Dave and Danny (guitars) were in a previous band and when that broke up they wanted to do something new. After trying a number of singers they met Matthew and things immediately clicked. Stuart and Patrick joined after the first year of songwriting (and a couple of other members coming and going) forming the finished article.

The Sea The Sea is both a reference to the novel of the same name and the shout of the ancient Greeks when they realised they were nearly home. Above all we just liked the way it sounded.

How would you describe your music?

Indie rock with a heavy dose of atmospherics – pinching bits from post-rock, math rock and dream pop as we go. We like interesting structures and sounds but above all a good melody.

What have you been up to so far and what can we expect over the coming months?

We released four free singles in 2012 which are still freely available from our Soundcloud. These tracks had some local and national radio exposure and we got some good reviews which was encouraging. This year we have been concentrating on writing for our debut EP to be recorded this July as well as trying to play some more shows.

If you could duet with anybody who would it be and why?

Everyone in the band would give a different answer to this but I’m going to go for Thom Yorke.

What’s your desert island disc and why would you take this one album?

Stars of the Lid – And their refinement of the decline. It’s a double album and I never get tired of listening to it…either that or some massive vinyl box set so I could use the sleeves to construct a rudimentary shelter

www.facebook.com/theseatheseaband

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We met on a train from Chicago to Memphis and came up with the band name on that overnight journey… But neither of us remember how.

How would you describe your music?

Melodic folksy pop drenched with close harmonies.

What have you been up to so far and what can we expect over the coming months?

Lots of time in the studio…Debut EP just released…gigs over the summer…album on the way!

If you could duet with anybody who would it be and why?

Ryan Adams… We both love his songs.

What’s your desert island disc and why would you take this one album?

Joe – Mine would be The Beatles, Rubber Soul because it proves there are no limits in pop.
Martin – Mine would be Blood on the Tracks by Bob Dylan. I listened to this in college and it opened my eyes to songwriting.

www.wintermountain.co.uk

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First track There, There screams anxiety with its grunge-esque intro with dampened guitars and whining vocals accentuated as soon as the crash of chords illuminates the tempo and spring the song to the usual exuberance shown by The Wonder Years. The shouts of Dan Campbell glimmering slightly at certain points within this song hit exactly the right note, exactly the spot your ears were hoping for. You can almost feel Campbell letting his demons go here through the power in his voice. Passing Through the Screen Door emulates exactly what the initials of the song suggest. From the lulling of the initial track, this song provides a visceral and angry edge, displaying different emotions; first defeat and the calm, now the storm. And boy what a storm. The song starts with raging guitars which go up and down like bipolar moods throughout, along with Campbell’s voice following suit on this powerful and climactic song.

Centrepiece of the record and personal favourite comes in the form of Devil in My Bloodstream, a slow ballad with soft, conquered vocals, accentuated by a saccharine sweet female counterpart is a moving, emotional ode building to a crushing, energetic yet mournful chorus. It’s effortlessly beautiful and heart-fluttering. Madelyn has a similar feel; it sounds slightly like it may have been recorded in a bathroom, but this adds to the homegrown, personal feel of it all. It’s reminiscent of playful song Hey Thanks showing The Wonder Years aren’t all that serious, they’re funny, easy-going guys too. The end of Devil in My Bloodstream barrels into Teenage Pants and Chaser both fast-paced songs with sneaking Taking Back Sunday and punk influences within the instrumentals, which also show the full extent of Campbell’s voice with falsetto interludes.

Closing track I Just Want To Sell Out My Funeral is pretty much exactly what you’d expect of a seven minute track by The Wonder Years; it’s so pop punk it hurts. It’s full of gritty vocals, raw lyrics, crashing guitars, pounding drums and an underlying bass line carrying the song to its poignant climax.

I have followed this band for years, and from the bottom of my heart I can say; I am actually proud of them for this release. These are not the same guys who originally wrote “Get Stoked On It!” You can hear such an audible change in their sound – they have matured so much, gone through so many trials, and that’s what shapes such a solid and heart-breakingingly real release.

thewonderyearsband.com

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Lead single Demons is amazing and classic National, and the rest of the album follows suit with plenty of tales of self-doubt and heartache. The record starts off with I Should Live in Salt in which Matt Berninger laments “you should know me better than that.” You can always hear the pain in Berninger’s voice – it’s a major part in the National’s music; an instrument in its own right, bringing feeling to otherwise simplistic lyrics.

It comes as no great surprise that most of the songs here are slow-paced – as is the National way – with Fireproof and Sea of Love showcasing the band at their vulnerable, observant best. One of the highlights, Don’t Swallow the Cap, is the most up-tempo track on the LP, however, proving they’re capable of mixing things up a little and still coming out on top.

Anyone hoping for a more cheery National album won’t be best pleased, but I have a feeling (being one myself) that none of the band’s fans are going to want that. Indeed, they have such a strong following because they observe pain and darkness so well – and they’ve certainly triumphed in doing so here. Beautiful, delicate and heartbreaking in turn, it’s a classic National album, yet it doesn’t feel repetitive; they’re still bringing something new to the table. Trouble Will Find Me is yet more brilliance from a band at the top of their game.

www.americanmary.com/

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What marks Karine Polwart apart though, to an extent, is her willingness to match whimsy with guts, unafraid to tell stories which explore politics and life in a way others seem to fear – Cover Your Eyes is a protest of sorts against the Trump Corporation’s intrusive golf course in Aberdeenshire and Baleerie Baloo remembers the life of Jane Haining, one of only a handful of Scots to be arrested and put to death in Nazi concentration camps during WWII. There are lighter moments with the likes of Tinsel Show and Terminal Star offering something of a reprieve, but she is never afraid to tackle challenging material and doesn’t shy away from writing her own history as she goes.

With Karine’s brother turned band member, Steven, at home with a 5 day old baby to care for, tonight we’re treated to a replacement in the form of Rachel Newton on harp and occasional fiddle. She combines effortlessly with Karine and Inge Thomson and in the end leaves me questioning how the songs ever worked on stage without her. This is particularly apparent in Tears For Lot’s Wife, with the bass of the harp giving a far more sinister edge than it’s album counterpart.

Similarly it’s impossible to imagine her without Inge, whose ability to subtly transform the songs with intricate harmonies and ethereal backing vocals leaves the moments where Karine sings with just a guitar for accompaniment seeming almost flat. However, tonight doesn’t just stand to reconfirm this partnership, it also shows Inge off as an artist in her own right. As she takes the stage for a solo number her voice seems more powerful than it has when I’ve heard her play before, leaving me hoping for an imminent follow up to Shipwrecks & Static.

Though towards the end of the night Karine’s voice gives way part way through King of Birds her ability to carry on almost seamlessly marks her as a mature and experienced performer. She may joke that the audience would be lucky not to have seen her in the early days, but I find that hard to believe.

www.karinepolwart.com

Images copyright © Jo Cox. All rights reserved.

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Pyramid Stage

Haim

BBC’s ‘Sound of 2013′, sisters Este, Danielle and Alana Haim combine with drummer Dash Hutton to create music which seems to epitomise summer. It’s Fleetwood Mac meets the 90′s in the best imaginable way. Likely to be featured early in the day, their R&B meets folk-rock sound will no doubt act as the perfect wake up call.

The Rolling Stones

We can’t deny this announcement felt somewhat predictable after the countless rumours but none the less with over 50 years in the business it seems about time that Jagger and co took their turn on the hallowed stage. With tracks like You Can’t Always Get What You Want, and (I Can’t Get No) Satisfaction likely to find their way into a set list of countless classics it’s going to be one of those defining Glastonbury moments, which lingers long after their set draws to a close.

Other Stage

Amanda Palmer & The Grand Theft Orchestra

Love or loathe Amanda Palmer and the frequent controversy that seems to surrounds her, there’s no denying her ability to change and transform the landscape of music, perhaps best highlighted by her ability to raise £1.2m on Kickstarter to fund her most recent album. Nevertheless, her set will no doubt play to her cabaret nature and if she sticks to the likes of Want It Back rather than the utterly heartbreaking The Bed Song it might just compete with Lady Gaga’s 2009 set for one of the most interesting moments on the Other Stage.

Portishead

The curve ball band of the pack, though it’s been several years since their last release there’s no doubting that Beth Gibbon’s and co have consistently released innovative songs, making up for quantity with quality. With an ever elusive fourth album rumoured for the last few years and a string of European dates this summer,  we can only hope their Glastonbury appearance signals the follow up to classic tracks such as Machine Gun and Glory Box. 

West Holts Stage

Seasick Steve

Master of one of a kind instruments, expect to see 3 and even 1 string guitars make their way onto the stage, as well as the Morris Minor hubcap guitar which inspired the title of his most recent album. Seasick Steve’s blues sound has the ability to turn heads and though he may argue that “you can’t teach an old dog new tricks” it’s fair to say this seasoned musician has plenty to teach to the young.

Bobby Womack

It’s somewhat fitting that the artist who originally penned and recorded The Rolling Stones’ first hit (It’s All Over) as part of The Valentinos takes his own place on the festival site. With recent health concerns it might be one of the last opportunties to witness the legend in action. If you’re lucky you can expect his version of Fly Me To The Moon and Lookin’ for a Love which scored the singer a top ten hit when released as a solo number.

The Park Stage

Stealing Sheep

Interesting to listen to, and perhaps even more interesting to watch, this Liverpool based trio offer quirky melodies which fuse 60′s psychedelia with pagan folk. A perfect match then for the playground nature of The Park Stage, they’ll either inspire squelchly foot stomps to Tangled Up In Stars if it rains, or barefoot celebrations to The Garden if it’s sunny. Either way, as one of the most talked about bands of 2012, they’re not to be missed.

Palma Violets

Not to be confused with the retro purple sweets which taste of perfume, Palma Violets bring a rock sound to The Park Stage. Though they missed out on being named the BBC’s Sound of 2013, their first single Best of Friends was voted NME’s top track of 2012. We Found Love  is something of a nod to the Arctic Monkeys and guarantees to get the hillside stage rocking.

For full line up information, visit www.glastonburyfestivals.co.uk

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Opening and title track The Manuscript opens up the dark abyss with a slow, dragging dirge tinged by the smooth melodic lacquer of vocalist Aaron Stainthorpe, slowly transforming into a gruff and unapproachable song; juxtaposing to the mournful violin usage with harsh guitar chords and whispers setting your hair on edge, awaiting the minute the song will take a harsher turn.

Var Gud Over Er doesn’t mess about at all, it’s so blatantly in your face and aggressive it almost hurts to hear. With Stainthorpe’s vocals now in full, doom-mongering swing with condemning guitars driving the melody and a heart-racing kick drum elevating the mix, this song is dark to its core, made ever darker by gang vocals as if a cult chanting with the bass pounding like thunder through the metallic storm.

A Pale Shroud Of Longing creates longing itself within the listener, it starts slowly moaning and groaning along before slowly, but surely, reaching its full blown assault of power. The rises and falls of both violin and guitar thrust the song to its eventual brutal conclusion, although this song does come across as long-winded it is easy to fall out of love with its intricate beauty, though nonetheless this is a powerful and beautiful piece.

Closing song Only Tears To Replace Her With begins with a spooky spoken word verse, eventually accompanied by dystopian guitar prangs hauntingly sashaying around the prophetic poetry weaving through your mind. The song is atmospheric in so many ways it makes your heart skip a beat. It creates the feel of a funeral, at the albums end it almost leaves you sad that it ended so soon, despite the fact that it is 30 minutes long!

I was surprised with this album, I didn’t expect to like it, sadly I usually dismiss bands like this from the off but I am so glad to have found a treasure like this. It is lyrically and musically breathtaking, although slightly long and repetitive; I do not think it could have been shortened as it would not have held the same awe-inflicting qualities it possesses. A solid release and soon to be a firm favourite of any metal fan.

www.mydyingbride.net

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Formed on a chance meeting journeying by train from Chicago to Memphis this must all seem like some kind of folk fairytale for Martin and Joseph who are now working with some of the highest profile musicians in the industry, including Florence and the Machine’s guitarist Leo Abrahams and Coldplay’s string arranger Audrey Riley. Their EP ‘Find, Follow’ may only have been released yesterday, but with the level of support and backing the duo are receiving from Dillon and Lakeman they’re obviously tipped to do great things. A coincidence that both pairs hail from Ireland and Cornwall? Perhaps, but I couldn’t let it pass.

‘Find, Follow’ is available to download on iTunes now - itunes.apple.com/gb/album/find-follow-single/id642712987

www.wintermountain.co.uk

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I probably started making music shortly after watching Nirvana Unplugged on TV. It prompted me to learn the guitar – in fact I taught myself to play guitar by pausing the video and learning the chord. I have considered giving up music on occasion but I have no Idea what else I would do. Definitely not a pilot… I am terrified of flying!

How would you describe your music?

Melodic nursery rhymes

What have you been up to so far and what can we expect over the coming months?

Lots of gigs and radio sessions and travelling round this fair Isle of ours… There is nothing better than getting out and playing live.

If you could duet with anybody who would it be and why?

Bruce Springsteen. The man is a legend and I reckon he would be great to work with, you would learn so much.

What’s your desert island disc and why would you take this one album?

Five Leaves Left by Nick Drake, another great hero of mine and definitely the album I revisit again and again. I own it on vinyl (with original Island label), it is my most treasured possession.

www.jayleighton.com

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Heffron Drive is named after the street I lived on in Burbank, California when the band was formed. Funny thing is, Dustin and I were born in the same hospital, lived in the same city (Wichita, Kansas), but we met for the first time on Heffron Drive in Burbank, California. Small world.

How would you describe your music?

I’d describe Heffron Drive’s music as rock-pop-electro. It’s kinda like what you’d get if Skrillex, Zedd, Fall Out Boy, and Taking Back Sunday had a musical sound baby.

What have you been up to so far and what can we expect over the coming months?

Well, Heffron Drive just completed a mini tour, the first ever, in Germany and Austria. When I get back, I’ll be prepping for the Big Time Rush Summer Break Tour. After that, I may end up writing more music and perhaps do a Heffron Drive tour in the U.S. We’ll see.

If you could duet with anybody who would it be and why?

Maybe Ellie Goulding or Sia. Both ladies have amazing voices and I’d love to hear what they could do with a Kendall Schmidt/Heffron Drive track.

What’s your desert island disc and why would you take this one album?

Foo Fighters’ album ‘In Your Honor’ because it has that insane rock we love from the Foo Fighters, but the back half of the album has a mellow side for those beautiful island nights.

www.reverbnation.com/heffrondrive
www.facebook.com/heffrondrivemusic
www.twitter.com/heffrondrive

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Quirky first track Adios (Au Revoir) incorporates a simple yet infectious chorus with happy-go-lucky with a sly undertone with a almost blink and you’ll miss it interlude of an accordion, adding to the European element of this song, it all ties together beautifully, and more importantly, originally with the surge of pop-punk bands jumping out of the closet, this one is a little bit different, and it works wonders.

Second track Skeleton has the same head-bopping qualities which can make it fall short and seem similar to the climactic opening track, but the sharp, summery synth brings this song to the forefront, and on repeated listening it is a slow grower as its hidden qualities slowly become apparent: the simple, shoutable and relatable lyrics means this, like other songs, lurk beneath a sunny almost euro-pop exterior.

Twin Size Mattress totally breaks away from this sunny-side-up attitude, creating a raw behemoth of a track hidden beneath the light exterior. It slowly reaches a spine-tingling crescendo, throughout it builds up using simple chords with razor-sharp vocals and atmospheric drum beats, gang vocals bounce you out of your easy-listening and random instruments breaking the soft melody such as tambourines, when prompted by the lyrics to do so. You would expect this track to be a closing track, yet hiding it in the middle of the album in ways makes the emotional impact hit home harder, it’s something different in what could be construed as a generic mix, if it was not for minor differences such as this.

Much like this, Lone Star could almost be a tearjerker if the lyrics painted a visible picture. The lyrics tell the story of a pregnancy scare and a terrified and confused boyfriend, whether this be a true story or not it shows this band has substance rather than the generic friends and ex-lovers bull that many pop-punk bands cling to now, the music in this song may be simplistic but lyrically, it is an utterly poetic and moving song. A song that has, not only made me adore this band, but respect them immensely.

Closing song Everything I Own has a similar heartfelt feel as Lone Star and Twin Size Mattress, but with a positive edge and not a sombre tone as seen in these two songs. It almost bumbles along, it has such a jolly feel, there is no other word really, it a perfect high and slightly silly ending which suits this band down to a tee, whilst also showing maturity in adult and tormented lyrics.

I was impressed by this album immensely, to be fair I didn’t really know what to expect from it: Would it fall short or would it exceed all expectations? Another generic pop punk band or something out of this world? To me they hit just the right balance of doing something a little more out there without being so “out there” that it’s harsh on the ears. They combined beautiful lyrics with a simplistic musical assortment to really accentuate their true meaning, without flashing it in everyone’s faces. They maintain a happy-go-lucky attitude with substance to show that this band are in it for far more than what many jumping on the pop-punk band wagon are, and for that, I salute them.

www.thefrontbottoms.com

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