Me and Boo are going to invest in some meat and make our own homemade, Italian inspired sausages....More info soon. Yum!
Sunday 6 March 2011
Our big Sausage Idea
Me and Boo are going to invest in some meat and make our own homemade, Italian inspired sausages....More info soon. Yum!
Tuesday 1 March 2011
Capturing Christmas 2010
I wanted to capture Christmas in my Santa Sack, and give you a peek of our Christmas behind the holly wreathed doors. This is where family traditions are revisited and replayed on this day once a year.
Music Reviews
Justin Adams and Juldeh Camara
Walking into what 20 years ago would have been a smoky club, to watch bands through a layer of smog. The newly refurbished Band on the Wall creates the same kind of atmosphere without the bleary eyes.
This three-piece band consists of Justin Adams, long time music partner of Robert Plant, drummer Roy Dawes and finally the exceptional Juldeh Camara, reputed as the best one string fiddle, two string banjo player in the world.
The first thing that struck me was Camara’s sweeping lime green dress, elegant stance and grasp of his one string fiddle, all of which starkly contrasted the slick, suited Adams, stood next to him.
As soon as they began, I immediately fell head over heels for the music, and knew this would be a show I would never forget. The sounds that came from Camara were beautiful and haunting, His fiddle produced light violinesque sounds and his voice, as smooth as cream, reverberated around the room creating a sense of awe amongst the audience. I was instantly whisked away to a distant, hot and sunny place far from the dark, damp, Manchester night.
People were immediately enthusiastic and after the second song, Adams encouraged the audience to “swing their hips to the sounds of the music”. This was instantly followed by a middle-aged couple who took to the floor, bopping and gyrating cheerfully.
Nearing the end, a swift change of instruments brought with it something new as Camara and Adams mixed it up a bit. A combination of Camara’s dreamy voice and sunny banjo with Adams’ grungy guitar riffs created something unique, which produced a large crowd of people dancing enthusiastically. Camara reacted to this sudden thrust of love from the audience and took centre stage for the first time, getting on his knees to do an impressive banjo solo.
They took me to the Sahara desert, and back again, and I loved every second of it.
The Plastiscines
Plastiscines…About Love
I was quite excited for the album ‘About Love’ by Plastiscines; a quartet of “super-extra-hot French girls” who promised to take us by the scruff of our necks and force-feed us French grunge.
By the time I’d reached track three, my illusions of this band being a part of ‘Girl Power’ 2010 were shattered, and I was pretty bored. ‘Bitch’ resembles a bad version of CSS’s ‘Art Bitch’, and the rest of the songs follow suit as sorely disappointing and uninteresting. I had not fallen in love with these Parisian princesses. And grunge? Au contraire!
Their songs attempt to recreate The Raveonettes, Yeah Yeah Yeahs and (especially) CSS, albeit unsuccessfully. Yes, their image is catchy and their performance is sexy but their music lacks any “va va voom” and this album sinks miserably in the mud. The Plastiscines need to go away and come back with something that has balls of steel and doesn’t flitter around grunge like a butterfly around a smudge.
As far as I can see, their image is paving a lot of paths for them and I wish them good luck in their quest for musical triumph, but are they going to change musical history? Non, Absolutement.
Walking into what 20 years ago would have been a smoky club, to watch bands through a layer of smog. The newly refurbished Band on the Wall creates the same kind of atmosphere without the bleary eyes.
This three-piece band consists of Justin Adams, long time music partner of Robert Plant, drummer Roy Dawes and finally the exceptional Juldeh Camara, reputed as the best one string fiddle, two string banjo player in the world.
The first thing that struck me was Camara’s sweeping lime green dress, elegant stance and grasp of his one string fiddle, all of which starkly contrasted the slick, suited Adams, stood next to him.
As soon as they began, I immediately fell head over heels for the music, and knew this would be a show I would never forget. The sounds that came from Camara were beautiful and haunting, His fiddle produced light violinesque sounds and his voice, as smooth as cream, reverberated around the room creating a sense of awe amongst the audience. I was instantly whisked away to a distant, hot and sunny place far from the dark, damp, Manchester night.
People were immediately enthusiastic and after the second song, Adams encouraged the audience to “swing their hips to the sounds of the music”. This was instantly followed by a middle-aged couple who took to the floor, bopping and gyrating cheerfully.
Nearing the end, a swift change of instruments brought with it something new as Camara and Adams mixed it up a bit. A combination of Camara’s dreamy voice and sunny banjo with Adams’ grungy guitar riffs created something unique, which produced a large crowd of people dancing enthusiastically. Camara reacted to this sudden thrust of love from the audience and took centre stage for the first time, getting on his knees to do an impressive banjo solo.
They took me to the Sahara desert, and back again, and I loved every second of it.
The Plastiscines
Plastiscines…About Love
I was quite excited for the album ‘About Love’ by Plastiscines; a quartet of “super-extra-hot French girls” who promised to take us by the scruff of our necks and force-feed us French grunge.
By the time I’d reached track three, my illusions of this band being a part of ‘Girl Power’ 2010 were shattered, and I was pretty bored. ‘Bitch’ resembles a bad version of CSS’s ‘Art Bitch’, and the rest of the songs follow suit as sorely disappointing and uninteresting. I had not fallen in love with these Parisian princesses. And grunge? Au contraire!
Their songs attempt to recreate The Raveonettes, Yeah Yeah Yeahs and (especially) CSS, albeit unsuccessfully. Yes, their image is catchy and their performance is sexy but their music lacks any “va va voom” and this album sinks miserably in the mud. The Plastiscines need to go away and come back with something that has balls of steel and doesn’t flitter around grunge like a butterfly around a smudge.
As far as I can see, their image is paving a lot of paths for them and I wish them good luck in their quest for musical triumph, but are they going to change musical history? Non, Absolutement.
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