THE 2014 MIXTAPE

"The only year end list that matters" - Liam Gallagher.

A collection of the top twenty two tracks from the past twelve months. Listen to the playlist //HERE//.

22. Eyes Off You - Bombay Bicycle Club

for fans of: James Blake, The Maccabees, Sivu

Bombay Bicycle Club take a break from the evolving indie-dance-rock of their fourth album, the ever-romantically titled So Long, See You Tomorrow, in favour of a slow burning symphony. Eyes Off You begins as a solo piano ballad that jolts along like a sled in the snow. The smoky falsetto vocals gradually chime into a roaring crescendo of dizzy percussion, acting as a reminder to why this album was one of the most universally acclaimed British LPs this year.

SEE BOMBAY BICYCLE CLUB PERFORM WISH YOU WERE HERE WITH DAVID GILMOUR OF PINK FLOYD AT THE LAST EVER SHOW TO BE PERFORMED AT EARL'S COURT (actually brings tears to my eyes lmao) (my sister was there and I have never felt more intense feelings of jealousy in my life)

21. These Days - Take That

for fans of: anyone feeling a bit too old and too creepy for liking One Direction

No, really, I'm serious. Gary Barlow et al. have released a proper corker, and there is no shame in having so much love for These Days in your heart that it might just burst. It peaked at UK Number 1 a few months back, proving that Gary, Mark, and the hairy one don't need ex-members Jason Orange or national treasure Robbie Williams to produce a winning tune. Yes, the rhythm guitars are cheesy, the video is cringe enducing, and the chord progression is reminiscent of their early days, but you will catch that chorus easier than you'll catch a cold on the Northern Line. It's nifty and each time I listen to it I'm uplifted to the happiest place on Earth by the "oh-oh-oh-oh-oh". If this was released by Foster The People, you'd love it. So go on, hate it, I dare you.

20. Salad Days - Mac Demarco

for fans of: DIIV, Ariel Pink, Melody's Echo Chamber

King of lo-fi Mac Demarco managed to subtlety craft a third album that was so important, that it finally gave him the well-deserved status as a hero. His rugged exterior has labelled him in the media as a 'slacker rocker' - but don't fall into this trap, he's one of the most dynamic artists in the game. Demarco was arrested onstage a few weeks ago in true Jim Morrison style, and it was one of the most amazing rock-n-roll stories of the year. The Canadian epitomises Brooklyn-style cool, and Salad Days' title track is an example of how indifferent he is to his significance. It's simultaneously lazy and lucid, with an airy brushing off the loss of youth in the midst of remarkable honesty and self-awareness. He hasn't quite reached the big time, but it's a matter of time before his gap-toothed genius is recognised.

19. Thinking Out Loud - Ed Sheeran

for fans of: John Legend, Coldplay, Newton Faulkner

Admittedly I'm rather indifferent to Ed Sheeran - like he's alright but, you know - however Thinking Out Loud is just one of those songs that's universally loved. You'd have to be a right Scrooge to hate it. It's going to be around for years, and a true testament to that is how it's going to be played at every chav's wedding for the next couple of decades. The guitars are relaxed and understated, creating an oppourtunity to showcase Sheeran's soulful vocals and potent love declarations. Beautifully emotive, in a way that doesn't make you sad for a while.

18. Every Other Freckle - alt-J

for fans of: Glass Animals, Jagwar Ma, Egyptian Hip Hop

To widespread astonishment, these Yorkshire shy guys released a salivating monster of a tune. From the eclectic This Is All Yours comes a fuzzier offering in the form of Every Other Freckle. Infused with tribal beats and delectable harmonies, the industrial synths act as electric undercurrents to the naughtiest lyrics in alternative music: turn you inside out / and lick you like a crisp packet. Possibly the most awkward sext ever; how did they record that without blushing? Packed to the brim with lustful sounds and a sly homage to Lou Reed (Lou, Lou / let the cover girls sing), Every Other Freckle is one of the indie anthems of the year.

17. Fire Squad - J. Cole

for fans of: Drake, Lupe Fiasco, Wale

2014 Forest Hill Drive was a late release this year, but still broke records across the pond. It became J. Cole's third US number one album and beat One Direction's Four (a surprisingly brilliant album) as the most streamed album on Spotify in release week, being played over 15.7 million times. The rapper has been deemed as "Drake for the intelligent", and his self-assuredness really does prove this. Fire Squad is less mellow and more angsty than the album's earlier tracks, but still has the magic J. Cole touch. The retro instrumental loops around and around, while he spits lyrics assertive and spicy enough to set the aux chord well and truly aflame (while silly niggas argue over who gon' snatch the crown / look around my nigga / white people have snatched the sound / this year I'll prolly go to the awards dappered down / watch Iggy win a Grammy as I try to crack a smile). Bruuuuuvvvvv, someone cop me the aloe vera! Yet don't think this was an album really filled with anything but love: he proclaims on Note To Self (a very College Dropout inspired thank you): my mama OOOHHHHHHHH, I LOVE YOU!. Such a superbabe.

16. Jackie and Wilson - Hozier

for fans of: George Ezra, Half Moon Run, Lewis Watson

Bright young talents don't come much shinier than Irish crooner Hozier. Unless you've been living under a rock for the past 10 months, its inevitable that you would have come across his worldwide smash Take Me To Church. However, after listening to his self-titled debut, I found it to be one of the album's weakest tracks. Instead there are a multitude of other songs which showcase his musical magic in a much better light. Blues rock jam Jackie and Wilson is one of the best examples of this. It's upbeat yet still retains that spirituality so prevalent through his LP. His wonderfully upbeat soul guitars effortlessly accompany his honeyed vocals as they purr out genuinely cheerful lyrics that run around in your conciousness hours after hearing them. Talent and a knack for a charming sort of sincerity are just a few reasons behind Hozier's success.

WATCH HOZIER'S BBC RADIO 1 LIVE LOUNGE COVER OF ARCTIC MONKEYS' DO I WANNA KNOW

15. Sunset State - Jaws

for fans of: Swim Deep, Splashh, Foals

Breakthrough boys Jaws are the underdogs of the new wave of British indie music. Though achieving little commercial success, the Birmingham four-piece have cultivated a growing fanbase partly through association with the B-town movement, but mainly through energising live shows and music that sounds familiar. Sunset State - from their dazzling debut Be Slowly - has a rumbling undercurrent of fast-moving sunny synths underneath lead singer Connor Schofield's signature minimalist vocals. Their baggy rock takes a back seat in a hazy inducement of sallow colours and hearty teenage longings through sedative instrumentals and woeful sentimentality.

14. Brooklyn Baby - Lana Del Rey

for fans of: Sky Ferreira, Lorde, MØ

Anything that makes reference to the Beat Generation already scores huge favour points with me, and add Lou Reed to the mix? Brooklyn Baby is a winner. The Dan Auerbach (all hail) produced track is, believe it or not, actually enlivening compared to the rest of the modern day siren's acclaimed second album Ultraviolence. While a valiant attempt at timelessness, Brooklyn Baby is an ambient celebration of/poke at hipster culture. Her vocals are transcendent among the clarity of lonely, mellow guitars, echoing the lo-fi work of Brooklyn boy Mac Demarco, as she purrs a goldmine of the kind of phrases that would be considered as 'goals' (my boyfriend's in a band / he plays guitar while I sing Lou Reed / I've got feathers in my hair / I get high on hydroponic weed). Anti-pop at its finest.

13. World Pleasure - Peace

for fans of: Superfood, Mystery Jets, Tribes

I think appearing on the screens of the main stage of Reading Festival during the performance of this song was one of my highlights of 2014. Maybe my life too, but certainly this year. World Pleasure is one of Peace's most ambitious songs to date. Concerning their forthcoming album Happy People, lead singer Harrison Koisser (who I !met! this year!) previously revealed to Gigwise that he'd "like to think that people can kind of digest it a little bit and chew it up and be like, 'Ok, it doesn't sound like Lovesick but I like it", and World Pleasure exemplifies this vision ideally. For a start, witty lyrics (maybe I was not born brave / maybe I was born / GOOD LOOKIN') are kind of rapped by Koisser, sounding something like Madonna in her 1990 hit Vogue. Though the juttering guitar solos and funky basslines are clearly inspired by Peace's higher powers (Blur, The Stone Roses, etc.), the strings add a delicate and more mature touch to a song from band with a notoriously unruly sound. Among dreamy female backing vocals is a consistently strong beat from drummer Dom Boyce, producing a vivacious yet a bit grown-up new sound from the NME darlings. It's no Wraith (nothing will ever be as great), but it's still pretty darn good. Their 2015 tour is going to be immense.

12. I Found - Amber Run

for fans of: Josh Record, Saint Raymond, Bad Suns

After accidentally irritating a member of Amber Run after Lewis Watson's Shepherd's Bush show in September by asking him to take a picture of us rather than with him, I think it's only fair to include them on my countdown. Fortunately the Nottingham group have a whole catalogue of genuinely excellent songs to choose from, however their July release I Found is particularly sublime. Beginning with a dark dosage of acapella goodness, you're hooked from the second the first harmony drops. The track is enchanting; Amber Run are stripped back and completely raw in their most striking track to date. The acute awareness of such a delicate piece of music makes the eventual blend with percussive beats seem so strategically placed to literally shock you with feeling. The Nottingham big guns (Jake Bugg, Saint Raymond, Dog Is Dead) better watch their backs. I can't wait to see them at Dingwalls in February.

WATCH THE MIND-BLOWING, CHILL-INDUCING PERFORMANCE OF I FOUND WITH LONDON'S CONTEMPORARY VOICES FOR THE MAHOGANY SESSIONS

11. NEW DORP. NEW YORK. - SBTRKT + Ezra Koenig

for fans of: Disclosure, Jungle, Mount Kimbie

This was possibly the weirdest collaboration of the year, but the even stranger thing was the fact that it actually...worked. Who'd have thought that Vampire Weekend's dreamboat frontman Ezra Koenig (who has previously collaborated with Major Lazer and The Yeah Yeah Yeah's Karen O) would gel so slickly with the wacky London producer? Though SBTRKT's second album Wonder Where We Land fell on the underwhelming side, the fresh minimalism of NEW DORP. NEW YORK. certainly did not. The underground dancefloor anthem pulses with life and clean wit; drunken verses breathlessly delivered by Koenig over flavourful production manages to come across as a politely aggressive groove. It's so effortlessly New York - one of it's biggest appeals - that you almost expect Azealia Banks to pop up and start rapping about the 212. What NEW DORP. NEW YORK. manages best is to be a subtlety explosive diamond in the rough.

READ MY ORIGINAL RESPONSE TO THIS AND OTHER TRACKS RELEASED IN AUGUST 2014

10. Stuck In My Teeth - Circa Waves

for fans of: Wolf Alice, Young Kato, Two Door Cinema Club

Circa Waves are making a real song and dance of an, arguably, tired genre. To quote Chaka Demus: same shit bands / too much hype. Though the Liverpudlian foursome are one of the most eagerly backed new bands of the year, they are vomiting up tracks that deserve the attention they're getting. Following an opening riff that may one day become iconic, the light hearted lyrics of Stuck In My Teeth are woven into fast and playfully furious guitar magic that manage to hit home in all the right ways. Their pure indie rock has a vibe of euphoric vibrancy that's drenched in sunlight, and to say this song will make you feel good is a dangerously naive understatement.

THE CIRCA WAVES GIG WAS THE SETTING TO THE INFAMOUS 'ASK THE CUTIE BEFORE YOU TOUCH THE BOOTY' INCIDENT

9. Montreal Rock Band Somewhere - Happyness

for fans of: Wilco, Mazes, Posse

Happyness are hard to place; is their music loud and raucous, or fluffy and introspective? As an emerging new talent they are yet to define themselves, but their debut album Weird Little Birthday has categorised them as a band boiling under the surface. However Montreal Rock Band Somewhere, from their self-titled EP, definitely floats like a feather into the fluffy and introspective category. Their nostalgia-evoking slacker rock is still wedged into the grooves, yet is significantly down-tempo. The result is an atmospheric wooze of understated licks weighed down by poignant lyrics (let's call it day if not now when). Their grainy and groggy vocals hum a melody much like a male Honeyblood without the feisty bite. Yet attentive pathos really works for the South London trio, and is a winning formula that should evolve when they've discovered their stride.

8. Better Man - Paolo Nutini

for fans of: Matt Corby, Johnny Flynn, Van Morrison

Nutini's third studio album Caustic Love is an example of progression; he's comfortably eased from acoustic pop, to quirky ska-funk, and now to sophisticated blue-eyed soul. Better Man is certainly the stand-out track from this example of a newly emerged, refined Nutini; he's aged like a good wine. Tender yet gritty, Better Man is soaked in passion. Beginning with a simplistic acoustic pattern, it cultivates into a soulful ballad before peaking at intoxicating heights with gospel jubilation. His dulcet tones are still as husky as they were back in the days of Last Request (he's one of those stoners who never seems to shut the fuck up about weed, like great, we get it, thank u), yet the adolescent moodiness is a cloud that seems to have past as Better Man basks in the sun.

7. In The Mirror - Public Access TV

for fans of: Drowners, Skaters, Palma Violets

Fresh out of New York City come the literally-it's-like-your-toes-are-possessed-because-you-can't-stop-them-tapping-to-their-songs jangly rock outfit that is Public Access TV. They've made a somewhat small splash over in the UK through praise from various music media outlets and support slots with Circa Waves as well as Catfish and the Bottlemen in continental Europe, however these young whippersnappers (an underrated word) are not destined for anything but the big time. Or at least outrageously charismatic lead singer John Eaverly isn't. In The Mirror is their third online release, and is jam-packed with enough buoyancy to keep them afloat for a long time. Comparisons of this track to something of The Strokes are lazy and unadventurous; Public Access TV have way more to offer than being another group of Julian Casablancas clones. Fun loving riffs and crowd pleasing hand claps are just some examples of the kind of understanding the four piece have of the components to make a good song fit together. Plus they're not machines that just churn out great songs - they ooze the kind of stage presence that makes you think they're going to strip naked mid-show.

6. Zombie - Jamie T

for fans of: King Krule, Only Real, The Cribs

One of my biggest regrets this year - and I'm hardly ever the kind of person to experience feelings of regret - was hating Carry On The Grudge when it came out and refusing, out of stupid principle, to even bother seeing Jamie T at Alexandra Palace. Yet, the regret is so real and such a struggle, because it's grown on me like a fungi. Bun The Libertines, fuck Kate Bush: living legend Jamie T's comeback was the most exciting and important of 2014. His last album Kings & Queens was the soundtrack to our South London high school lifestyle (mildly rough girls thinkin we're tougher than we actually are - though we're actually pretty solid). It's true that his first offering in five years couldn't possibly match up to the thrills of iconic tracks such as Sticks 'n' Stones, but Zombie is still a classic Jamie T angry singalong. The divine combination of geezer rap and boisterous indie choruses and bridges make for an infectious track. Forever loquacious, the addictive tempo of shredding guitars to a pulp with a refined kind of class will brainwash you to adore this.

5. End of the Affair - Ben Howard

for fans of: Bon Iver, James Vincent McMorrow, Angus & Julia Stone

As I said in my original response to End of the Affair back in August, "a good song leaves you gripped even after it's finished, but when you're hypnotised within the first few seconds and still hanging on at the end of the final chord, what further proof do you need that what you're listening to is great?". End of the Affair may only reach #5 on my favourite tracks of the year, but I believe it to be the most beautiful piece of commercial music for many years. Simply hearing the opening chords chills my nerves before becoming enveloped in Howard's delicate solitude. The acoustic beginnings are hauntingly sonic, as if the ghost of his very soul has been left to roam in between each note. His words are simultaneously universally relatable, yet also untouchable in a regal sort of way. The fluidity of the track's initial 5 minutes or so is satisfyingly gorgeous in its own right, yet it is the calm before a storm of turbulent rage. The relationship was corrosive and dripping in poison, and once the initial sadness has flown Howard makes room for the symphonic drowning that will leave you speechless. End of the Affair bursts in a truly magnificent format of crashing drums and guitars, that make a mess of the song's long-forgotten gentle nature.
READ MY ORIGINAL RESPONSE TO THIS AND OTHER TRACKS RELEASED IN AUGUST 2014

4. i - Kendrick Lamar

for fans of: Childish Gambino, Schoolboy Q, A$AP Rocky

i is, without a doubt, the most important song of the year - though the excellence of this song divided many fans and music critics alike. Lamar takes a step back from any self-deprecating in a love song to himself. I think one of the greatest movements we've seen this year is more of an appreciation of ourselves and the people and world around us; it's no longer cool to hate things (though whoever said it ever was is mildly pathetic), and, most importantly, hating yourself shouldn't be a thing. The Compton rapper has taken that unfolding ethos and dissolved it into Kendrick-style honesty with a bigger pinch of feel-good. Therefore, i proves even further how much he was robbed at the 2014 GRAMMYs as it showcases his versatility in storytelling. The retro guitar licks and Isley Brothers sample is organic and showcase how strongly this track is rooted in funk. Though his spit still has a tainted edge of innocence, his change of flow gives a dreamy and interesting twist. Screeching guitars and, what sounds like, cow bells give a Latin flair and resemble urban landscapes of bustling people and police sirens: Kendrick is speaking to the masses. He wants you to love yourself like he does. But not in the cringey Bruno Mars way, of course.

3. Shelter Song - Temples

for fans of: Foxygen, Tame Impala, Boogarins

Okay so technically this track was released two years ago, but Temples released one of the best albums this year and this was the stand-out song, and so it had to be resurrected in order to be met with the appropriate amount of praise. Shelter Song exudes Temples' signature modern-day-cum-1960's psychadelia - they'd fit right in with the likes of Jim Morrison as well as Australian innovators Tame Impala. The drums whir from the get go, releasing the trippy and acidic vibes that accompany the rather Egyptian influenced guitars which create a more tropical feel. This track gets so much love because of the choral chanting followed by the very Marc Bolan-esque James Bagshaw, crooning literature daydream lyrics with his melodious vocals. His famous 12 string is gracefully awake underneath the controlled ruckus of stomping and divine choruses, and everything from the production to the arrangement is simply immaculate - probably because of how much control the band themselves have over their projects. Nonetheless, Shelter Song is sensual and narcotic, and every time I hear it my heart fills with an incontestable happiness.

READ MY REVIEW OF TEMPLES AT THE FORUM THIS DECEMBER

2. Homesick - Catfish and the Bottlemen

for fans of: Lonely The Brave, Cage The Elephant, Little Comets

In the space of six months, I have seen Catfish and the Bottlemen live four times. That's how phenomenal a live band they are. Their connection with the crowd is intense, their showmanship is on point, and, fundamentally, they aren't mechanically performing - they want the audience to have as much fun as they're having. Though virtually unknown at the beginning of the year, they've had one of the quickest sky rockets to fame we've seen in years - bar anyone that's come off of reality TV. From a top ten album to winning the BBC Introducing Award at this year's first annual BBC Music Awards to Twitter spats with One Direction's Louis Tomlinson, 2014 has been their year. Choosing a favourite from The Balcony was like picking a favourite child; their music, though sprightly and tireless, has a weird sort of emotional connection that can't really be explained. Homesick has that perfect balance between a seasoned rock ballad (through Van McCann's ever raspy vocals) and let's go HAM choruses, making for the ideal crowd singalong. Unlinke many of their other tracks, there's no sign of chaos among the desire, but there is an air of recklessness between every chord. Wonky riffs simmer below turbulence, but are tactically stifled by furious percussion. Their sound is for stadiums, and say what you will about their generic nature, the stadiums are exactly where they're headed.

READ MY ORIGINAL REVIEW OF CATFISH AND THE BOTTLEMEN'S DEBUT ALBUM

1. Blank Space - Taylor Swift

for fans of: EVERYTHING, because I honestly can't understand people who dislike this song

Who else to claim the number one spot but the Queen of 2014? Swift's fifth studio album, 1989, defied all expectations and pulled the music industry out its rut and has since sold almost 5 million copies in 3 months alone. One of the stand-out songs from the beginning - and the second single from 1989 - was Blank Space. Choosing a favourite song from such a stellar collection of songs was hard, but the iconicness of Blank Space clinched it. Upon first listen (and every listen since) I found myself screaming THIS IS MEEEEEE to the lyrics (nightmare dressed like a daydream? CHECK. oh my god look at that face, you look like my next mistake? EVERY TIME.). The cracks in her vanilla persona are finally beginning to unravel as her sound grows and she bears her teeth. Bouncy beats are ever so courteously decorated by sugary synths, yet over these lies sarcastic choruses and verses she uses to make fun of the psycho-bitch image thrusted upon her by the media. The hooks are slick and stylish, obviously taking inspiration from her BFF Lorde, always on an equilibrium with her voice - guess what, she's a pop star who can actually hold a tune. She addresses the man-eating rumours even more aggressively in the music video, which has to be the greatest of the year. Not only does the fashion and mansion decor make me swoon, but the concept is a caricature of what the world thinks of her and it's honestly groundbreakingly excellent. Taylor Swift is one of the world's most beloved individuals in pop culture and she never even needs to prove why.
READ MY TRACK BY TRACK RESPONSE TO 1989

LISTEN TO THE 8TRACKS PLAYLIST CONTAINING ALL THE TRACKS FROM THIS POST BELOW. THANK YOU FOR THE SUPPORT THIS YEAR. HAVE A WONDERFUL 2015. XXX

THE 2014 MIXTAPE from sweetlamplight on 8tracks Radio.

GIG REVIEW: TEMPLES - The Forum, 3rd December //

(photo creds: Wumni Onibudo @ the line of best fit)

According to the 'My Year in Music' function on Spotify, not only were Temples my top artist of 2014 but their debut album Sun Structures was my most listened to album (on Spotify) of the past 12 months. This is not the only HIGHLY PRESTIGIOUS list Sun Structures has topped: it was crowned Rough Trade's Album of the Year, as well as appearing on the definitive top album lists of NME and XFM. It is an album truly celebrated throughout the year, especially by their champions from little-known bands such as The Smiths and Oasis. So underground, right? Both Johnny Marr and Noel Gallagher have saluted their unexampled talent and labelled them as "Britain's best new band". Alright, innit?

I had liked Temples' music for a long time but I properly tripped into the realm of true love once seeing their set in the BBC Radio 6 Music Tent at this year's Latitude Festival. It wasn't long before the album became all I listened to; becoming borderline obsessive. With support from the funky-fresh sounds of Superfood (though it was an unorthodox to see them play to such a pastoral crowd instead of in a pit of sweaty carnage) (read my review of their NME New Breed show here), Temples at The Forum was a show that I couldn't afford to miss (well my pocket could really have afforded to skipped it, but my appetite surely couldn't).

Front man James Bagshaw (and star of my favourite YSL campaign of all time, alongside top babes Jack Kilmer and Dylan Brosnan) proved truly in control of his project. After writing and solely producing Sun Structures, their just-stepped-out-of-the-sixties sound orbits almost entirely around his foxy magenta glittering 12-string and delicate vocals. Slightly simmering under the surface, his showmanship is brought to resplendence by the delight of the equally camp other three members of Temples (Adam Smith, Sam Toms, and album co-writer Thomas Walmsley). Cheekily, in a sparkly blazer, he teased the crowd about their lack of lustre, yet this only lead to the most forced mosh pit I'd ever been a part of.

(photo creds: Andy Sidders @ gigwise)

Unsurprisingly, the Temples tour was a really unique occasion. Not only were some tracks accompanied by an orchestral ensemble, but a trippy live liquid light show contributed to an already kaleidoscopic atmosphere. Their show channelled all mediums: classical influences, nomadic art, and transcendent music. Temples aren't inspired by 60s psychedelia: they are the embodiment of the era in the 21st century. Instant classics such as Shelter Song mesmerised (wheyyyyy!!!) the crowd, whilst they fed off the quirky zest of The Guesser.

Though Sun Structures is a masterpiece of intricate layers and their performance teetered on hypnotic levels, the feeling and heart of the record failed to be transported on stage. Three 3 minute+ instrumental solos just don't work in a live show predominately attended by teenagers and young adults. With such an entangled and ambitious two years of performing, it will be interesting to map the Kettering four piece's progress to LP2.

GIG GROPING: the philosophy of "ask the cutie before you touch the booty"

As our wayward journeys on this erratic earth progress I think a time comes when we learn to accept that certain events are inescapable. We are going to be swathed into situations that are awkward and uncomfortable, and there's nothing much we can do about it other than just let it slide. I believe that we have adopted a certain tendency - whether this is culturally specific or not I don't know, but it does seem like a very 'British' habit - to sweep things under the rug to avoid said sticky predicaments. Sometimes it's just not worth making a mess over because scenarios are awkward and beef is seldom necessary, but there are rare occasions where I won't let shitty people get away with being shitty for my own peace of mind.

I went to see Circa Waves at Heaven on Wednesday night (19th November) to: a) see a band who play great music, b) spend time with a good friend, c) boogie a bit on a night out, and d) maybe write something nice on here after. I did not go to see Circa Waves at Heaven on Wednesday night to deal with infuriating circumstances.

(photo creds: Circa Waves Facebook)

The audience were riled up by Public Access TV - a NYC jangly rock outfit (think Drowners or a softer, boppier Skaters). They couldn't have been older than 19 yet they proved to be more than capable to deliver an overwhelmingly impressive catalogue of steamers. Bleeding charisma and a light dusting of cocky charm, songs like In The Mirror demonstrated a future so bright that it became understandable why the guitarist wore shades.

(photo creds: tmrw magazine)

Circa Waves, propelled to attention by Zane Lowe, are one of Britain's fastest rising bands who've toured with The 1975 and The Libertines so it was only natural that we wanted to move into the crux of the crowd. Though the set opened with stellar power tracks like Young Chasers and Good For Me, it took a while for the crowd's spirits to go from mildly pathetic to "that's a bit more like it" considering the vigour of the band's garage rock. Still, it was kind of nothing compared to most of the crowds I'd been in lately - meaning I'm more than used to having zero personal space, being pushed around like a rag doll, and sweaty bodies at every turn. Although I'm highly familiar with this kind of atmosphere, it doesn't mean I'm used to or in any way should expect to get my butt grabbed by a massive, excessively perspiring man.

Besides this week I have been groped once at a gig: I had just turned sixteen and was waiting to see Two Door Cinema Club. Admittedly this was one of the first proper gigs I'd been to (in terms of general admission madness), but it's not like I was unaware of the basic mechanics of how these things work. Long before Two Door Cinema Club had even started their set I could feel this boy behind me rubbing his hands up and down my legs and bum with the occasional soft pinch. To say I was incredibly uncomfortable and extremely embarrassed would be a severe understatement. Being only sixteen and unlikely to be able to defend myself against a nineteen year old boy, I kept quiet and pretended it wasn't happening while my sister continued to talk my ear off, oblivious to the problem at hand (I later revealed to her the grotesque nature of the groping once we were back home). Luckily during the show itself I was able to """accidentally""" elbow him in his cratered face, but that was the extent of my self-defence.

Times have changed. It is 2014 and I am not afraid of anyone. Especially not gross perverted men.

Why should I be subjected to sexual assault because I am a young girl at an angsty rock concert? I may be categorised as a fangirl because I'm a female consumer, but does my gender automatically mean that I do not belong at this event? That I must only be there because I find the members of the band aesthetically pleasing and not have any interest whatsoever in the music they create? Therefore I deserve to be touched inappropriately because it's 'all part of the experience'? Trust me, I have been to many a gig in my time and I can assure anyone with a shadow of a doubt that this is not a price that typically comes with the territory.

At first I thought it was an accidental encounter that followed the tides of the crowd. I gave the guy a dirty look, but realised it could have been unintentional so brought my focus back to the music and my own personal enjoyment. It often bothers me how stupidly naive and optimistic I can be; always hoping for the best in others when I'm consistently proven wrong.

The second time around confirmed that his actions were entirely purposeful. This time I experienced a full throttle grope in the area of my bum. I yanked his beefy hand away from me as his shiny face grinned at me. "You're a fucking disgusting arsehole!!!" I attempted to shout at him over the lo-fi rock. He chuckled in reply and reached for my waist again before I balled my hands into fists and hit him somewhere on his face as hard as I could. My hand couldn't have made a very large impact as I have as much upper body strength of a small child, but it was probably more of a shock to him that a female in a vulnerable position actually had the ability within her to defend herself. He called me a "little fucking bitch" but need I respond? I mean, I'd already replied physically to his threats - I didn't need to prove anything else to him because he now knew I was unafraid. (This is not the first time I've gotten into beef at a gig, but maybe those stories are for another instalment.) Arguably this action lacked common sense because who knows how he could've reacted, but thankfully I was able to relish the rest of the short but sweet showcase of Circa Waves' upcoming debut album assault-free, including the boppy delights of one of the year's strongest singles Stuck In My Teeth.

The fact of the matter is that I did something that I was proud of - besides the act of physically assaulting a stranger, I stood up for and protected myself. I've always been the kind of person that a few of my friends have said that they "wouldn't want to get on the wrong side of", but what does that say about me? For some it means I probably have too much attitude, but maybe it also means that I have the courage to not be pushed around and treated like a second-class citizen. Regardless of the fact that my bum is more inclined to the Taylor Swift rather than the Kim Kardashian end of the juicy booty spectrum, consent is always required before you so intimately touch a person (not that me or anyone else is going to say "yes" if you ask anyway). Especially with cases such as the Sam Pepper scandal coming to light recently, shouldn't men realise by now that women do not want your meaty hands on our bodies without our explicit permission? Would you want some strange chunky hand grappling at your groin area? It's ridiculous that I'm having to explain this. Accept the fact that gig groping, or groping of any kind, is not and will never be okay.

@acciogeorgia not cool! We'll have none of that at our shows.

— Circa Waves (@CircaWaves) November 20, 2014 

(what definitely IS cool is that bands care)

What vexed me most about the incident was not even the fact that I was groped, but the possibility of other young girls in the crowds being preyed on by this giant gross loser. As music fans collectively unifying to celebrate something we all enjoy, shouldn't we treat each other with comradery and respect? Thankfully I taught that wasteman a lesson and he was put in his place, but unfortunately girls in the future will continue to be taken advantage of when they're meant to be having the time of their lives, and that's a crying shame. Concerts are supposed to be experiences that grow to become a part of us, not something tainted with venomous memories. We need to protect girlies, not endanger them.

GIG REVIEW: NME NEW BREED TOUR PRESENTS SUPERFOOD + HONEYBLOOD - Dingwalls, 11th November //

In September this year, notorious music weekly NME announced their first ever New Breed Tour. Following in the footsteps of record label Communion's inaugral New Faces tour (which has most recently featured the likes of Fyfe and the insanely talented Amber Run), the NME New Breed Tour seeks to unveil to the world some of the industry's hottest tipped acts to make an impact over the next year. NME, very wisely, selected the deliciously named Superfood and Honeyblood to co-headline the tour.

The support for the London date came from the vastly unknown but strangely endearing Bad Sounds. Outfitted with we-have-never-even-walked-past-the-barber's hairstyles, the five piece took 80s pop rock to gleaming new heights. Their Egyptian Hip Hop-esque beats are clean and nothing short of completely funky. Unfortunately this is the only evidence I can find of them on the Internet, but I pray they release some more material over the coming months because I have an incredible thirst for more.

(photo creds: NME)

Honeyblood are Scotland's answer to Best Coast. Lead singer Stina Tweeddale's gutsy, reckless vocals scream out poisonous lyrics "I will hate you forever / Scum bag, sleaze / Slime ball, grease" in a fury of feminine angst. Their rebellious and rootsy girl power was devoured by the entire spectrum of gender in the crowd - a refreshing attitude from an audience who all too often claim that women have 'no place' in indie rock; a stereotype the industry has endeavoured to abolish in recent years with acts like Sky Ferreira, Haim, and female-fronted Wolf Alice. 90s grrrrl rock is back with a sting in its tail.

// OFFICIAL WEBSITE // FACEBOOK // TWITTER //

where's wally did u mean where's georgia (photo creds NME)

Superfood, signed to Infectious Music, are an example of the young indie rock talent hailing from Birmingham. They join the ranks of 'B-town' alumni - notably Peace, Swim Deep, and Jaws - to set the music scene alight with their kinky garage sound. Having previously opened for Peace - and, in fact, at this very show - many fans of the band will discover a certain satisfaction in Superfood. Their addictive hooks are slick and candied by sweet riffs, yet the sheer noise of their Britpop infused sound was enough to rile the crowd into turmoil.

(photo creds DIY)

Rippling basslines were so effortlessly provided by resident cool girl Emily Baker while the true heartbeat of Superfood's catalogue of oddities and adolescent heartaches lay with drummer Carl Griffin. His thundering percussion created an atmosphere ripe for rebellion while lo-fi guitars were shredded to a pulp by Dom Ganderton and Ryan Malcolm to the delight of Dingwalls' lawless fans. No seriously, they were insane - no gig is complete without a full-on fandom stage invasion in which the onsite security melted into a proper mare. Such a devotion clearly filled the band with ecstasy as they looked out with a smile onto an unbridled moshpit while the leaking ceiling precipitated onto their heads. NME have well and truly sought out the next indie rock hype.

// JOIN ME IN SEEING ONE OF MY FAVOURITE BANDS TEMPLES ON THEIR UK TOUR WITH SUPPORT FROM SUPERFOOD #LASH // OFFICIAL WEBSITE // FACEBOOK // TWITTER //

where's wally part 2 (creds superfood)

To add the icing on the cake, as my friend Aimee and I exited the venue's bathroom who do we end up walking behind but the flash of red hair and iconic fur coat of Harrison flippin Koisser - lead singer and superbabe from Peace :o:o:o We talked about sparkly tops, Superfood, and friendship, and he was as wonderfully lovely and eccentric as you would expect. I luv luv luv him.

Harrison and I xxx

27TH OCTOBER: INTERNATIONAL TAYLOR SWIFT DAY

It has arrived. 2014's most fervently awaited album is here. Taylor Swift has released 1989: the follow up to 2012's smash hit Red - a collection of songs about a crippling heartbreak. The newly appointed princess of pop adamantly denies that 1989 will be an echo of Red - this is not an album where she pines over the past; this is the soundtrack to self-discovery, as she writes in her linear notes: "These songs were once about my life. They are now about yours.". This phrase defines her success as a songwriter and a performer, and explains the Swift-hysteria bubbling across the world at the moment. And here I am, with my physical copy of 1989, waiting with bated breath to experience her latest offering. What will follow is my immediate, embarrassing reaction to each song as fast and as truthfully as I can type it. Stream of conciousness type, and it's gonna make no sense. I apologise in advance for the capital letters.

TRACK 1: WELCOME TO NEW YORK

lbr that bass drop just knocked me out. The lyrics are pure poetry (but what is this production??? can we? not?). I'm fully ready to body roll to that electric and cheesy chorus thooo. It's all quite obviously an extended metaphor for her self-growth. This is all very sad I miss New York a lot, where was this album when I was there? Or when The Carrie Diaries was still on air? Tbh this is pretty ~funky and further proof that the world needs a Taylor Swift trance album. Is the vibe of New York captured? Yes, but lay it out there - it's no State of Grace. Album opener game maybe not that strong :(

SECRET MESSAGE: we/begin/our/story/in/new/york

TRACK 2: BLANK SPACE

Ladies and gentlemen, Nicki Minaj part 2 is here and reincarnated in the form of BLANK SPACE. These beats are too sick, I am floored. That line "you look like my next mistake" is incredible yeaaassshhhhh !!!! This is so the vanilla version of What You Know Bout Me it hurts, I am so in love. So sharp, so witty, so insightful. This is slick and smart, and most importantly, very sophisticated. Bubblegum pop at its most prestigious: Lorde has definitely left her acidy mark on Taylor. I love the self-love! She is no longer the victim - she is the femme fatale. Plus the chord progression is mint af.

SECRET MESSAGE: there/once/was/a/girl/known/by/everyone/and/no/one

TRACK 3: STYLE

I mean, upon seeing this song on the track lists there are certain premonitions; the subtlety scale is on a beautifully round zero like helllloooooooooo. But fuck, those guitar licks SLAY from the outset all the way to the chorus. Curiously, very Girls/Robbers-esque - the enigmatic love child of the two. Maybe a salute to Daft Punk for beating her out for 2013's Album of the Year at the GRAMMYs? oH my god amazin g i kove haylor. Could this be a the very mature Treacherous? The 80s are upheld, yet she is still crisp and fresh and modern HOW??? Madonna would be proud.

SECRET MESSAGE: her/heart/belonged/to/someone/who/couldn't/stay

TRACK 4: OUT OF THE WOODS

honestly Can;t deal with another Haylor classic - this has completely grown all over me like an ivy vine. I can't stop singing this. There is an ominpresent aura of anxiety and fear which weaves so well with the impossibly strong chorus. I'm unbelievably elated that despite the new direction, she can still stay #TRU to the autobiographical chapters that we all fell in love with. nahhh though some seriously sly SBTRKT vibes going on here... LMAOOOOOO HARRY STYLES CRYIN REMINDS ME OF:

SECRET MESSAGE: they/love/each/other/recklessly

TRACK 5: ALL YOU HAD TO DO WAS STAY

Her cited Annie Lennox influences were so evident in that first ten seconds. hmmmm can't help but think this might work better if it was minimalist up to the bridge? Oh YES LUV a good finger click. Sounds like one of those dittys in the chick flick when the guy does something dumb before he wins her back.

SECRET MESSAGE: they/paid/the/price

TRACK 6: SHAKE IT OFF

YESSSSSSSSSSSSSSSSSSSSSS!!!!! okay, honestly, I didn't originally get the pure brilliance of this but the BRASS and the GIRL POWER is irresistible. This is indisputably an anthem. I just want to Taylor dance and flip my hair to this and yep that's exactly what I'm doing. bruuuuuu the cheerleader chant will forever be GENIUS ~~~ HELLA GUD HARRRRRRRR (foot in mouth btw)

SECRET MESSAGE: she/danced/to/forget/him

TRACK 7: I WISH YOU WOULD

Slot this into a John Hughes movie and it's the missing puzzle piece, put it on the radio in 2014 and it could be a smash hit. Its big and sprawling production works so timelessly. She is classy pop that deserves to be screamed along drunk to. And I will take this task onto myself.

SECRET MESSAGE: he/drove/past/her/street/each/night

TRACK 8: BAD BLOOD

FUUUUUUUUCCKCCKKCKKCKCKCKCKCKCKKCKCKSSKDNJKSDNJKCD OH MY GOD EVERY OTHER ARTIST ASPIRES TO HIT YOU STRAIGHT IN THE NOSE WITH A TRACK LIKE THIS. I am dead. On the floor. I just wanna skank. These vocal chants have killed me. I mean that chorus is OUCHHHHH - "still got scars on my back from your knife" - shots are FIRED. This song alone will fill STADIUMS. lit fuck every """friend""" that turned their back on me lmaooooo.

SECRET MESSAGE: she/made/friends/and/enemies

(photo creds: @taylorswift13)

TRACK 9: WILDEST DREAMS

Define sweeping ballad. Maybe they got a bit confuddled over at the place where they mix CDs, because surely this is a Lana Del Rey track? Without You is one of my favourite songs, and this Taylor rip-off is beyond belief, I am seriously heart eye emoji rn. This encompasses how the percussion and synths of this album are astronomical. It's like you can feel her heartbeat? WOAAAAAHHHH "his hands are in my hair / his clothes are in my room" I think I just died and went to lyric heaven ???mayb??? Don't abandon ship yet, the desperate heartache from her previous albums is STILL HERE!

SECRET MESSAGE: he/only/saw/her/in/his/dreams

TRACK 10: HOW YOU GET THE GIRL

ACOUSTIC GUITARS ARE BACK OH BLESS THE LORD. Stay strong, country roots. Is this the wild younger sister of Girl At Home? okay Taylor has done it again - she has captured the universal feelings of the female species: we don't like games, boys. BE HONEST W/ US. I feel resurrected and renewed; it's so reminiscent of her old stuff...with an incredibly pop edge.

SECRET MESSAGE: then/one/day/he/came/back

TRACK 11: THIS LOVE

Metaphor and symbolism game still strong I see. I feel whisked away, this is the Taylor Swift trance record I have always hoped for. This is what I wished for after hearing a remix of the acoustic version of State of Grace: I am FULFILLED. This has to be acoustic live though, and maybe it will set the world record for most spines simultaneously chilled. It's almost, but not quite, All Too Well. Will there ever be another All Too Well though? That's a huge precedent to live up to.

SECRET MESSAGE: timing/is/a/funny/thing

TRACK 12: I KNOW PLACES

fuck ma lyyyyyyyfffff, I thought this was gonna be some twisted version of Mine and I was about to DROP DEAD. This would work wonders as a piano version (and where is the piano version of I Knew You Were Trouble please??????? i deserve that). The progression from a really encompassing and dark evil (lmao 1d fangirls) to a sunnier, surging intoxication is impressive even though it shouldn't be. oiiiiiii the lit student in me is reading to much into this but could it be a reflection of Mine because this guy really is the best thing that's ever been hers ???? au revoir

SECRET MESSAGE: and/everyone/was/watching

TRACK 13: CLEAN

That stuttering tho, bravo Imogen. The simplistic production is magical - it's Taylor but it's also brand new. This is the best example of her reinvention. God these lyrics are HARSH and angry ??? Hitting home like....something that hit homes v hard lol. That vocal range BAAAABE! "I think I am finally clean" are sublime final lyrics.

SECRET MESSAGE: she/lost/him/but/she/found/herself/and/somehow/that/was/everything

just when you think it's all over...BONUS TRACKS

TRACK 14: WONDERLAND

the lit nerd that I am is obsessed with the Lewis Carroll-ness of this. This is literally Taylor on acid: it's rowdy, raucous, and over the top but it works so well.

TRACK 15: YOU ARE IN LOVE

Reminds me of candle-lit nights, or that scene in Tangled (you know da one). This is definitely how the narrator of Clean feels when she's warm and safe. I don't know if I'm crazy about the melody but the lyrics are RELATIONSHIP GOALS and oh mY gdo "one night / he wakes / strange look / on his face / pauses / then says / you're my / best friend" - best lyric of the album by far. Lol did she just say fuck??!!! That was very nice.

TRACK 16: NEW ROMANTICS

Completely reminds me of Sky Ferreira's early synth-pop stuff. Easily the more realistic version of the utterly candified life of 22. Oh jeeeeez, can you say Foster the People??!!?! "heartbreak is the national anthem" haha Taylor trusssss. Set in an urban landscape, she's lost like the hoards of teenagers growing up with her. If this song isn't played during my first clubbing experience I s2g turnin around and GIVING UP ON LIFE.

(photo creds: Michael Buckner)

FINAL WORDS - 1989 makes you read between the lines. At first, there may be a crippling nostalgia flooding you like all that bloody water she talks about in these lyrics, because you want the old Taylor who can universally speak to the hearts and minds of teenage girls. It may not be my favourite Taylor album ever but 1989 is the album for a new age. Her collection of songs can't all be Bibles for Breakups - 1989 is our chapter for growing up and facing the world head on independently. Sure at one point, much like in Taylor's life which often can run so parallel with our own, life is all about stupid boys who don't scrub up to our expectations and who, quite frankly, treat us like shit. But with this new wave of feminism enlightening the lives of our generation, we've had to learn that boys will always treat us badly and the only person we can rely on is ourself. I think that's the message that she's trying to portray. Be beautiful, independent individuals, surround yourself with healthy people, and your life will be filled with sunshine and ecstasy.

THE BALCONY: the beginnings of a Catfishy domination

for fans of: Circa Waves, Foo Fighters, Cage The Elephant, Arctic Monkeys, Kings of Leon

(creds: gigwise)

It's likely that if you've visited any decent festival over the summer, you'd have glanced at the name Catfish and the Bottlemen somewhere on the bill. While perhaps curling your lips at such an unusual name, you may not have realised that these adolescent heroes would have drawn one of the most over-subscribed crowds at your festival. Catfish and the Bottlemen are perhaps 2014's most hotly-tipped act, and are searching the skies for a rocket launch into the spotlight.

Though they've been touring dingy clubs across the UK and US, their breakthrough LP The Balcony is evidence that the North Wales quartet are not set out for small-time success. Packed to the brim with teenage woes and angsty choruses, Catfish and the Bottlemen's debut has a lot of hype to live up to as it is doubtlessly the most highly anticipated British album of the year. Over the past 12 months, they've released a string of well-received singles that subtly appeared on the radars of critics and young devotees alike, truly proving that mainstream rock and roll is quickly making its way back onto the airwaves. So have Van, Bondy, Bob, and Benji (don't they just sound like a Cbeebies programme?) lived up to the hype that has surrounded rock's newest darlings?

Well, to start, there's no front-man quite like Van McCann. A restored version of Homesick is the ideal album opener: an effortless showcase of his raspy and ever on-point vocals that continue to grow as the album progresses. Homesick loudly leaves a confident precedent about what to expect before the record ends. And what we can expect is percussion mad verses a la Pacifier which are rhythmically fundamental to these typical indie rock tracks. However, many of the songs can be a tad over-produced as that essential bass line is often seen to slither under the rubble.

(me + 'the Bottlemen' - hair game so strong)

Outstanding fan favourite Rango is the ultimate portrait of Catfish and the Bottlemen: more of those divine, lusty McCann vocals alongside an equilibrium of the stormy and the raw elements of the band's spry sound. It's roaring crescendo defines the reason crowds flock to their live shows: CatB's music was made to be moshed to. This is echoed in that wily Kathleen, who is as turbulent as ever - eternally laced with pure anger, it's a track crafted especially for you to scream your heart out to, which is essentially why these songs could become as classic as Mr Brightside.

As the swagger of the characters imagined in Fallout transcends into cheeky lyrics in the song's latter half (see I / I was a test tube baby / that's why nobody gets me / see I / struggle to sleep at night but it's fine / Mary don't let me), the humour and loopy infectiousness of Business emblazon just how Catfish and the Bottlemen have connected with their mostly juvenile audience: through a mutual love of casual crushes and booze. The Balcony can do nothing more but create a bigger aura of adoration around them and, because of their unadulterated loveabilty, they've somehow become the people's band and an important soundtrack to our coming-of-age generation.

Their most recent single Cocoon has more of a cordially defeated vibe than the embittered animosity of it's predecessors, with harmonious vocals acting as a sugar coating to the frustrated drums. Yet the midway acoustic-driven Hourglass cannot help but be very, very, very Luke Pritchard - hopelessly romantic and wonderfully naff. The tough unplugged guitar gives the airy lyrics the confidence it needs to knock Seaside out in a fight.

The Balcony's farewell effort seems to be the most musically strong of the album: Tyrants is dark and thundering. Spiralling guitars eclipse the juttering ones of previous track Sidewinder which, along with the clean riffs of 26, seem to get lost in the chaos of the rest of the album. It's lucky that Tyrants and it's abrupt end were on hand to leave first-time listeners hungry for more of Van's consistently impeccable and unmatchable vocals.

It's quite safe to say that the success of Catfish and the Bottlemen could soon be comparable to last year's British breakthrough The 1975, and perhaps one day they'll even match that of bona fide legends Arctic Monkeys, though they've failed musically to offer anything completely organic. What they are is very well written standard garage rock. There've been hundreds of bands just like them, and there'll be hundreds more, but maybe because they're so simpatico, they've been able to bottle (ahhhhhhhhhhhh) their luck quite contrary to any of their counterparts. And we cannot wish a more genuine, humble, and simply talented band any more of our undying support.

the BABE Van and I at the Banquet Records album release show (this was my third time seeing them [and I'll be seeing them at KOKO in November!] following their apperances at Latitude and Reading - where I collided into Van walking around the main arena wheyyyyyyy)

BUY CATFISH AND THE BOTTLEMEN'S MONSTROUS DEBUT ALBUM ' THE BALCONY'

//BANQUET//
//ROUGH TRADE//
//OFFICIAL STORE//
//ITUNES//

betty and the not-so-subtle art of copycatting

cop·y·cat (n.) informal - one that closely imitates or mimics another

They say that imitation is the highest form of flattery; that if someone copies you it should be taken as a compliment of crown accord. Perhaps the herds of sheep gagging to dress/talk/look/be like the kewwwlest person you know should give the aforementioned awesome guy/gal tingling feelings of bashfulness and unadulterated power. This would suggest that the concrete embodiment of flattery is having your very own dupe be stuck to you like a shadow. However, the truth is that it's actually pretty annoying - something that matches irritation levels of having gum residue still glued to the sole of your shoe despite the absence of the actual gum itself.

But first, let me get something straight: there is a huge difference between being inspired by an individual, or buying the same clothes as your friend and actually attempting to become a reincarnation of the person whom you so idolise. As human beings we absorb the energies of those whom we admire and feed off of their auras in order to incorporate what's so great about others into ourselves. It is only in our nature to want to improve our own semblances in the mirror of others so that we too are as kind and cool and intelligent as them. Yet that's where we should draw the line, for in an age of distinctiveness what's the use in becoming a sheep? I noticed it a lot when I was in rural-surburban America over the summer: everyone dresses the same. Why?

I'm also not saying that I'm copied a lot - which I'm not at all, like if you want to copy the clothes I wear/the music I listen to/the ways in which I choose to spend my free time I assure you that you're setting yourself up for a lifetime of uncoolness - but, yes, I will put my hands up and say this post was created with the intention of being biographical of a certain someone (who, of course, shall remain utterly anonymous). And I guess if said person, let's call her Betty, was just modelling herself off of myself this post could (and maybe it does, and if it does I'm truly sorry) come off as bitchy and conceited but when Betty's copying everything from her dialect and lingo to the shoes on her feet from different people, I gotta step in and be all "Betty, don't be a wasteman".

In a social media age it's easy to masquerade as someone you're not. It's now easier than ever for clones to thrive in a world that's now online and exposed for all to see; it's a breeding ground for copycats. For example, it's gotten to the point where Betty will copy social media posts word for word and pass them off as her own pioneering thought when it's not and that's just so not chill. Haven't you ever heard of plagiarism, Betty? Didn't your English teacher ever tell you that if words are not your own that you must place them in quotation marks? Honestly Betty, it's really pissing me off. I've never heard you mention that band that girl in your class loves that you claim to be so "proud" of, or used phrases like "pixie aesthetic" (whatever the fuck that is) before you started following that other girl. Why can't you be happy being you? I'm not saying to not follow the latest trends or to not listen to "mainstream" music, but when your whole personality isn't actually true to yourself, then you know there's a problem. Because there's nothing wrong with conforming to a type, but just don't let that type become you.

The book I'm currently reading is a gorgeous Japanese novel called Norwegian Wood by Haruki Murakami. It's enchanted me so much that I've breezed through a lot of it in less than a day and as I sat reading today, a particular quote stood out like a sore thumb (and ohhhh the irony, honestly):

"If you only read the books that everyone else is reading, you can only think what everyone else is thinking."

I think it really emphasises how important it is to be true to yourself in a world so bland and full of bandwagons. Go outside and think about stuff and issues and everyday life; don't listen to what the media or your Twitter feed tells you - how do you think the world can be improved? Could you be a pioneer of your generation? I promise you that you can if you take the words of Murakami into your stride and quit doing what everyone else is doing and have a little bit of thought for yourself.

It's sad that it seems that some people feel that to be happy in life that they must live it through the lives of someone else - through someone else's creative outlet, or choice of literature, or way they style their hair - when the person they truly are has the potential to be groundbreakingly amazing. As the human race is unfortunately just that - a race - it doesn't take much to slip into the blur and mists of being the same as everyone else and end up joint last.

I guess in a blog which usually attempts to influence the opinion and taste of it's readers, to turn that back around and say "hey, stop copying me you little fuckass" seems highly hypocritical and a lil bit mean. However, I think the point of this was not to disparage people from becoming a sheep (though that is something you should think about avoiding) but rather encourage even just one person to step away out of the shadow of someone else. You were born out of original DNA, there is no one else on Earth quite like you. We're not all American Apparel zombies, embrace that.