writers. Have at it!

20// Elvis Perkins - I Aubade (Mir)

"Elvis Perkins’ third album I Aubade started with him playing around on a shortwave radio in his trailer, recording the results like a sort of white trash John Cage. This then became the sonic backdrop for a meticulously crafted collection of homemade recordings by a lovable eccentric hermit. Perkins seems to have a slightly unhealthy obsession with fellow genius eccentric Syd Barret and to a lesser extent morose Canadian bard Leonard Cohen. It’s also easy to see this album fitting into the tradition started by Bon Iver with For Emma, with Love - crafting obscure, fuzzy folk pop gems in the solitude of a log cabin on his parents’ land. Regardless of these comparisons, Elvis Perkins very much marches to the beat of his own drum." PV

19// Swim Deep – Mothers (RCA)

"Swim Deep marked their long awaited return with new single “To My Brother”, a luscious pop landscape that hints at what’s in store. After a self-imposed hiatus that saw the band take a step back for almost a year, Swim Deep has emerged stronger than ever." CM

18// Cemeteries – Barrow (Snowbeast Records)

17// Pretend - Tapestry'd Life (Topshelf Records)

16// Titus Andronicus - The Most Lamentable Tragedy (Merge Records)

"Totalling an enormous 29 tracks, Titus Andronicus' new album is billed as a rock opera detailing the dissent of a lone protagonist into mental illness and his transformative odyssey. Even for Titus this is a bold concept. Songs such as "Lonely Boy" swagger with bravado rarely exhibited by Stickles and Co., and are reminiscent of The Rolling Stones in their pomp. Meanwhile lead single "Dimed Out" could very well be the most infectious pop gem the group have ever recorded. Even the stiffest punk aficionado will find it impossible to listen to the track more than once without belting out the chorus with arms a-loft." BS

15// Hooton Tennis Club - Highest Point In Cliff Town (Heavenly Recordings)

14// Grimes - Art Angels (4AD)

13// Marika Hackman - We Slept At Last (Dirty Hit)

"Marika Hackman is a confirmed DrunkenWerewolf favourite. The London based artist has taunted us with a talent that would be unbelievable were it not for the strong catalogue of songs that followed 2013’s “You Come Down”. Now, the time is finally upon us to unwrap the present we’ve been tantalised with for years. This, the Charlie Andrew produced full length, is We Slept At Last, the arrow to Hackman's bow. With it she provides the world with the forbidden fruit of the underground scene, and we’re all too happy to gorge upon its contents." TD

12// The Wonder Years - No Closer to Heaven (Hopeless)

11// Dilly Dally – Sore (Partisan Records)

"Taken in one dose this album is a strong punch to the gut of love and lust, but every now and again a sort of comfortable laziness infects Dilly Dally's sound. It shouldn't be overlooked, because it's just as much a strength as the empowering emotion so many other critics have touched upon. In Sore Dilly Dally have created a seminal slacker rock meets grunge punk album for the 21st century, and frankly we only want more if it's coming from them." TD

10// Beach House - Depression Cherry (Bella Union)

"Beach House’s music has always harbored an intimate atmosphere, though Depression Cherry serves to alter this intimacy into visceral, personal closeness. The record’s press release, written by Legrand and Scally themselves, is littered with chilling details covering everything from the anniversary of Roy Orbison’s death, to quotes from Banana Yoshimoto’s Kitchen, all of which serve to preface the record’s haunting human melancholia." SB

9// HOLYCHILD - The Shape of BratPop to Come (Glassnote)

"Downing Adderall, pursuing happiness through a feminist agenda and buying men for dollar. This is not your average pop album. Anyone who’s already had the good fortunate to encounter Liz Nistico and Louie Diller, aka Los Angeles power pop duo HOLYCHILD, will know this much already. With their debut The Shape of Brat Pop to Come, the band have defied modern convention with an almighty huff of girl power, doughnut dust and hyperactive adrenaline." TD

8// Wolf Alice - My Love Is Cool (Dirty Hit)

"Wolf Alice reflect the image of a band whose members have grown up with the same ideals in mind. With an era of indie rock bands seeking new techniques and approaches to use in their songwriting in order to really push the envelope, this is undoubtedly to the modern music scene's benefit. My Love Is Cool serves as an ode to rock music. It takes a broad range of influences from different decades, and adds the zeal of Wolf Alice’s candid delivery and desire to evolve sonically." JK

7// Father John Misty - I Love You, Honeybear (Bella Union)

6// Blur - The Magic Whip (Parlophone)

5// Joanna Newsom – Divers (Drag City)

"Five long years in the waiting, the release of Divers marked a sweet release for Joanna Newsom fans. Though many were still processing the unfathomable grandeur of 2010's Have One On Me (sprawled across a three-disc format more befitting a Final Fantasy saga than a folk album), the scarcity of live shows only added to the artist's mythical status." MN

4// Hop Along - Painted Shut (Saddle Creek)

"It takes a certain kind of band to sing about possible paedophilia, joggers running past a funeral procession and avoiding confrontation with your ex-boyfriend while serving him as a waitress. Hop Along pull it off with style on their new album, Painted Shut." TD

3// Sufjan Stevens - Carrie and Lowell (Asthmatic Kitty Records)

2// Courtney Barnett - Sometimes I Sit and Think, Sometimes I Just Sit (Marathon Artists)

"Melbourne native Courtney Barnett exploded onto the radar of music lovers back in the halcyon days of 2013 with the release of her split EP A Sea of Split Peas. She was instantly taken into the bosom of many thanks to her laid back droll vocal delivery and vivacious vernacular wordplay, something still very much prominent on new album Sometimes I Sit and Think, and Sometimes I Just Sit." BS

1// Kendrick Lamar - To Pimp A Butterfly (Polydor)

Editor’s Pick: Albums of 2015

Albums of 2015The Best Albums of 2015, so selected by Editor Tiffany Daniels.

All year long, I’ve found myself consciously bookmarking albums, determined each time that I’ve found ‘the one’. I’ve convinced myself there’s no possible way anyone can beat what’s in front of me, until another artist comes careering down the hill with something equally profound, intelligent, and ultimately unexpected.

Unlike last year, the ever-growing short list does not predominantly boast a certain type of musician. In 2015, major labels have pulled their weight, signing decent musicians who are independent in style, if not in business. That much debated genre of pop has also become far more dominant in general, with the marginally different sounding (though admittedly less corporate) alt pop dwarfing traditionally 'indie' genres such as rock and metal. Yet at the same time, alternative bands have begun to influence the otherwise tired 90s revival, and guitar music has arguably become interesting once again. The end result? A hodge podge of musicians, and none of them with a strong ethos discernible through their sound.

Because of above I’ve had to literally wring my hands and wrack my knuckles over the order of my selection. The difference between those in the top three slots is particularly slim, yet at the same time very large. At the end of the day, if my rambling below gets you to listen to just one of my favourite albums of 2015, I’ll be happy.

10// Esme Patterson – Woman to Woman (Xtra Mile)

Despite being signed to a reputable label, Denver-based singer songwriter Esme Patterson passed the UK by relatively unnoticed when Woman to Woman was release in February 2015. Nevertheless an outstanding album with an interesting concept; on her debut, the part-country, part-Americana musician addresses women made famous by other people’s work. The result is a highly intelligent, well considered feminist proposition, and the clear influence of other musicians doesn’t cloud Patterson’s unique talent.

9// Jemima Surrender – The Uninabited World (Self-release)

A Bristol-based self-releasing band who genuinely deserve a spot on any self-respecting music blogger's top 10: the only thing preventing Jemima Surrender from dominating the year is their lack of exposure. The Uninhabited World is a glorious concoction, with tales of anti-heroes and murderesses alongside an alt rock and progressive sound that doesn’t dive too deeply into experimental dirge. A very well balanced effort from a band we look forward to championing in 2016.

8// Du Blonde – Welcome Back to Milk (Mute)

Another musician to take on guitar music, this time by way of Los Angeles’ garage and glam rock scene; Beth Jeans Houghton performs here under her new pseudonym of Du Blonde. Having artists such as Future Islands’ Samuel Herring contribute guest vocals helps to cement an almost Rocky Horror style aesthetic, alongside frankly banging tunes from a genre too often assigned to men. On Welcome Back to Milk, gender doesn’t even come into it.

7// Foxtrott – A Taller Us (One Little Indian)

A late contender but extremely deserving of a last minute revision, Montreal based artist Foxtrott aka Marie-Helene Delorme explores rhythmic dimensions on her debut album A Taller Us. Unarguably underground, Delorme very successfully maintains an intelligent, coherent stronghold over her experiment throughout the album, despite its ultimately catch-y, electro pop sound. This is an extraordinary effort and I’m sure given the time to cement I’ll regret not awarding the album a higher spot.

6// Dilly Dally - Sore (Partisan Records)

Another Canadian act to bag a place on this list, Dilly Dally blew away cobwebs and misconceptions this year with a grunge album that puts their peers to bed. Sore is emotionally fraught, artistically astute and instrumentally perceptive; but best of all, front woman Katie Monks knows how to let out a gut-wrenching howl. It justifiably saw heads turn upon its release this summer, and we doubt ours will have been the only list to feature the full length by the end of the year.

5// CHAMPS - Vamala (Play It Again Sam)

I have to question the lack of all-male projects on my list this year, but that shouldn’t demean CHAMPS’ inclusion– they’re here for good reason. The Isle of Wight brothers had already impressed with their 2014 debut Down Like Gold, but less than a year later they returned with the decidedly vamped Vamala. Leaning away from CHAMPS’ original folk genre and towards electronica, it offers a refreshing example of musicians growing out of their boots into something far more impressive.

4// Marika Hackman – We Slept At Last (Dirty Hit)

Marika Hackman also appeared unafraid to develop away from her original sound on her debut album We Slept At Last. Initially presenting as a psych-folk artist, her professional partnership with Alt-J producer Charlie Andrew added new layers of indie pop to her sound and on her album, her sound flourished as a consequence. Some of our favourite tracks are still her most understated, but you could put this on random and be delighted whatever the result.

3// Laura Stevenson – Cocksure (Don Giovanni)

Ah, Laura Stevenson. Cocksure is profound; comfortable in its own skin and extremely confident, yet perfectly balancing the musician’s penchant for bluegrass, punk and indie pop. Her fourth studio album, Cocksure is the first to rank lower than #1, but that’s not to say it’s any less deserving of praise – there was simply stiffer competition, this year.

2// HOLYCHILD – The Shape of BratPop to Come (Glassnote)

Having to downgrade The Shape of BratPop to Come from #1 to #2 was heart-breaking. With their debut album, Los Angeles based duo and Hollywood-turned-pop act HOLYCHILD address all that is wrong with the world they live in: the cheap tricks, the nasty comments, the unreasonable demands. Empowering, sharp and clearly well versed in sociology and culture, HOLYCHILD have something to say – but they’re not afraid to match their lyrics with pitch perfect pop tunes. They are basically the reason I liked 2015.

1// Hop Along – Painted Shut (Saddle Creek)

Of course when I’ve found myself doubting the prowess of the year, my #1 album has been there to rescue me. Philadelphia band Hop Along initially came to the UK’s attention with the release of their debut album Get Disowned, but I personally found them through this, their sophomore, Painted Shut. Like Dilly Dally’s Monks, Hop Along front woman Frances Quinlan knows how to pull on your heart strings while making a racket – and on Painted Shut she milks the tactic for all it’s worth. With a loud/quiet dynamic and progressive noodling to boot, the post-punk band had me from the word go.

This Albums of 2015 list was compiled by Editor Tiffany Daniels. For the writer's poll, head over here.

Top 10 Songs for Halloween 2015

HalloweenIt's no secret Halloween is our favourite time of year. Not only did we found the blog on this hallowed day back in 2005; we've harboured a frightening affiliation with all things creepy crawly ever since then.

By no small coincidence some of our favourite musicians also like to get a little weird sometimes. Over the years we've gathered quite the collection of Halloween songs about Frankenstein cats, open crypts and burst blood vessels - sometimes couped up in silly, often edging towards unconventional, but always undeniably batty. About time, then, we put together a Top 10 of the best songs we've doused in dust already in 2015.

1// Nadine Shah - The Devil

Taken from the Newcastle-via-London singer songwriter's new album Fast Food, "The Devil" offers Nadine Shah in her prime - and a great introduction to any hellish night in or out.

2// Hop Along - Sister Cities

It sounds like an upbeat, West coast inspired ode to the party punk scene: but Philadelphia based band Hop Along are actually singing about horses heads being dredged from the river, dogs dying and an uncle going completely bonkers while surrounded by pretty flowers.

3// PWR BTTM - Kill All Assholes

If you're looking to straight up freak out your worst enemies, PWR BTTM have got your back. Their track "Kill All Assholes" is also perfect for wearing the most fabulous Halloween outfit while screaming its lyrics down your local highstreet at 3am.

4// Dilly Dally - Purple Rage

Or basically any Dilly Dally song, but mainly this one because its tempo compliments throwing things around the room in a mock/serious Igor temper imitation. Also if you have high aspirations for your Halloween 2015 costume, the purple monster in this video is your friend.

5// Lionface - Vampire

Cutting out the cryptic, pseudo-Halloween bullshit and going straight for the kill; Bristol band Lionface hail the greatest monster wrongly done by Hollywood with their epic new single. True fact: someone on Twitter once accused me of naming the blog after the Twilight franchise. I developed PTSD soon afterwards.

6// Aurora - Running With the Wolves

Okay, it's a pop song - but what it lacks in snarled misery it makes up for in lyrics designed to be chanted up to the high moon. Norwegian singer songwriter Aurora released this song towards the beginning of the year, but it's still got a grasp on our heart.

7// JINGO - Ghost in the Machine

A chunky, clunky indie pop treasure - it would be easy to forget this song is about something that goes bump in the night, were it not for the band's seriously creepy video, premiered on DrunkenWerewolf a few months ago here.

8// Flight Brigade - The Phantom

Taking a leaf out of Arcade Fire's book, Flight Brigade are liable to charm the whole world over next year when they release their long awaited debut and by the sounds of it, electro album. In the meantime we'll have to make do with this, a song about a dancing ghost. We're okay with that.

9// New Desert Blues - Rag & Bone

It's the end of the night, the sun's nearly up and your make-up is running down your face/falling off in great clobs of foundation and sweat. But don't worry. New Desert Blues have a song for every occasion.

10// Du Blonde - Hunter

Bringing a healthy dose of glam rock to proceedings, Beth Jeans Houghton's new project Du Blonde offers the perfect night to call it quits - with a quick and likely drunken slow dance to a song that's essentially about hunting down and killing your prey. Night.

Jeff Lewis is a Cult Boyfriend

As previously blogged, Jeffrey Lewis will release his long awaited new album A Turn in the Dream-Songs on October 10th through Rough Trade Records.

Neither man nor label is dilly dallying about with exclusive or allusive details. In fact, they’re releasing a lead track ahead of time, just to whet your appetites. Titled “Cult Boyfriend”, the song’s available to download for free below.

For my full interview with Jeff for Issue 16, head over here.

Lewis will play following shows on his forthcoming UK tour:

Sun, Oct 2 - Galway, Ireland - Kelly's Bar & Lounge Mon, Oct 3 - Cork, Ireland - Crane Lane Theater Tues, Oct 4 - Dublin, Ireland - Button Factory Wed, Oct 5 - Belfast, N. Ireland - Auntie Annie's Thu, Oct 6 - Sligo, Ireland - McGarrigles Sun, Oct 9 - Exeter, UK - The Phoenix Tues, Oct 11 - St. Andrews, Scotland Sun, Oct 23 - Coventry, UK - Taylor John's House Mon, Oct 24 - Newcastle, UK - The Cluny Tues, Oct 25 - Manchester, UK - The Ruby Lounge Wed, Oct 26 - Edinburgh, Scotland - Third Door at The Internationale Thu, Oct 27 - Glasgow, Scotland - Stereo Fri, Oct 28 - Birmingham, UK - The Ballroom Sat, Oct 29 - Leicester, UK - Lock 42 Sun, Oct 30 - Cardiff, UK - The Globe Mon, Oct 31 - Nottingham, UK - Rescue Rooms Tues, Nov 1 - Bristol, UK - The Thekla Wed, Nov 2 - London, UK - HEAVEN  Thu, Nov 3 - Leeds, UK - Brudenell Social Club Fri, Nov 4 - Brighton, UK - The Haunt

Frigs, Wolf Parade @ Thekla, Bristol, 18/11/2017

Wolf ParadeWhat a night for it. The skies open and a downpour starts just as we're due to leave the house to witness Wolf Parade's return to Bristol. Trudging towards the harbourside despite the weather, a steady trickle of music fans join us on our pilgrimage towards the floating stage of Thekla, which has recently become a member of the elite venues put under threat because of new development in the city centre.

For the EU leg of their tour, the Toronto-based giants are joined by fellow Canadians Frigs, who waste no time in beginning the night once doors are open. The early start time is due to the rigidness of Thekla's Saturday night club, which will ensure the gig is wrapped up by a measly 9:40pm. No bother. The atmosphere is electric and further charged by frontwoman Bria Salmena's impressive stage presence (though she does have a tendency to point at crowd members everytime she sings "you", which only really serves to highlight the repetitiveness of the lyrics). Growling with a guttural, Brody Dalle-meets-Katie Monks style vocal, there's an almost operatic element to Salmena's low voice which elevates them above a simple 'noisy band' status. Signed to Arts & Crafts but relatively unexplored in the UK, the band exit the stage having converted a sizable amount of new fans.

Frigs do their job well and the high energy they evoke continues throughout the interlude. Wolf Parade have amassed an active and dedicated fan base, and before they even hit their first note, audience members swarm the merchandise table. There's the babbling sound of excitement in the air. Coming on stage to the tune of Cry Cry Cry and playing a set that's 40% new record, 60% older material; the band admits they've had little to no sleep, but the ferocity with which they play their instruments doesn't echo their supposed low morale.

There are a few lulls and singing along is less fervent during newer songs (amongst them lead singles "Valley Boy" and "You're Dreaming) which implies the album hasn't yet had time to cement with fans. However, Wolf Parade are not the kind to stubbornly ignore previous work, and classics ranging "Dinner Bells" to "Cloud Shadow on the Mountain" punctuate the night. Combining technical prowess with high energy and gratefulness to be where they are, while no moment of the gig is unconsidered by the band - in the way that someone who really, really cares about their output will hold the reigns - the gig is also effortlessly enjoyable and organic. All hail the Wolf Parade.

Introducing: King Charles

He's been batting around drunkenwerewolf's radar for a while now, but with recent single Love Lust, King Charles (the musician, not the monarch) has taken his rightful place on the throne of British electric weirdo-folk. A bit of a subcategory to rule over but nevertheless a very prestigious one; the London based singer-songwriter takes influence from the kind of 1970's prog music my Dad regularly tries to force upon me with little to no success. And he sounds like Edward Larrikin surviving a cult initiation. It's okay though, because King Charles' production is very much in the now and his head is very much screwed on - you'll find no dilly-dallying here, just through and through decent experimental music with folk-come-Larrikin-esque vocals.

buy "love lust"

Time of Eternity Mr Flick