These Dodos are nowhere near extinction

San Francisco Natives Meric Long and Logan Kroeber have been playing together as The Dodos since 2005 and were more recently joined by Keaton Snyder, whom Long has described as, 'a better musician than Logan and I combined'. Yet despite having acclaim piled upon them by critics, four albums later this indie-folk duo are still to hit the mainstream.

Their inclusion of African drum beats has drawn them into comparisons with Animal Collective, but if anything they are more of an edgier Vampire Weekend than a less spaced-out Collective. Drummer Kroeber originally began with his musical roots embedded in metal bands, and although this heavy edge is not apparent in The Dodos' tracks, the band have stated that they always aimed to create a sound in which the drums play a central role. Whilst many indie bands these days rely heavily on guitars, The Dodos have jumped at the opportunity to play about with percussion instruments and the often random or unexpected sounds created as a result really help in making their music stand out from the current crowd.  Combine this enthusiasm with the fact their latest offering is produced by Phil Ek, the man behind the recently lauded Fleet Foxes, and it becomes blindingly obvious how the folk sound in their music has developed to the extent that it plays such an integral role to the band's music as a whole.

As if having a band serenade you with melodies as smooth as silk wasn't enough to grab your attention, here's a random fact for you: lead singer Meric is noted by fans for having surprisingly long nails on his guitar strumming hand. But why use plastic guitar picks when you can grow your own, right? The band may have a slightly ridiculous name, but there is nothing comical about the songs these guys create and the progressive risks they take in doing so.

www.myspace.com/thedodos

Overly Processed Beats

After years of playing 'smaller' London venues such as Brixton and Somerset House, this November saw Kasabian finally graduate to the big time as their bought their mix of psychadelic indie-rock to the prestigious Wembley Arena.

Their most recent offering, 'West Pauper Ryder Lunatic Asylum' is undoubtedly one of the best releases of the year, and heavy hitting songs such as Fire, Vlad The Impaler and Underdog are more than capable of working the crowd up into as much of a frenzy as their older tracks do. Yet the buzz surrounding their impressive progression since the last record has apparently caused lead singer Tom Meighan's ego to substantially expand, and it's far from an attractive trait. I'm not saying that the band shouldn't be proud of the way their sound has developed or the fact that they write some bloody good songs. But they have openly declared themselves ready to take over Oasis' position at the top of the UK musical food chain and in the process, Meighan in particular seems to have inherited Liam Gallagher's unsavory attitude.

I am not adverse to swearing in conversation; it can often add a bit of spark to the somewhat dreary monologue of life. However, Meighan has introduced it into his repertoire to such an extent that it sounds artificial and contrived; quite the opposite effect I presume he intends it to have. Whilst bandmate and head songwriter Serge Pizzorno stays silent, cutting a bitingly cool self-assured figure to the left of the stage, Meighan struts about only to stop and pose frequently in such a stereotypical head-down-arm-up-in-the-air pose, it's as if he was reading a 'How to be a Rock God' manual before he came onstage. Instead of portraying himself in a rock and roll fashion, he comes across as a imprudent lout who uses football matches as a reason to start fights and excessive alcohol usage as a reason for justifying said outlandish behaviour. In turn, the crowd react in a similar manner and before you know it, it's turned from a good ol' singalong of Cutt Off to men violently shoving each other about and throwing beer and other unidentifiable liquids over the surrounding audience.

Kasabian used to have an endearing confidence that saw Meighan banter with the crowd and jump about the stage like a kid on a trampoline. Fast forward a couple of years and the kid has been replaced by a surly teenager who appears to be acting a certain way in a vain attempt to try and impress his mates. Meighan should realise by now that he doesn't have to shout and rile everyone up in order to create a reaction; the music will do that by itself.

I predict Jack Wills not be selling many of these

Many consider Jack Wills to be the English version of Abercrombie and Fitch. Gorgeous cashmere jumpers, ridiculously cosy hoodies and softer than soft leggings all stack the shelves and startlingly attractive shop assistants parade around as if they've come straight out of a model agency. It is also pretty much standard that most people that shop there have more than a couple of pennies spare and are thus more than willing to pay the higher-than-average prices. The company are reknowned for their preppy and simple pieces, with The Guardian even declaring that they have managed to make the notoriously chav-related hoodie posh.

oooooh snuggly hoodies. Jack Wills, £69 - £89

So, with many lovely items to their name, it is therefore beyond me how Jack Wills can make and then charge £798 for this monstrosity of a dress.

Bows? Love them. Vivd pattern? Very this season. Tulle underlay? Who doesn't want to feel like a princess? Yet throw those three components together and it all adds up to one big no. There might be some people that like it; good for them. We all like different things, and I believe the world would be a very boring place without varying tastes. But even if you do like it, I have no idea how the price can be considered jusifiable!

Jack Wills as a clothing company are respected, but not as high fashion designers; many of whom often charge less than this for a beautiful dress. After having a scour on the wonder that is net-a-porter I have found, what I think (some of you are bound not to agree), are a few nicer examples of what some or all of your £800 could get you instead...

Rachel Gilbert, £600

Notte by Marchesa, £690

Alexander Wang, £730

Malene Birger, £200

I'm not saying it is ok to spend £800 on a dress as long as it has a Dior label stitched in the back. However, if you insist on spending that much then surely it makes more sense to go for something from an established designer, which will then in turn maintain it's value over the years should you wish to re-sell it as vintage?

Which option would you go for?

http://www.jackwills.com/

http://www.net-a-porter.com/

This post is bought to you with the letter S and the number 40

When Hollywood actors clamour to get on to a children's television show, you know it's something special. This week Sesame Street celebrated it's 40th birthday and I don't know anyone who hasn't at some point wished that they could go and eat cookies with Cookie Monster, hang out with Bert and Ernie or sit in a nest with Big Bird. The programme has become an institution, and the fact it has remained on air for so long and so successfully only serves to attest to this fact. Put a photo of Elmo next to one of the Teletubbies and I have no doubt in saying that Elmo would be the most recognisable every time.

What I want to know is why isn't it shown in the UK anymore? There is so much tripe littering up kids channels over here at the minute, it is incomprehensible that these shows are given screening prescedence over one of the greatest children's programmes ever made. Sesame Street is both endearing and educational and has never been one to talk down to children, which is what many programmes are guilty of doing nowadays. Big shots in the children's television sector are continually looking for new and modern directions in which to take programming. But why? Sesame Street successfully proves that an enduring and trusty format works, whilst still managing to keep content relevant to modern times and issues. If it ain't broke, don't fix it, and Sesame Street is still a long way from needing a trip to the repair shop.

Below is one of my all time favourite scenes from the show, and if it doesn't put a smile on your face then shame on you! Here's to another forty years of Elmo and the gang...

Feeling Under The Weather

For a band who have been formed for less than a year, a sell out show at Brixton isn't bad going. Yet when you are called The Dead Weather and your band consists of musical heavyweights such as Jack White, Alison Mosshart, Dean Fertita and Jack Lawrence, it is perhaps somewhat less surprising than originally anticipated.

For whatever reason, female fronted bands seem to have a tougher time making a good impression on audiences than their male counterparts. For every twenty successful male-led bands, there is only one successful female-led group, and this fact was definitely at the forefront of my mind before Mosshart took to the mic. But from the moment she skulked on stage, any doubts that a female lead would not be able to whip the audience up into as much of a frenzy as a male would were quickly banished. Snarling her way through the eighty minute set, Mosshart prowled around the stage with such impressive self-assurance that the audience were left in no doubt that she alone was just as worthy of their attentions as the Stripe sat on drums behind her. Despite spitting out new single 'I Cut Like A Buffalo' with an admirable tenacity and showcasing new material written just that afternoon, it was still their best known song and show-closer 'Treat Me Like Your Mother' that received the biggest response of the evening.

Photo by Walid Lodin

The Dead Weather's sound is the most raw of anything White has previously released with any of his other bands, and this certainly comes across in their live performance. With his wild, unruly hair and determined ferocity in his playing, White definitely knows how to put on a performance even from the back of the stage; it was like watching a real life Animal from the Muppets take his place in one of London's most famous music venues. Lawrence and Fertita on bass and guitar respectively were not ones to be sidelined however, and both assaulted their instruments with such voracity it was as if their lives (and musical dignity) depended on it.

However, despite the electricity and enthusiasm the quartet exuded, it is an undeniable fact that a percentage of people, however large or small, were at the gig out of curiosity to see Jack White. Don't get me wrong, 'Horehound' is one of the most impressive debuts of the year, but you do have to ask yourself if it would have attained the success and acclaim it has if it had been released by four unknowns. Unfortunately, the answer is probably not, and the extended cheers that rose from the crowd as White stepped to the front of the stage to take lead vocals on a couple of songs did nothing to dispell this possibility.

White and Co. have worked hard to demonstrate that The Dead Weather are not simply a short term side project that they've involved themselves in for a pleasant distraction. Mosshart has already declared their second album to be half completed already, though despite White's comments to the media, she is determined their next release will not be amusingly entitled 'Morehound'. Whatever title it is released under, it should cement their status as a credible rock outfit and finally earn them the respect they deserve as a consolidated group, rather than four independent musicians haphazardly strewn together.

http://www.thedeadweather.com/